Mustard
Published 23 Jun 2018With a wingspan greater than a Boeing 747, the Bristol Brabazon was the largest aircraft ever built by Britain. More a flying oceanliner than plane, it featured sleeping cabins, a dining room, a cocktail bar and lounge, and even a 23-seat movie theater.
The Brabazon was also fitted with cutting edge innovations. A fully pressurized, air conditioned cabin. Electric engine controls, and high-pressure hydraulics to operate its massive control surfaces. Its enormous wing housed more than 16 thousand gallons of fuel, and eight of the most powerful piston engines available. While the first Brabazon used piston engines, later Brabazons were to use turboprop engines that were being developed by Bristol.
The Bristol Brabazon would have true transatlantic capability. Able to fly non-stop from London to New York against prevailing eastern winds. In the 1940s, this would have been quite the feat. Transatlantic flights were almost always done in stages to allow for refueling.
Despite introducing new innovations, many of which influenced the future of aviation, the Brabazon’s driving philosophy was outdated. The Brabazon’s mission was to compete with ocean liners for ultra-wealthy passengers. But this lumbering, super-sized airliner would have been introduced with airlines for 1950s, right when the first jet airliners, like the De Havilland Comet, were taking to the skies. Aircraft like the Dash 80, which would become the 707, were also just around the corner, and would bring a transatlantic crossing down to as little as 7 hours.
After a massive design and development effort, Britain found itself stuck with a plane nobody actually wanted, designed for an era that no longer existed.The program was cancelled and the Brabazon, and its half finished turboprop successor were sold for their weight in scrap.
#BristolBrabazon #BritishAviation #WhiteElephant #Airplanes
For an authoritative resource on the Bristol Brabazon visit:
http://www.historynet.com/bristol-bra…Special thanks to niltondc for helping to model the Bristol Brabazon:
https://www.youtube.com/user/niltondcLike the the aviation industry posters found in this video? Visit The Aviation Ancestry Database, containing over 80,000 high-quality examples: http://www.aviationancestry.co.uk/
Special thanks to Nick Arehart for helping clean up our audio:
https://twitter.com/airhrt_Special thanks to: Coby Tang, Christian Altenhofen and Razvan Caliman for supporting us on Patreon and helping Mustard grow: https://www.patreon.com/MustardChannel
Music (reproduced under license):
Intro & Extro: “Wells Street” – https://www.pond5.com/stock-music/730…
Main Song #1: “Worrying Clock Cycle” – https://www.pond5.com/stock-music/767…
Main Song #2: “The Funk Kit” – https://audiojungle.net/item/the-funk…
May 15, 2020
The Largest Aircraft Ever Built By Britain: The Bristol Brabazon
May 13, 2020
Okay, I’ll be careful not to call this “deceptive advertising” in future
At View from the Porch, Tam explains why digital camera terminology sometimes seems to be deliberately deceptive:
The disconnect comes when you run into the “luxury” or “enthusiast” end of the compact camera market, where the physical size of the 1″ sensor in cameras like Sony’s RX100 line or the Canon PowerShot G7/G9 is touted as a selling point.
Because the sensor itself is not physically an inch in any dimension. For that matter, a tiny 1/2.5″ sensor isn’t two fifths of an inch in any dimension either.
Small CCD/CMOS video sensors are labeled based on the size of video tube they replace. These tubes had a rectilinear imaging surface inside the cylindrical glass vacuum tube. Inside a 1″ tube would be an imaging surface measuring 16mm diagonally, or a little less. When solid state sensors started replacing tubes forty years ago, they were labeled according to the tube they’d replace.
So to this day, a sensor 16mm (or a bit less) diagonally is still called a 1″ sensor.
For that matter, “35mm” film is only 35mm if you measure from edge-to-edge, sprocket holes and all. “Full Frame/35mm” sensors are only about 29mm diagonally; there aren’t any digital sprocket holes.
Just like we still “dial” and “hang up” our cell phones, even though phones with dials and handsets that you hang on the wall are a vanishing memory, digital imaging technology is still named after the analog technologies it supplanted.
