Life Beyond Us - Science Fiction & Essays

Recently I have read a very interesting anthology of Science Fiction writing with an euqally interesting twist - it also has essays about the science behind those SF stories. The book is titled "Life Beyond Us", it is edited by Julie Novakova, Lucas K. Law and Susan Forest (2023, Laksa Media).

It has stories by some of the well-known names of science fiction and is presented by the European Astrobiology Institute (EABI).

EABI on its website presents this book with the following introduction:

What would life be like if it evolved in a cold ocean beneath an impenetrable shell of ice? Or on a world whose haze obscured any view of the universe beyond? Is there a common template for life, or can we expect to find preciously fragile silicon creatures drifting in seas of liquid nitrogen? How would finding alien life change our society?

Life Beyond Us, a new anthology by the European Astrobiology Institute and Laksa Media, depicts the timeless quest for finding alien life in 27 science fiction stories and 27 science essays, aiming to imagine, inspire and illuminate.

I loved reading this book and would like to share some of its aspects which I found illuminating.

Science in the Science Fiction

SF is based on science and is different from fantasy. In SF writers can imagine the future or distant worlds, but they do so based on science or on scientific hypothesis.

However,understanding the science behind each SF story is not easy because it can come from different and specialised fields of expertise, from technology to physics to chemistry to medicine and innovation. I loved this book mainly because each story is followed by an essay which discusses the basic science behind that story. I loved some of the stories, but I loved even more some of the essays explaining those stories because they made me think in unexpected directions.

Below are some examples of the information in the essays which were new for me and which made me think.

Safety of Humans and All Aliens

Giovanni Poggiali in his essay about a SF story by Erik Choi wrote about the fears of humans to make sure that we don't import alien life forms to earth because we may not have immunity against them and they can decimate human and/or animal life. This is something we all understand.

However, I had never thought about the vulnerability of aliens to the pathogens from earth. When we send space-ships to moon or mars or to some other star outside our solar system, is there a danger that some of our bacteria or virus can go with them, and then infest and kill the alien life forms?

Poggiali's essay about ensuring the safety of all life forms on earth and on other planets, made me think about the difficulties of limiting contacts with our bacteria and viruses. We can't sterilise our intestines, also because our gut organisms are fundamental for our well-being and survival. In the long-term colonisation of other planets, I am not sure how this would play out.

Star-Forming Cocoons

Stefano Sandrelli in his essay about a SF story written by Renan Bernardo, talks of an astromical discovery by Bart Bok and Emily Reily in 1940s about a small black cloud which they called globule. They proposed that new stars were being formed inside that globule.

Sandrelli talks about Bok Globules to explain that the space is not empty and that approximately 2% of the total mass of our galaxy, the Milky Way, consists of low-density matter, mostly as a gas, called the interstellar medium (ISM). ISM is 91% Hydrogen and 8.9% Helium. However, 1% of ISM is made up of dust. I have always thought of space as being empty and this information was very unexpected.

Titan, Saturn's Moon

The essay by Fabien Klenner about a SF story by G. David Nordley explains that Titan is an iceball, with a thick atmosphere (4 times as dense as earth's atmosphere) and very low gravity (around 14% of earth's gravity). This information has been used to plan a Dragonfly mission to Titan in 2027 which should reach its destination in 2034.

On earth we have carbon-based life which needs water as a solvent. Titan does not have the conditions for a carbon-based life but it may have conditions for a nitrogen-based (azotosome) life.

Can azotosome based molecules create life and what kind of life it would be, is a tentalising question.

A Really Hot Venus

Sanjay is the hero of the SF story by Geoffrey A. Landis, who wants to go down from his space-ship to visit Venus. Dennis Honing, in his essay about this story explains that Venus is so hot that it cannot host earth-like life. It is hot because it is closer to sun and because it has a lot of CO2, a greenhouse gas.

He explains that on earth the long-term maintenance of climate is due to the carbonate-silicate cycle. CO2 in the atmosphere is dissolved in rainwater, forms carbonic acid, which interacts with silicate minerals. Its product, calcium carbonate, is deposited on earth in areas where tectonic plates converge. As it reaches earth’s interior, those carbonate sediments melt and CO2 is released back into the atmosphere. A main requirement for the whole cycle is the presence of liquid water on earth's surface.

I had read about acid-rain but it was the first time that I was reading about CO2 cycle and wondering if carbonic acid contributes to acid rain? Does this carbonic acid go into water bodies such as lakes and rivers? What impact does it have on the climate? It was a chapter, which left me with a lot of questions.

In Conclusion

The above are some examples of reflections and questions induced by the scientific essays in this book, written mostly by young European scientists. It was a long time that I had read a book like this one, which surprised me so much and made me stop and think so often!

If you like reading scinece fiction and are generally interested in science, this is the book for you.

*****

#sciencefiction #science #bookreviews #europeanscientists #anthologyofsciencefiction 

Bonsai & the Life in the Plants

Last month I visited a Bonsai exhibition at the Jaquard gardens of Schio. The sight of tiny plants looking like a miniature version of full-grown trees reminded me of a nature-visit in Bologna some years ago. This post is about two different ways of thinking about the life-forces in the plants. At the same time, it is also a reflection about the relationship between humans and nature.

Indian Ideas About Nature

Let me start briefly with some of my ideas about nature, which are influenced by my growing up in India. Hinduism is full of Gods and Goddesses, each of whom is linked with an animal and a plant species. There are many mythological stories that teach one to respect all the beings as a part of the respect for the sacred.

There are different stories linked with plants in the Hindu mythology. Like the story of the sacred Tulsi plant (Indian Basil), which represents a pious prostitute. Thus, people believe that this plant should not be kept inside the house, but must be planted in the courtyard where the families can pray to it at dawn and sunset by lighting a lamp near it. The 1960's Hindi film Parakh had one of my all time favourite songs, Mere Man ke diye (The lamp of my heart), in which Sadhana lights a lamp and prays to Tulsi plant. According to Ayurveda, Tulsi is an important medicinal plant. Such myths and sacred stories, are ways to remind the communities about the importance of different species of plants and animals, and to safeguard the biodiversity.