May 9, 2020
Sidewalk Labs pulls out of their Panopticon-on-the-harbour project in Toronto
Chris Selley clearly hoped the Google-affiliated Sidewalk Labs would turn out to be a benign addition to the Waterfront:

Sidewalk Labs Toronto demo, 17 April 2019.
Photo by Raysonho @ Open Grid Scheduler / Scalable Grid Engine via Wikimedia Commons.
It would be a mixed-income and family-friendly community: 20 per cent low-income and 20 per cent middle-income, with 40 per cent of units two-bedrooms or larger. It would be fantastically energy-efficient. It would discourage waste production using “pay-as-you-throw chutes” leading to pneumatic tubes that would rocket your trash, recycling and organic waste to the proper facilities.
Some of the details seemed a bit far-fetched, and some of the ideas came to naught at the design stage. But the Google family of companies is not known for wretched failure. To many Torontonians, it was a compelling vision.
Unfortunately, a lot of the very people it was designed to impress hated the hell out of it.
[…]
So there is blame to go around — and to be clear, no one is officially blaming the city bureaucracy or the project’s opponents for scuppering the deal. But the fact is, Sidewalk simply wandered into the wrong saloon. Toronto is an intensely conservative city in the strictest sense of the word. Its establishment doesn’t even believe things that work in other cities would work here. It’s why we pilot-project food carts to death, instead of just allowing food carts. It’s why we’re closing parks and crowding people on sidewalks during the pandemic, instead of following other the lead of other cities and dedicating roads to safely spaced pedestrians and cyclists. When Ontario loosened alcohol regulations, many Torontonians predicted tailgate parties and picnics-with-wine would lead to mayhem — and they really, really meant it.
Sidewalk wanted to do something no other city had ever done. You can imagine the terror and confusion it sowed. And that was over 12 acres — six football fields. Toronto has a great many things going for it. I have argued in the past that its conservatism, broadly speaking, has served it very well. But Sidewalk reminded us what we trade for that. If we can’t take a bit of a chance on 12 acres, it doesn’t bode at all well for the many hundreds of other acres in this city that have been begging for redevelopment my entire lifetime — not if we want them to be at all innovative or memorable, anyway.
QotD: Networks don’t work that way with humans
When I came here [to Silicon Valley] I encountered tremendous arrogance. A kind of “resistance is futile” mentality that of course our apps will take over the world, and when they do, when everybody is connected, that’ll be awesome! There will be one global community and everything will be great. And my response to that was: That’s insane. That’s historically completely implausible. We’ve run experiments with really large-scale social networks before. We didn’t have the Internet, but that didn’t matter. You could do it with a printing press. You could even do it just with the written word. And the result is never to produce a single homogenous cluster of happy-clappy individuals in a global community. That never happens.
Niall Ferguson, quoted by @bigthinkagain, 2018-02-17.
May 3, 2020
The Great Exhibition of 1851
In the latest Age of Invention newsletter, Anton Howes looks at one of the biggest popular events of Queen Victoria’s reign, the Great Exhibition:

The Crystal Palace from the northeast during the Great Exhibition of 1851, image from the 1852 book Dickinsons’ comprehensive pictures of the Great Exhibition of 1851
Wikimedia Commons.
On this day, in 1851, Londoners were finally allowed to enter one of the most spectacular edifices to grace their city. Over the previous months they had watched it spring up in Hyde Park — the largest enclosed structure that had ever been built, and made with three hundred thousand of the largest panes of glass ever produced. Set against the blackened, soot-stained buildings of London, the massive glass edifice gleamed. It soon became known as the Crystal Palace.