I remember my grand-mother once telling me to not to pluck the leaves of a plant at night because "the plant was sleeping". I think that such a way of thinking illustrates the popular understandings of life in the plants among Indians. While in the cities, people have a more transactional ideas about nature (for example, that it is good for breathing and well-being, it is relaxing and stress-busting), in the smaller towns and villages of India, I feel that there is still a lot of respect and traditional knowledge about these ancient understandings of nature.

Bonsai Plants

Literally the term Bonsai means "planted in a vase". The aim of growing a Bonsai is to create a realistic representation of nature through a miniature tree.

An exhibition of Bonsai plants was held at the beautiful 19th century Jaquard garden in the centre of Schio. It is a small garden but is very beautiful, with an old theatre and a green-house. The exhibition presented the plants grown by the Bonsai students of Schio under their teacher Dr. Ennio Santacatterina.

I spoke to Ennio to understand about Bonsai. He explained that he had discovered his passion for Bonsai after his retirement. His school is a part of the Bonsai Art School and its classes are held in a local plant shop called Garden Schio.

Ennio sees Bonsai as a part of the Zen traditions from Japan, in which it is fundamental to understand kamae, the basic and essential nature and characteristics of each plant. He cites the Bonsai guru Aba Kurakichi and says, "We must conserve all the specificities of the nature of each plant because Bonsai is a life-art." This means that each plant will develop according to its own characteristics and the Bonsai-maker must know how to enhance its individuality and highlight its beauty by selecting the appropriate style, branches and spaces.

I think that it means that a Bonsai is not created but rather it is nurtured, grown and gently guided. It is an exercise in mindfulness, in which the Bonsai-maker searches for a connection with the plant through silence and meditation, to understand its nature and develops a vision of how it should grow. Then, with patience and mindfulness, the maker helps the plant to achieve that vision.

Free-Growing Nature

While Bonsai speaks the language of Zen, meditation and mindfulness for creating a connection with plants, it seems as if the plant is moulded into an idealised vision of how it should look. It reminded me of another encounter about plants - in 2011, I had an opportunity to meet Mr. Marco Colombari, a gardener and plant-lover from Bologna, who had some very radical ideas about the plants.

Marco had guided us in the discovery of a forest, talking to us about how to observe and "see" the plants. A century ago, this forest was an "aviculture centre", an area for developing and growing different species of birds. Then it had become a hunting laboratory and a honeybee cultivation centre. In the 1980s, surrounded by multi-story apartment buildings, this area was supposed to be used for building more condominiums. However, the local residents had started a campaign to save it as a natural area. It is now managed by an association called Oasi dei Saperi (The Knowledge Oasis), which promotes it as a site for the conservation of biodiversity. It is known as the Forest of St. Anna and is located in the Corticella area of Bologna.

Marco's point was that every plant is a living being and has its own characteristics. He felt that people decide about planting trees and plants without really thinking about those natural characteristics. Thus, every time we cut the branches of a tree for making it fit into our urban landscaping, it is like closing an animal or a bird inside a cage. In the forest, he had shown us parts of the trees where the branches had been cut, making us look at the seeping liquids from the cut surfaces and drawing parallels with injured animals.

Besides the natural forest, St. Anna Forest also has some other areas including a botanical garden for growing medicinal herbs, a small pond which was used in the past for jute production and a group of ash trees with old artificial nests which were used for keeping birds when it was an aviculture centre.

Some Reflections

Listening to Marco had a very strong impact on me. Reflecting on his words and coupled with the philosophy in the Indian sacred books of Upanishads, I feel that it is the same life-force flowing inside the trees and plants which flows in every living being.

How do I reconcile this understanding with our daily business of living? There is a proverb in Hindi which says "If the horse becomes the friend of the grass, what would it eat?" I think that this proverb sums up the basic dilemma of our life - the impossibility of avoiding violence, if we wish to live.

Thus, I think that all life in the world is inter-connected and there is no way we can avoid eating other life forms, till the time comes for us to die when we return back to the earth, turn into our basic elements and become a part of the never-ending cycle of life, death and decay. To me it means respecting nature and all forms of life, which I translate as avoiding giving unnecessary suffering to my fellow creatures. Thus, I feel that individuals can decide if they wish to eat meat or they prefer to be vegetarian or vegan - it is a matter of choice linked with personal convictions.

However, I think that keeping animals to be used for their meat (chicken, ducks, sheep and cows) in narrow spaces, which do not allow them to move, and making them eat food laced with hormones and antibiotics so that they can fatten quickly, or hurting them unnecessarily, are wrong.

It means being kind to the animals and birds that we keep as pets. It means, taking care of the nature so that our biodiversity is maintained and strengthened. It means that if we have a zoo or a circus, we shall ensure dignified spaces for keeping the animals and treat them with care. I think that zoos and wild-life parks can play an important role in saving species close to extinction and in teaching young people about the importance of safeguarding nature and biodiversity.

Some people would completely separate humans from other animals because they see all human-animal interactions as basically evil and unwelcome for the animals. They are against keeping pet animals, they don't like zoos, they do not want any experiments involving animals - I feel that it is an extreme view and does not help the animals or the nature.

I hope that science and technology would soon progress so that one day we can have all kinds of food, including meat and fish, grown in cell-cultures. In the meantime, I would like more humane conditions for the animals we keep for meat.

Conclusions

Coming back to the plants, does making the plants grow as miniaturised Bonsai trees means that the plants are being forced into unnecessary suffering? Probably Marco Colombari would say yes. I don't think so. I feel that Bonsai practice, by helping us to seek a connection with the plants through mindfulness and meditation, is another path to recognising the importance of nature.

The evolution has made different life-forms co-dependent on each other. We have biomes inside each of us, made of billions of bacteria and viruses - every time we are ill and take medicines, we are killing millions of them. Life, death and decay are a part of a never-ending cycle going around us all the time and there is no way we can say that we don't want to be a part of this cycle.

This reflection about the life in the plants, makes me think of Shiva, the Hindu God who controls the never-ending cycles of creation and destruction in the universe. I think that Shiva is a metaphor of the life and death which connects together all the organic and inorganic matter of the universe. It is the life-force moving the particles composing the atoms, which combine to make the molecules of different elements, the building-bricks of everything in the universe. Life and death are illusions, because those atoms and the forces moving their particles, they do not die and will continue to combine and create new forms all the time.