Although it no longer exists — it was rebuilt in Sydenham, but the new version burnt down in the 1930s — the fame of the Crystal Palace endures. The same goes for the event that it was originally built for, the Great Exhibition of 1851. But, despite that name-recognition, I’ve found that most people don’t really know what the Great Exhibition was for. Yes, it attracted six million visitors in the space of just a few months — an estimated two million people, almost a tenth of the entire population of Great Britain, most of them returning again and again. But why? I must admit, despite having mentioned the event before in some of my work, I’d never really considered it properly before I started researching the history of the Society of Arts.
The idea of such an exhibition in Britain originated with the Society’s secretary in the 1840s, the civil engineer Francis Whishaw. He had seen the use of industrial exhibitions in France, as a means of catching up with Britain in terms of technology. Every few years since 1798, the French government had held an exhibition of its national industries in Paris. The state paid for everything — a grand temporary building, as well as the expenses of the exhibitors — and the head of state himself awarded medals and cash prizes for the bet works on display. Some of the very best exhibitors were even admitted to the Légion d’honneur, France’s highest order of merit. The benefits to exhibitors were so high that essentially every manufacturer wished to take part. In the days before GDP statistics, the exhibitions were thus an effective means of getting a detailed snapshot of the nation’s manufacturing capabilities. An exhibition served as the nation’s industrial audit.
[…]
Although there had been a few local exhibitions of industry in Britain in the late 1830s and early 1840s, there had been nothing on a national scale to rival the French ones. So Francis Whishaw began the work of getting the Society to organise such an event — a national exhibition of industry for Britain. His initial plan came to nothing, partly as he left the Society to take another job, but in the late 1840s the project was resurrected by a new member of the Society, a civil servant named Henry Cole. In fact, Cole almost entirely took over the Society in the late 1840s, turning it into an exhibition-holding organisation. It held exhibitions devoted to particular living artists, on ancient and medieval art, on inventions, and especially on industrial design — what Cole liked to call “art-manufactures”. And, at the 1849 national exhibition in Paris, he adopted an idea that had already been floated for some years by French officials: an international exhibition, to show the industry of all nations.
This was the crucial step. The idea of an international exhibition of industry appealed to the free trade movement in Britain, which had achieved success in the 1840s with the abolition of the Corn Laws. By displaying the products of other nations, the argument went, British consumers would demand that they be able to buy them more cheaply. And free trade would hopefully bring an end to war, too. Free trade campaigners argued that the productive classes of rival nations competed peacefully, simply by trying to outdo one another in the quality and quantity of what they produced. It was the landed aristocracy, they argued, who let the competition become violent, feeding their pride by causing destruction. Thus, a grand exhibition of the products of all nations — the Great Exhibition — would be a physical manifestation of free trade and international harmony: a “competition of arts, and not of arms”.
The Great Exhibition thus had many roles. It was partly born of national paranoia, about French industrial catch-up, as well as about Britain being the first to hold such an event. It was also about exciting competitive emulation between manufacturers, showing consumers what they did not know they wanted, and achieving world peace and free trade. It certainly spurred on dozens of examples of international cooperation. In fact, just the other day I discovered that the first international chess tournament was held in London to coincide with the exhibition. And it served as an audit of the world’s industries, allowing people to judge who was ahead and who was behind. It thereby gave domestic reformers the ammunition to push for changes in areas where Britain seemed to be falling behind, in areas like education, intellectual property, and design. But more on those another time.
April 29, 2020
“The war on ultraviolet radiation because it might help Trump is an educational moment”
Arthur Chrenkoff on the sudden decision that the World Health Organization is the ultimate arbiter of what we’re allowed to say on social media platforms like Twitter and YouTube:
There is of course no evidence that the video represents any disinformation. It relates to legitimate scientific research by a medical company conducted in association with a respected hospital to develop a novel treatment of possibly crucial importance in the current conditions and into the future. The only problem with the video is that is indirectly supports Trump’s flight of fancy speculation about using light and chemicals to “disinfect” the body. Ergo, according to a NYT journalist it represents a problem and YouTube agrees. YouTube now has a standing policy of removing COVID information that goes against the World Health Organisation’s guidelines. Putting aside the question of the WHO’s credibility in the wake of the pandemic, we are not talking here about some guy in a tinfoil hat talking about 5G towers spreading the virus; this is a video relating to ongoing, respectable scientific research. Will it work? Probably not. But perhaps neither will any of the 150 or so COVID-19 vaccines being currently developed around the world. We won’t know until we know. But in the meantime, scientific news should not be censored, period.