***

God, Consciousness and Mathematics

In the 2 May 2020 issue of New Scientist there was an article about a new mathematical theory of consciousness. According to this theory "all kinds of inanimate matter could be conscious". To me this mathematical understanding of consciousness sounded very similar to the explanation of Brahman, the universal consciousness, in the Indian texts of Upanishads.

In 2018, I had written about different ways of understanding God in different religions and how the Upanishads define God in many ways, including as Brahman, the all pervading universal consciousness. This post can be seen as a continuation of that same argument and focuses on the article from New Scientist and its similarities with the ideas in Upanishads.

Here. There. Everywhere?

Michael Brooks' article is titled "Here. There. Everywhere?" He starts with the Integrated Information Theory (IIT) proposed by American neuroscientist Giulio Tononi in 2004. Then he explains the ideas of Johannes Kleiner in Munich and Sean Tull in Oxford, which start from Tononi's ideas and refine them. Tononi had proposed that consciousness was a characteristic of information-exchange and if we could measure that, then we could also measure consciousness. Kleiner and Tull have attempted "to identify the necessary mathematical ingredients of IIT, splitting them into three parts. First is the set of physical systems that encode the information. Next is the various manifestations or “spaces” of conscious experience. Finally, there are basic building blocks that relate these two: the “repertoires” of cause and effect." According to Brooks, the significance of this work is the following:

One consequence of this stimulus might be a reckoning for the notion, raised by IIT’s application to grid-shaped circuits, that inanimate matter can be conscious. Such a claim is typically dismissed out of hand, because it appears to be tantamount to “panpsychism”, a philosophical viewpoint that suggests consciousness is a fundamental property of all matter. But what if there is something in it?To be clear, no one is saying that fundamental particles have feelings. But panpsychists do argue that they may have some semblance of consciousness, however fragmentary, that could combine to generate the various levels of consciousness experienced by birds or chimpanzees or us. “Particles or other basic physical entities might have simple forms of consciousness that are fundamental, but complex human and animal consciousness would be constituted by or emergent from this" ...The idea that electrons could have some form of consciousness might be hard to swallow, but panpsychists argue that it provides the only plausible approach to solving the hard problem. They reason that, rather than trying to account for consciousness in terms of non-conscious elements, we should instead ask how rudimentary forms of consciousness might come together to give rise to the complex experiences we have.

Consciousness in Upanishads

Upanishads are ancient Hindu texts written in Sanskrit that often touch on the nature of reality. "Ishavasya" is one of the first Upanishads, dating back to different centuries before Christ. Its name - "Isha" (God) and Vasya (Lives in) - comes from its first line:

It means that God pervades everything, both animate and inanimate. It is similar to the hypothesis of the mathematical theory proposed by Kleiner and Tull, as the text equates 'God' with 'Consciousness'.

The Upanishads define different levels of consciousness including Turiya or absolute consciousness. Turiya is the state of pure being in which awareness is present but the experiences are not accompanied by any thoughts, and it can't be described in words. This philosophy of non-dualness, the unity of our personal consciousness with that of the universal consciousness is known as Advaita philosophy. To me these ideas sound remarkably similar to the considerations of Kleiner and Tull.

Some Hindu texts differentiate between Parmatma or the universal consciousness and Jeevatma, the individual consciousness, where Parmatma is the ocean while Jeevatma are the rivers. There are other explanations about different levels of individual consciousness inside animate and inanimate world, which can be seen as "rudimentary consciousness" in Brooks' article.

The concept of Brahman or the universal consciousness is deeply rooted in Hinduism. It is expressed in words like Brahmand or the universe and Brahmin, the one who has spiritual knowledge. It is also used in the Beej Mantra to be chanted or meditated upon during Yoga and meditation, such as Swam Ho (I am), Aham Brahma (I am the life force), Aham Shivam (I am the eternal truth). Thus, if Kleiner and Tull's theory is about universal consciousness, then according to the ideas of Upanishad, it is also a theory of God.

If we think of God as universal consciousness pervading every object and being of this universe, perhaps we will learn to respect the environment, the rivers and the mountains, the trees, insects, birds and animals, and all the human beings.

Conclusions

I think that with greater scientific and technological understandings of the world, the role of religions will change in our lives. Today, for many persons religion continues to have a fundamental role in differentiating and defining right and wrong, good and bad, permissible and prohibited. However, for many others, religion only has a spiritual significance because it allows us to give a deeper meaning to our lives, but it does not have a prescriptive role.

Questioning and refusing parts of our religious beliefs is essential for many of us. At the same time, our ideas about right and wrong are shaped more by concepts of human rights, equality of all human beings, and, love and respect for the nature. We can pick and choose aspects from different religions, which speak to our heart, but we are not bound by the walls separating them.

I think that this kind of questioning approach to our religions will become dominant in the coming decades and centuries. It is how I look at Hinduism. The phase of human culture dominated by prescriptive religions with rigid boundaries and commands is coming to an end. As humanity will become more self-aware and self-confident, it will focus on spiritual dimensions of religions, allowing each of us to have our own ideas of right and wrong. There may be inspirations to understand the world in our ancient texts and religious books, while there may be other parts that may not appeal to us. And, there need not be a gulf separating the ideas of God from those of mathematical theories.

Note: The images used in this post are from an exhibition of Indian artists held in Delhi in January 2020 and are by Rashmi Malhotra (a mathematician and an artist) and Prince Chand.

*****

A Creativity Megahub in Schio

Can 3D Printing provide good quality and better fitting prosthesis to persons with disabilities? I was looking for the answers to this question. The problem was that my knowledge about 3D printing was extremely limited and so I had to first understand about 3D printing.

A chance live-telecast on Facebook introduced to me to Megahub, an initiative promoting creativity and technological innovation, which helped me to learn the basics about 3D printing. I will write a separate post on the possible role of 3D printing in making of prosthesis. This post is an introduction to the Megahub initiative.

The Question About 3D Printing

3D printing was supposed to completely transform the world economy and our daily lives. All we needed was a 3D printer and we could have printed in our village everything that we needed, from medicine pills to shoes and clothes, in the designs and colours that we wanted, at almost no or very low cost.

However, after the initial hyperbolic predictions and enthusiasm for a few years, today we do not hear so much about it.

It was in this background that I was asked the question about the role of 3D printing for the production of prosthesis. A prosthesis serves to substitute a missing body-part - for example, an artificial arm for a person with arm-amputation.

My Chance Encounter with Megahub

I live in Schio, a little town in Italy, about 80 km north-west of Venice. About a year ago, I wanted to learn about post-processing of digital photographs. Searching on internet, I had found that Megahub organised such courses, so I had written to them and asked to inform me whenever they had such a course. After that email, nothing had happened and I had forgotten all about it.

Then, a few days ago, while I was trying to learn about 3D printing, I saw an email from Megahub, saying that they were going to do a live telecast about 3D printing on their Facebook page. When I read that email, it was almost the time for that telecast, so I immediately clicked the link. The telecast was an introduction about the technology. After the telecast, I checked the Megahub website and found that they had 3D printers and provided basic training about how to use them. I immediately signed up for an introductory session.

Learning About 3D Printers

Silvano, my teacher for 3D printers, is a great person - simple, unassuming and passionate about the 3D printing technology. I had a half-hour appointment with him, instead we talked for 2 hours and he patiently answered all my questions, explained everything with examples and showed me stuff about different kinds of 3D printers.

At the end of this session, now I have a much better overview and understanding about 3D printing and its possible role in making prosthesis. I will write a separate post about it.

Megahub Services

Megahub is one of the activities of a social cooperative of Schio called Samarcanda, which is active in different areas such as support for refugees, homeless persons and women in difficult situations. Their main office is on Via Paraiso, a few kilometres from the city centre. Part of their building is dedicated to Co-Working, where you can rent a working space and have an office with access to a meeting room, internet, printer and a kitchen.

Megahub is one of the activities in that building, and it has a separate space with an open-space layout which is subdivided into two kinds of areas - an area with machines for rent and learning; and, spaces which can be rented by start-ups and artisans.

The Learning & Machine Area of the Megahub includes labs for 3D printing, photography studio, electronic lab, laser cutting, CNC milling machine, welding, woodwork and carpentry. For each of these areas, you can join their training courses as well as, fix individual appointments for learning about the use of a specific machine. You can also book a machine and make things for your personal projects. For all of these, the costs are very reasonable since it is run by a social cooperative. The teachers are all young and passionate persons, who often go beyond their professional roles to try to help you.

The Start-Ups and Artisan spaces can be rented for a small amount by persons who are starting their professional careers. For example, presently one of the spaces is rented by a young ceramic designer while another has a couple making artistic mirrors. In one space, a guy has a green-house setup inside an old cold-drinks' box where he grows orchids - it is completely automated, so he can control it from his mobile phone.

I think that Megahub is a wonderful opportunity for young entrepreneurs to get a supporting environment, where they can work by themselves and yet be surrounded by others, who can become friends and supporters. They can try their ideas without risking a big amount of money in setting it up. They can learn from their failures without wrecking their savings and if they are successful, they can move to their own place. In this way, they also do not need to invest money in buying expensive machines, they can rent those existing in the megahub for the actual use by paying little amounts.

For more information about Megahub and to use its services, write an email to info@megahub.it or check its website: www.megahub.it

Conclusions

This post is my thank you note to Silvano and his colleagues, Martino and Pietro, for their generosity and helpfulness in teaching me all about 3D printing. I think that the basic idea of Megahub, as a supportive space to help persons to learn about technological innovations and to help young entrepreneurs in converting their ideas into reality, is a wonderful opportunity, which all cities should have if they are serious about nurturing young entrepreneurs.

The image above has Silvano showing a 3D printed guitar with colourful LED lights in it, that they had made in Megahub (the mask is inevitable since these are COVID-19 days!).

If I was not already so busy, I think that I would have loved to learn more about woodwork at Megahub and make wooden objects, which was one of my secret desires when I was young! Who knows, may be, I won't be always so busy and one day, find time to dedicate myself to learning it at Megahub.

*****

#megahub #megahubschio #workshops #workingspaces #3dprinting

Surgery in Ancient India & Ganesha

Ganesha, the anthropomorphic divinity with the elephant's head, is one of the most loved God-figures in Hinduism. Some persons have claimed that the Ganesha story is a sign of knowledge about advanced surgical skills in ancient India and that those ancient surgeons knew how to transplant an animal head on a human body. While such claims are laughable, I do believe that there can be some links between the myth of Ganesha and the knowledge of surgery in ancient India.

This post is about surgery in ancient India and how it could have given birth to the Ganesha myth.

The Ganesha Story

I love the figure of Ganesha. For me, it symbolises the omnipresent links between humans and different aspects of nature, which permeate different aspects of Hinduism. They teach us to look with respect at every aspect of nature - from the microscopic bacteria and ants to animals and plants, and even the snow covered mountains. If you have seen individuals in India offering flour or grains to ants and snakes and monks going around with a mask for their mouths, you can understand the vitality of this link between Indic religions and nature.

In the Indian mythology, Ganesha is the son of Shiva and Parvati, born while his father is away. Many years later, one day Shiva comes back home and is stopped by Ganesha, who does not know him and is guarding the door because his mother is taking bath. Angry, Shiva cuts his head. Later when he realises his mistake, it is too late, some animal has eaten his son's head. So Shiva sends his men to look for another head, and his men bring back the head of a baby elephant which is put on the boy's torso. This is how Ganesha's elephant head is explained in the mythology.

Transplanting An Animal Head

Some persons take the Ganesha story literally and believe that ancient Indians knew how to transplant an animal head on that of a human being. Even if it was possible to sew and transplant an animal head on a human body, and even if it was possible to avoid the inter-species transplant rejection, no real elephant's head, not even a baby elephant head, can fit the human body, unless we are talking of elephant-sized giant men from Gulliver's Travels. Thus, this story is only a story.

However, ancient Indians did develop surgical skills almost 2000 years ago, which were probably unique in the world at that time. Some of those techniques are still used in modern surgery. I wonder if the story of one such surgical operation could have given birth to the Ganesha myth. Let me explain.