[…]
Goldsmith and Woods are correct in pointing out not only the greater role that governments have been playing in regulating speech but more importantly how much of that effort has been embraced and driven by the big tech — and by the private individuals enabled and encouraged by the big tech — what I have previously called the “democratised censorship”. The difference is that people like Goldsmith and Woods think that’s a good thing.
The dirty little secret is that a great number of leftists, progressives and even centrist technocrats and activists look at China, with its authoritarian government, social credit score system, ubiquitous surveillance, and the ability to “get things done” and done quickly and supposedly efficiently (in China, bullet trains run on time, I hear), and pine for such a system to be applied in their own countries — as long as, of course, they are the ones in power and decide what is right, important and valuable. The left’s objections are rarely against authoritarianism and its means and methods per se, just with the possibility that someone else — like Trump — is the one behind the wheel, implementing their, not the left’s, agenda.
The war on ultraviolet radiation because it might help Trump is an educational moment. One could say, first they came for crazy conspiracy theorists and I said nothing because I’m not an anti-vaxxer or anti-5G activist — and so on. The problem with censorship is that it keeps creeping up on everyone else. And those who do the censoring — who decide what the ignorant masses should and shouldn’t be allowed to read — are not some detached and impartial spiritual beings but people with political agendas. People who think that ideas and beliefs of one half of the society are harmful and offensive. People who will censor news that doesn’t fit the agenda and support the narrative.
And then they came for ultraviolet radiation… You have been warned.
April 28, 2020
ESR on “Lassie errors” in software
I’d never heard this term before, but it’s an excellent description of the problem:
Lassie was a fictional dog. In all her literary, film, and TV adaptations the most recurring plot device was some character getting in trouble (in the print original, two brothers lost in a snowstorm; in popular memory “Little Timmy fell in a well”, though this never actually happened in the movies or TV series) and Lassie running home to bark at other humans to get them to follow her to the rescue.
In software, “Lassie error” is a diagnostic message that barks “error” while being comprehensively unhelpful about what is actually going on. The term seems to have first surfaced on Twitter in early 2020; there is evidence in the thread of at least two independent inventions, and I would be unsurprised to learn of others.
In the Unix world, a particularly notorious Lassie error is what the ancient line-oriented Unix editor “ed” does on a command error. It says “?” and waits for another command – which is especially confusing since ed doesn’t have a command prompt. Ken Thompson had an almost unique excuse for extreme terseness, as ed was written in 1973 to run on a computer orders of magnitude less capable than the embedded processor in your keyboard.
Herewith the burden of my rant: You are not Ken Thompson, 1973 is a long time gone, and all the cost gradients around error reporting have changed. If you ever hear this term used about one of your error messages, you have screwed up. You should immediately apologize to the person who used it and correct your mistake.
Part of your responsibility as a software engineer, if you take your craft seriously, is to minimize the costs that your own mistakes or failures to anticipate exceptional conditions inflict on others. Users have enough friction costs when software works perfectly; when it fails, you are piling insult on that injury if your Lassie error leaves them without a clue about how to recover.
April 27, 2020
The NFL may have a problem … everyone seems to have liked the virtual draft better than the “real” thing
It is usually difficult to muster much sympathy for the National Football League, but the record-setting popularity of the 2020 draft is a huge surprise:
The unique presentation of the 2020 NFL Draft established new all-time highs for media consumption in every category. With over 600 camera feeds from homes across the United States, all telecasts of the 2020 NFL Draft reached more than 55 million total viewers across Nielsen-measured channels over the three-day event, up +16% vs. 2019. An average audience of over 8.4 million viewers watched all three days of the 2020 NFL Draft across ABC, ESPN, NFL Network, ESPN Deportes, and digital channels easily breaking the previous high of 6.2 million viewers in 2019 (+35%).