Surgery in Ancient India

Mentions of surgery are found from Rigveda onwards in different texts of Hinduism and some of the well known ancient surgeons mentioned in these texts include Ashwini Kumaras, Chavana, Dhanvantari, Atereya Agnivesh and Sushruta. Sushruta from 600 BCE is called the father of Indian surgery, and his book known as Sushruta Samhita contains indications regarding cosmetic, plastic, and dental surgery ("Sandhan Karma").

Dr. Vibha Singh in an article published in the Journal of Maxillofacial Surgery in 2017 had written about it:

The ancient surgical science was known as Shalya Tantra. Shalya means broken arrow or a sharp part of a weapon and Tantra means maneuver. Shalya Tantra embraces all processes, aiming at the removal of factors responsible for producing pain or misery to the body or mind. Since warfare was common then, the injuries sustained led to the development of surgery as refined scientific skill ...Complicated surgeries such as cesarean, cataract, artificial limb, fractures, urinary stones plastic surgery, and procedures including per- and post-operative treatment along with complications written in Sushrutaa Samhita, which is considered to be a part of Atharva Veda, are surprisingly applicable even in the present time ...Even today, rhinoplasty described by Shushruta in 600 BC is referred to as the Indian flap and he is known as the originator of plastic surgery. Besides trauma involving general surgery, Sushruta gives an in-depth account and a description of the treatment of 12 varieties of fracture and six types of dislocation. This continues to spellbind orthopedic surgeons even today. He mentions the principles of traction, manipulation, apposition, stabilization, and postoperative physiotherapy ...

Knowledge about surgery travelled from India to the Arab World in the 8th CE and then to Europe. Prof. Thamburaj in his book Textbook of Contemporary Neurosurgery wrote that Sushruta Samhita was translated into Arabic as 'Kitab Shah Shun al–Hindi' and 'Kitab–I–Susurud'. There were Latin and German translations of this text in early 19th century but I think that there must have other translations of this text in the past and the knowledge about the Indian techniques had reached Europe much earlier.

Dr Frank McDowell in his 1977 book on Plastic Surgery had written: "Through all of Sushruta's flowery language, incantations and irrelevancies, there shines the unmistakable picture of a great surgeon. Undaunted by his failures and unimpressed by his successes, he sought the truth unceasingly and passed it on to those who followed. He attacked diseases and deformities definatively, with reasoned and logical methods. When the path did not exist, he made one."

The Skin Grafting Technique from India

Skin grafts are needed when the skin is destroyed, such as in burn and crush injuries. Broadly, there are two kinds of skin grafts - a partial skin graft and a full skin graft. The full skin grafts were described in Sushruta Samhita.

When wounds are big or deeper, and a thin strip of skin is not enough, we need a graft with the full depth of the skin and underlying tissues including blood vessels and nerves. For this, the surgeons cut a piece of full skin tissue from three sides, usually from abdomen, arms or thighs, while making sure that it remains attached on the 4th side to the original part of the body, from where it can continue to receive blood. This skin flap is used to cover the wound. This means, the surgeon needs to bring together the wound to the body part which is going to donate the skin, and they need to stay together for some weeks, till the grafted skin starts getting blood from the underlying tissues. Once the grafted skin is well fixed to the new area, the flap can be cut at the base and two parts can be separated.

The Origins of Ganesha Myth

Is it possible that the Ganesha myth started from a surgery in ancient India? Lets suppose that there was a young boy who was a priest at a Shiva or Shakti temple and he was attacked by someone who wanted to loot the temple. He was able to protect the temple but his nose was cut during the fight. He was operated by a surgeon who took a full skin flap from his upper arm and used it to construct a nose for him. After the operation, he was forced to keep his arm close to his face with his forearm hanging in front of his face like an elephant's trunk for a few weeks or months. Suppose, someone called him the boy with the elephant's head and over time, it gave rise to the Ganesha story?

Hinudism has a strong traditions of an oral culture, where old stories are made into songs, adapted to the local context and passed across generations. Over centuries, such a story could have become the Ganesha's mythical story and the sages incorporated that story in a sacred book, explaining him to be Shiva and Parvati's son.

Conclusions

Hinduism is a living tradition that has roots going back to antiquity. This living tradition is incredibly complex, where each story has innumerable versions, and some of them can be contradictory. Over centuries, stories which can have deep metaphorical meanings become widespread and find a place in one of its sacred texts.

My considerations about the origins of the Ganesha story are just speculations and can't be taken as truth. They build a story around the surgical skills about skin-grafting in ancient India. There is no way to prove this story and any way, that is not the purpose of this post.

Additional notes about this surgery in India are given below:  I think that this additional information is important because it shows that Ayurvedic operations based on the ancient techniques described in old books of Sushruta Samhita and Charaka Samhita, were being practiced in India in 18th century and were taken to west much more recently than has been claimed.

Additional Notes, 11 August 2020 (From @trueindologyorg on Instagram):

The above is the picture of world's first known modern plastic surgery. It is also the picture of world's first known modern nose job. It was performed by a traditional Indian surgeon named Kumar. The person in this picture was known as Cowasji. He was a Maratha bullock driver. He had been imprisoned by Tipu Sultan and his nose was cut off in prison. His nose was later restored by a traditional Surgeon named Kumar using "ancient Indian methods" in 1794 CE.

A Britisher named Lucas observed in action the traditional Indian surgery of Cowasji and documented every detail of this operation. This picture was a British portrait of Cowasji AFTER Rhinoplasty (c. 1795 CE). At that time, the Europeans lacked the scientific knowledge and expertise needed to perform plastic surgery. They were greatly intrigued by this method and found it was commonly performed in India. They also noted how Susruta Samhita described this procedure of Rhinoplasty in detail. These details were then accessed by a scientist named Joseph Constantine Carpue. Using these techniques, he performed world's "first" modern Rhinoplasty 20 years later.

Joseph Constantine Carpue is widely known as the father of Plastic Surgery. But in his book "An account of two successful operations" , he acknowledges that it was performed by "Indians from time immemorial". He learnt it through his friends who "copied from Hindoo practitioners" in his own words. Nasal reconstructions had been practiced as a relatively routine procedure in India for centuries. The procedures are described in two well-known early Indian medical works like the Suśruta Samhitā. By the nineteenth century, the technique had been handed down through families.

Traditional Indian sources recommend that Kumbhakaras (potters) perform the surgery owing to their skill. They performed it till 18th century. Source: "An account of two successful operations " by Joseph Constantine Carpue. Image source: https://blogs.bl.uk/science/2016/10/britains- first-nose-job.html

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#surgery #medicine #ayurveda #ancientindia #ganesha #hinduism

Influence of Parasites on Behaviour

Sometimes we think that we have understood something, then scientists comes up with new insights, which force us to rethink about that understanding. For example, over the past decade, insights about the gut bacteria which constitute our microbiome and might shape different aspects of our lives, from obesity to depression, have opened a new areas of scientific enquiry. The discovery of a "new body organ", the interstitial space, is another emerging area of research and understanding, which might have surprises waiting for us. Kathleen McAuliffe's book about parasites and how they might affect human behaviour relates partly to the role of gut bacteria, but has a wider scope. It did manage to force me to reflect about issues that I had not thought before.

About 50 years ago, when I had joined medical college in India, I used to think that almost all the things that could have have been discovered about human body and diseases had already been discovered. I imagined that technology might help us improve some things, like diagnosing some difficult to diagnose conditions, but I had no idea that in these 50 years scientific knowledge about some aspects of human body, such as genetics, was going to change so drastically. That is why I love reading books which give an understanding about human body and its influence on the changing practice of medicine.

McAuliff's book has a strange title, "This is Your Brain On Parasites", which does not sound very interesting, but its subtitle explains it better - "How tiny creatures manipulate our behaviour and shape society". This post is about this book, which I would divide into 2 parts - the first part is about different parasites which infest worms and insects and, change their behaviour; the second part is about humans. The latter is more speculative, it wonders how parasites and fear of illness might be influencing our sense of disgust and our behaviour towards "outsiders".

Parasites in Other Life Forms

In the first part of the book, McAuliff talks about researchers who have spent all their lives following the life cycle of a parasite and the surprising things they have discovered. McAuliff explains that searching for these stories was what led her to writing this book:The impetus for this book was a discovery on the Internet. I’m a science journalist and one day while foraging for interesting topics to write about I stumbled across information about a single-celled parasite that targets the brains of rats. By tinkering with the rodent’s neural circuits—exactly how is still a matter of fervid study — the invader transforms the animal’s deep innate fear of cats into an attraction, thus luring it straight into the jaws of its chief predator. This is a felicitous outcome not only for the cat but also, I was stunned to learn, for the parasite. It turns out the feline gut is exactly where the organism needs to be to complete the next stage of its reproductive cycle ... As I continued reading, more surprising news greeted me: The microscopic organism is a common inhabitant of the human brain because cats can transmit it to us when we come in contact with their feces. Perhaps the parasite was meddling with our brains too, speculated a Stanford neuroscientist associated with the research.
The stories of parasites entering the bodies of their hosts and changing their behaviour to suit their own desires, are like the stories of ghouls and spirits taking over and turning living beings into zombies - fascinating and frightening. At the same time, this part of the book explains the different obstacles these scientists had to overcome in their single-minded passion about one worm or one insect, over periods lasting decades. It is a pity that most of their names remain in obscurity.

For example, there is the story of the scientist Janice Moore who got interested in the life-cycle of a tapeworm and studied how it passes part of its beginning life in the ants and then it makes the ants go crazy, so that they climb on the the tip of grass and wriggled in such a way to attract the sheep to come and eat those grass-blades. Thus the worm reaches the brain of the sheep, needed for the next phase of its life-cycle.

From crazy fishes flipping on their belly on the surface of water so that they were eaten by some cranes to cockroaches meekly following the wasps to their nests so that wasp could deposit its eggs on its tummy and when wasp-babies come out they could have fresh cockroach meat, the stories are incredibly interesting and morbid.

They also made me think about some flamboyant persons with attention-seeking behaviours and wonder if they might have some worms in their brains? We do have some popular ways of sayings in Hindi in India, such as "Iske dimaag mein keeda laga hai" (His/her brain has got a worm), which sounds very similar to these stories.

Parasites and Human Behaviour

In this part of the book, McAuliff focuses on human psycho-pathology. These are more of hypothesis rather than scientific studies, about how the bacteria living in our bodies might be influencing our behaviour (though these bacteria are not really parasites, rather these are symbiotic organisms, as they get nutrition from us but they also provide benefits to us such as vitamins).

Cruickshank, in her review of McAuliff's book in New Scientist has critiqued this part:

Oblivious, McAuliffe skips into attention-grabbing territory armed with only the flimsiest of evidence. She claims, for example, that infection makes us more sociable and sexually voracious as the parasite seeks to infect others. This is based on a study that followed people given a flu shot (it being unethical to give people actual influenza). The subjects’ increased sociability might have been due to viral manipulation, but for my money it’s more likely they were simply feeling confident about being protected from infection.

McAuliff may not have evidence for most of the things she writes in this part of the book, but in terms of human psycho-pathology, they do raise some interesting hypothesis.

Conclusions

Studying the influence of bacteria and parasites on human behaviour is a field in expansion and new discoveries are already being made, which have many practical implications. For example, understanding how the malaria parasite influences mosquito behaviour and how it changes human physiology, can help us in diagnosing it and fighting against an infection which kills hundreds of thousands of persons each year. Some months ago, I had seen a TED video by James Logan about how dogs may be able to identify persons with malaria parasite, because the parasite makes our bodies secrete a chemical in our sweat, which attracts uninfected mosquitoes to come and bite us, and dogs can be trained to identify the persons with this chemical in their sweat.

I found this book hugely interesting and read it in a span of a few days, almost like a thriller. It is true that in terms of influence of micro-organisms and parasites on human behaviour, this book is speculative. However, it might influence young researchers to study these areas and see if such infections/infestations can be implicated in the causation of conditions which are yet not properly understood, like schizophrenia and Alzheimer disease.