Each day of the 2020 NFL Draft established new highs as an average audience of over 15.6 million viewers watched Round 1 on Thursday (+37% vs. 2019), over 8.2 million viewers watched Rounds 2 & 3 on Friday (+40% vs. 2019), and over 4.2 million viewers watched Rounds 4-7 on Saturday (+32% vs. 2019).
All seven rounds of the 2020 NFL Draft were presented across ABC, ESPN, and NFL Network – the second straight year that The Walt Disney Company partnered with the National Football League to offer a multi-network presentation of the entire Draft.
“I couldn’t be more proud of the efforts and collaboration of our clubs, league personnel, and our partners to conduct an efficient Draft and share an unforgettable experience with millions of fans during these uncertain times,” said NFL Commissioner Roger Goodell. “This Draft is the latest chapter in the NFL’s storied history of lifting the spirit of America and unifying people. In addition to celebrating the accomplishments of so many talented young men, we were pleased that this unique Draft helped shine a light on today’s true heroes – the healthcare workers, first responders, and countless others on the front lines in the battle against COVID-19. We are also grateful to all those who contributed to the NFL family’s fundraising efforts.”
“This year’s NFL Draft clearly took on a much greater meaning and it’s especially gratifying for ESPN to have played a role in presenting this unique event to a record number of NFL fans while supporting the league’s efforts to give back,” said ESPN President Jimmy Pitaro. “The success of this year’s Draft is a testament to the unprecedented collaboration across the NFL, ESPN, and The Walt Disney Co. in the midst of such a challenging time.”
The unique situation of having the vast majority of televised sports activities suspended clearly made a big difference — when you’re the only game in town, you can expect a wider audience — but the online draft seems to have been popular even among people who normally would have tuned in for the event anyway.
April 26, 2020
Where have all the airships gone? | James May’s Q&A (Ep 8) | Head Squeeze
BBC Earth Lab
Published 21 Feb 2013James May talks us through the rise and fall of airships.
James May’s Q&A:
With his own unique spin, James May asks and answers the oddball questions we’ve all wondered about from “What Exactly Is One Second?” to “Is Invisibility Possible?”
April 24, 2020
Prizes, patents, and the Society of the Encouragement of Arts, Manufactures and Commerce
In the most recent Age of Invention newsletter, Anton Howes explains why the Society of the Encouragement of Arts, Manufactures and Commerce (now the Royal Society of Arts) wasn’t a fan of the British patent system and preferred to award prizes in areas that were unlikely to generate monopoly situations:

The back of the Royal Society of Arts building in London, 25 August 2005.
Photo by C.G.P. Grey (www.CGPGrey.com) via Wikimedia Commons.
… the Society’s early members had an aversion to monopolies, and patents are, after all, temporary monopolies. But there was actually a more practical reason to not give rewards to patented inventions. In fact, quite a few active members of the Society were themselves patentees, and patents for inventions were not generally lumped together for condemnation with practices like forestalling and engrossing. The practical reason for banning patents was that there was no point giving a prize for something that people were already doing anyway. Patents were expensive in the eighteenth century — depending on how you account for inflation, it could cost about £300,000 in modern terms to obtain one — so the fact that there was a patent for a process was a clear indication that it might be profitable. The Society, by contrast, was supposed to encourage things that would not otherwise have been done.
Thus, when a patent had already been granted for a process the Society had been considering giving a premium for, it purposefully backed down — not because the prize would infringe on the patent, but because its encouragement was no longer necessary. And so the effect of the ban on patented inventions was that the Society received, even unsolicited, exactly the kinds of inventions that there was less monetary incentive to invent. Occasionally, this meant trivial improvements — minor tweaks, here and there, to existing processes. An engineer might patent one invention, but not see it worth their time patenting another — through the Society’s prizes, they might at least get a bit of cash for it, or some recognition. The improvement would also be promoted through the Society’s publications. Or, the Society received inventions that were far from trivial, like the scandiscope for cleaning chimneys [here], but which were not all that profitable: inventions that saved lives, or had other beneficial effects on the health and wellbeing of workers and consumers. And finally, the Society received innovations that could not be patented, such as agricultural practices and the opening of new import trades. In the early nineteenth century the Society awarded its prizes to a whole host of naval officers, including an admiral, who came up with flag-based signalling systems between ships — early forms of semaphore.