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Looking for science in Renaissance period art in Bologna

How did the science influence the art in the renaissance period? To answer this question, let me take you to an old church in the medieval part of Bologna (Italy). It has some beautiful paintings like the one in the image below which shows the details of the Bentivoglio family portrait.

Via Zamboni is a historical road of Bologna leading from the twin-towers in the city centre to the San Donato gate. Along this road is an old church, San Giacomo, with some paintings that illustrate the influence of scientific discoveries on the art in the 16th century Italy.

Verdi Square and San Giacomo Church

Via Zamboni also leads to the Jewish Ghetto of medieval Bologna. The road going to the ghetto is predictably called Via dell'Inferno (the Hell road) illustrating the feelings of the medieval Catholic church towards the Jews.

Verdi Square is the area of university students in Bologna, located on Via Zamboni and facing the Municipal Theatre from 18th century. It is known for its noisy night life, open air caffes and cultural events. The image below showing Verdi Square and San Giacomo church is unusual since it seems deserted. This was because it was clicked during a snow storm. Normally this place is full of students.

San Giacomo is an old church next to the Verdi square. Built in Romanesque style, its construction was started in 1267. Its outer walls still carry signs of old frescoes.

In 1463 century, the Bentivoglio family, who were the de facto rulers of Bologna and whose palace was just across from San Giacomo church, made their own personal family chapel in this church. Their family palace was destroyed by the angry Bologna people in 1507.

Around 1798 when Napoleon conquered Bologna, the Augustine friars living in San Giacomo were expelled. In the 19th century they came back but they could never get back their monastery where a music conservatory had been started. St. Cecilia chapel next door to San Giacomo in the old monastery is a small jewel with all its walls covered by colourful frescoes.

Science and Art in Renaissance Bologna

Today we look at arts and science as separate disciplines. However, in the renaissance period as people started looking at the world and at natural phenomenon in a rational way, there were no such distinctions. The same person could dabble in art as well be interested in astronomy or understanding of body functions. University students in Bologna studied both art and science subjects without distinction. The image below shows a group of university students of Bologna in a 16th century sculpture in San Giacomo church. Their tired or bored faces are not very different from those of modern students.

For example, a famous scientist, Ulisse Aldrovandi born in Bologna in 1522, set up an important botanical garden. He was also a professor of philosophy and later started the department of natural history. He is called the father of geology for his studies of earth formations, rocks and fossils. He coined the word "geology" in 1603. He also created a huge encyclopedia with illustrations of plants from different parts of the world. Thus, art and science were closely inter-linked in renaissance period.

The Changing Italian Art in 1500s 

Around 1500 CE was the period of the early renaissance and Italy had a large number of great artists who were discovering a new way of making art. The artists included Michaelangelo, Leonardo da Vinci, Raffaello, Brunelleschi and many others. They introduced the concept of "prospect" in the art based on the understandings of geometry and mathematics.

Till then, the art had mainly been flat and two dimensional. Paintings showed people and events, but they did not have depth and proportions. The new ideas of "prospect" in the art, looked at things like the source and the angle of light. They analysed shadows and looked at the hidden geometric forms in the nature. They also looked at the proportions and the distances and introduced the idea of depth in the paintings. Thus paintings became more realistic.

On the left wall of the Bentivoglio chapel in San Giacomo church, there are two paintings by Lorenzo Costa, on the themes of death and fame (details of the painting on death are shown in the image below). The different kinds of rocks, hills and mountains shown in these two paintings, are specific rocks and hills around Bologna, painted in such a precise way that the places can be identified even today. This was the influence of the discussions and discoveries related to geology in that period.

Thus artists started looking critically at the geography of the places, the structures of biological life and inanimate objects. This changed the way paintings were made.

The study of Geology was important not just for the artists, it also had other practical implications including the search for new metals and minerals useful for treating illnesses. It also had links with more esoteric ideas such as the alchemy.

Geology and Fossils

In Italy, people had found fossils of marine life and objects like the sea shells, while digging in the hills and mountains. They couldn't understand how these things had come to these places, so far away from the sea or rivers. The most accepted theory in Europe to explain such finds was through the ideas of universal floods during Noah's times as described in the Bible.

Leonardo da Vinci was the first person to leave written documents of his opinions on this subject. His argument was that the shells and fossils of marine animals could not have come to the mountains with the flood described in Bible, as that would have left such objects on the surfaces of the hills and not buried them inside the rocks. His hypothesis was that some time in the past, those same hills and mountains were at bottom of the oceans. Unfortunately, Leonardo preferred writing in "reverse handwriting" and thus his diaries were not properly read and understood till more than 200 hundred years later.

Another example of Science in Art from San Giacomo

San Giacomo has a painting by Bartolomeo Passerotti. At the bottom of this painting, there are three objects - a sparrow on the left and on the right, there are a shark tooth and a piece of rock (the image below shows the Passerotti's painting). Unless you look carefully, you will miss these objects.

The sparrow is considered as the signature-sign of Passerotti (literally "Passerotto" means "sparrow"). The special thing about this sparrow is that it was painted in such a detailed and realistic way that it's species can be identified. It was a local species of sparrow that was very common in this part of Italy till about 300 years ago. Today it has been replaced by the more common hybrid or European sparrow. This showed the attention to real-life details in the paintings in this period.

The shark tooth near the foot-stone and the pebble on the bottom right of the painting, were both discovered in a hill near Bologna and are from the Aldrovandi's collection of natural history. The painter Passerotti was a friend of Aldrovandi, and by placing that tooth and pebble in his painting, he acknowledged his friend's work about the theories of natural history and geology.

The marvelous Bentivoglio Chapel

Apart from the Lorenzo Costa painting mentioned above, the Bentivoglio family chapel in San Giacomo is full of beautiful paintings. On the right wall, the chapel has a beautiful Bentivoglio family portrait of Giovanni the second, with his wife Ginevra and their eleven children. The whole family is standing around a sitting Madonna with baby Jesus.

In the centre of the chapel, there is a beautiful altar-piece done by Francesco Raibolini.

San Donato church on Via Zamboni

Before concluding this post about influence of science in renaissance period Italy on art, let me tell you about another church on Via Zamboni.