Another effect of the ban on patents was that the Society also attracted submissions from different demographics. Many of its submissions came from people who were too poor to afford patents, as well as from those who were too rich — wealthy aristocrats for whom commercial considerations might seem vulgar. The poor would generally go for the cash prizes, and the aristocrats for the honorary medals. And the prizes were used by people who might otherwise be socially excluded from invention. In 1758, for example, the Society instructed its members in the American colonies to accept submissions from Native Americans. It also allowed women to claim premiums (just as it allowed them to be members). My favourite example is Ann Williams, postmistress at Gravesend, in Kent, who won twenty guineas from the Society in 1778 for her observations on the feeding and rearing of silk-worms. She kept them in one of the post-office pigeon-holes, referring to them affectionately as “my little family” of “innocent reptiles”. Unlike other elements of society, the Society of Arts accepted, as she put it to them, that “curiosity is inherent to all the daughters of Eve.”
The Society thus encouraged the kinds of inventions that might not otherwise have been created, and catered to the kinds of inventors who might not otherwise have been recognised. Rather than competing with the patent system, it complemented it, filling in the gaps that it left. The Society operated at the margins, and only at the margins, to the better completion of the whole. It found its niche, to the benefit of innovation overall.
April 22, 2020
Can We Build A Space Elevator? | Earth Lab
BBC Earth Lab
Published 5 Aug 2013Getting to space in a rocket is expensive! One of the most popular alternative ideas is the space elevator, but is it really possible?
Here at BBC Earth Lab we answer all your curious questions about science in the world around you. If there’s a question you have that we haven’t yet answered or an experiment you’d like us to try let us know in the comments on any of our videos and it could be answered by one of our Earth Lab experts.
April 15, 2020
The Industrial Revolution and the Society for the Encouragement of Arts, Manufactures and Commerce
In the latest from Anton Howes’ Age of Invention newsletter, we are introduced to the Society for the Encouragement of Arts, Manufactures and Commerce:

The London Sweep (from a Daguerreotype by BEARD).
Image from London labour and the London poor : a cyclopaedia of the condition and earnings of those that will work, those that cannot work, and those that will not work, 1851, via the Wellcome Collection.
When we think of the British Industrial Revolution, the image that springs to mind tends to be of soot-belching factories and foundries, of child labour and squalid cities. The inventors who spring to mind tend to be James Watt and his steam engines, or Richard Arkwright and his cotton-spinning machines. But what people tend to forget is that the Industrial Revolution was unleashed by a much broader tide of accelerating innovation — as I never tire of repeating, it touched everything from agriculture to watchmaking, and everything inbetween. Just as some inventors pioneered the use of factories, other inventors sought solutions to industrialisation’s social ills.
Last time, I mentioned the Society for the Encouragement of Arts, Manufactures and Commerce, set up in 1754 in a London coffee house (the Society of Arts for short). What’s so fascinating about the organisation — which still exists today, now called “Royal” — is that it was closely involved with many of the more socially-oriented innovations of the period. By this, I mean the kinds of inventions that were rarely immediately profitable, but which aimed to save lives, to alleviate suffering, or to remedy some other social ill. The Society advertised premiums — cash prizes or honorary medals — for solutions to the problems that its members identified. And it offered similar rewards, which they called bounties, for unsolicited inventions.