This is the San Donato church. It is the said that old church in this place was burned down in 1210 CE. The present building was made in 1454 and was renovated in 1751 when the painter Francesco Orlandi painted its facade. It ceased to be an active church in 1805 and it now belongs to the Count Malvasia family.

The paintings done by Francesco Orlandi are in Trompe l'oeil (Deceive the eye) style. It is an art technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions. For example, look at the window just above the church door - it seems as if it is actually surrounded by a niche, though it is all painted.

Conclusions

Art and science were not always seen as two parallel domains which never met. As this visit to San Giacomo church shows, these two worlds influenced and talked to each other. Art and artists played an important role in studying and understanding the physical world. The image below shows one of the striking sculptures from San Giacomo church.

Most of the time when we visit museums and churches and look at paintings, we rarely stop to consider the specific elements and ask ourselves why did the painter put this particular element in this painting? As the visit to San Giacomo shows, this can sometimes provide with surprising answers.

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Baby in mother's womb Museum of Bologna

The Science museum of Palazzo Poggi in Bologna (Italy) is famous for their models showing babies growing in the womb used for teaching about child-delivery to doctors, nurses and obstetricians. This post celebrates the recent birth of my grand-daughter.

However, this museum is not just about babies in the womb, it also has many other important exhibits related to scientific discoveries in the 16th -19th centuries. This post will introduce you to this beautiful museum.

Origins of the Science Museum in Poggi Palace

Bologna has one of the oldest universities in Europe, it started in 1088 and was part of that era which led to Enlightenment and Renaissance periods. During these, persons started looking at critically and exploring their surroundings, from natural phenomenon to rocks and minerals to plants and animals. Rationalism became the key word and people started questioning the religious dogmas.

Bologna had a number of noblemen (and a few noble women, though their work has not been documented equally well) who did pioneering work in the scientific enquiry. Ulisse Androvandi born in Bologna in 1522 was one such pioneer, whose work on natural history led to a private collection of objects, that became the core of the Science museum of Palazzo Poggi in the 20th century (Image below: the Aldrovandi room.

Poggi Palace was built around 1550 as the house of the Poggi family. In 1714 it became the Science Institute of Bologna and a tower of an astronomical observatory called Speculam was added. At the end of 18th century, the arrival of Napoleon in Bologna resulted in dispersal of the different collections of Poggi Palace. In early 20th century many of these were brought back to lay the foundation of the present museum.

Story of the Odysseus

The hall near the entrance, now used for meetings and events, shows beautiful paintings of the artist Pellegrino Tibaldi depicting the episodes from the life of Odysseus (Ulysses in Latin), the Greek king of Ithaca and the hero of Homer's epic poem The Odyssey.

Thus, the Science Museum is also an important place to admire art. It includes the works of Niccolo dell'Abate, Prospero Fontana and others. Another work of Tibaldi, the story of Susanna, is on the first floor of the building, which hosts the main museum.

Babies in the womb exhibits

This is my favourite part of the museum. The use of three dimensional models to teach the complexities of child birth to future obstetricians was started in Bologna by Prof. Giovanni Antonio Galli in the 18th century (image below). His teaching was so good that a school of obstetrics was created here in 1758.

He combined the teaching of theory and practice through these models.

The models show the different ways in which the umbilical cord can lie around the baby in the womb and in rare cases cause complications. Thus obstetricians could understand the mechanisms of cord-prolapse and other complications and think of solutions to safeguard the lives of the mothers and babies.

The models also show the different positions of placenta inside the womb. The placenta is the bridge between the mother and the baby. Sometimes, the position of placenta near the womb opening at the bottom can create dangerous complications for the life of mother and baby. Therefore it was important for the obstetricians to understand those positions properly. In the 18th century this kind of understanding contributed to better delivery practices. Today such complications can be seen easily through ultrasound.

The models also show the different ways in which identical and non-identical twins can occupy space inside the womb and how this may affect their delivery.

Anatomical wax statues

Doctors like Prof Galli employed their own sculptors and artists to make the human body models to teach to the students. Ercole Lelli was appointed as the head of this department of scientific artists. In 1742, Lelli proposed the creation of human sized statues of men and women to explain the different layers of muscles and bones. Thus the anatomy room was created in Poggi Palace in 1747.

Inspired by their example, medical schools all over Europe created similar departments and human anatomy models.

The museum also hosts a copy of a famous female body model called "Medici's Venus" (the name referred to the Medici family of Florence as well as to doctors) created in Florence by the artist Clemente Susini around 1780. In this model, the students could open the different parts of the female body and understand how different organs were placed inside and their inter-relationships, including the pregnant uterus. The model was useful for surgery students to see the blood supply and nerves around the different organs and plan their surgery.

People visiting the museum are fascinated by these models and often forget to look around. For example, the room with the "Medici's Venus" has beautiful frescoes of cherubic boys busy in vineyard designed by Niccolò dell'Abate in 1552 before he left for the court of king Henry II in France.

Other important scientists in the museum

The museum is full of exhibits from Bologna, each of which has its own importance in the history of science in the world. It has equipment that was used to make important scientific discoveries. I just want to share two examples with you.

The first example is of Marcelo Malpighi, called the father of microscopic anatomy, histology, physiology and embryology. He pioneered the use of microscope to understand the human and animal bodies. For example, he was the first person to see the capillaries and explain how arteries and veins connected and their role in blood circulation. His name is remembered in "Malpighian" bodies.

The other example is of Luigi Galvani who discovered different things about the electricity. It was his idea that human electricity transmission makes the contraction of muscles needed for body movements. He showed it by demonstrating the effect of electricity on a frog-leg.

In the museum you will come across many names which are familiar to medical and science students during their studies. Personally I find it exciting to see the equipment those persons had invented in their search for understanding the world.

Conclusions

The science museum of Palazzo Poggi in Bologna is a treasure trove if you are interested in the history of medicine and use of art for teaching science. In this post, I have limited myself to certain parts of this museum. However, the museum has many more things to show, such as the development of war strategies and the ship-building.

I have been to the science museum a couple of times and every time, I find new things in it. If you are visiting Bologna and you are interested in the history of science, do not miss this amazing place.

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