It awarded a bounty of fifty guineas and a gold medal to Henry Greathead, for example, one of the claimants for the invention of the lifeboat. It gave another fifty guineas to a sergeant of the Royal Artillery, John Bell, for a method of firing a rope and grapple by mortar from a ship to the shore, to save people on board from shipwreck during storms. (Some years later, it even gave a gold medal to another inventor for a device that did the opposite, firing from shore to ship.) The Society awarded a medal to a Sheffield schoolmaster, John Hessey Abraham, for a magnetic apparatus that would prevent metal dust getting into the eyes and lungs of workers employed in grinding the points of needles. And in 1767 it awarded a bounty to a clockmaker, Christopher Pinchbeck, for a safer crane — cranes at the time were like gigantic hamster wheels, but for humans. When lines snapped, the results could be fatal, so Pinchbeck added a pneumatic braking mechanism.
The list goes on — in all, over the course of about a century, the Society of Arts awarded over two thousand premiums and bounties for inventions. But there is one that really stands out: a premium for the invention of a mechanical means of cleaning chimneys. With such an invention, the Society hoped to abolish the employment of children, sometimes as young as 4, who were forced to climb up inside chimneys in order to clean them. These children were sometimes abducted by the master chimney sweeps, and frequently perished in horrific accidents or of soot-induced cancers. Strikingly, the use of climbing boys was thought to be unique to Britain — the “peculiar disgrace of England” as the campaigners put it (though I don’t think this was quite true). The Society’s idea was that if a technological replacement could be found, then the case for outright abolition could be made — they wanted to create a machine to take the children’s jobs.
The Society of Arts played its role with the offer of a premium, but it acted alongside another campaign run by a few of its members, who ran the snappily titled “Society for Superseding the Necessity of Climbing Boys, by Encouraging a New Method of Sweeping Chimnies, and for Improving the Condition of Children and Others Employed by Chimney Sweepers”, founded in 1803 at the London Coffee-House on Ludgate Hill. Let’s call it the SSNCB for short. There had been earlier campaigns to abolish the use of climbing boys, one of the most prominent being run by Jonas Hanway (a prominent philanthropist, also a member of the Society of Arts, whose various claims to fame include being the first man in London to sport an umbrella). But the 1803 campaign was to prove the most successful, drawing on wider political support. The SSNCB’s key members included William Wilberforce, who later became famous for his zeal in abolishing the slave trade.
“Experts” and their “models”
In the latest Libertarian Enterprise, after offering us his current favourite mixed drink recipe, L. Neil Smith gets around to discussing our modern dependence on “experts” wielding their intricate and convoluted computer models to guide our lives:
Start with a tall glass of Mott’s Clamato over ice. Many people can’t stand the idea of tomato juice enhanced with sweet clam juice (and some spices), and I won’t try to sell you on it, here. But if you relish it the way I do (I used to buy it by the gallon), then bon appetit! Throw in a healthy shot of tequila — mine is Cuervo Gold, but your mileage may vary. Add a fat slice of lime on the edge of the glass, a slice of lemon, and a slice of orange. The citrus really dresses it up. These are all ingredients I like very much, and together, they take the edge off a day I spent writing 1000 or 2000 words (my record so far is 3200) and let me relax.
At the end of that day, when my lovely and talented wife quits work and comes home — from the dining room, these days — we have a nice, comfortable cocktail hour (she drinks Cuba Libras) and watch Tucker Carlson. Ordinarily, three giant cans of the Budweiser concoction (which is also made with Clamato) will make me the tiniest bit silly. This drink, the Bloody Mermaid (ick) is surprisingly gentle and I have had two and a half so far without embarrassing myself. I love the taste of tequila neat (many don’t), and I would still be doing shooters, except that my loving bride of 36 years won’t let me eat that much salt.
Please enjoy this silly little drink if you can until we’re all free again.
Oh yeah — I couldn’t resist after all. There’s something I need to get off my chest. I’m sure you remember the way “experts” with computer models warned us all about Y2K, and the way it meant the end of Civilization-As-We-Knew-It. Then there was Global Warming — more experts, more computer models — there are still gullible morons out there who believe it’s not an obvious hoax. Now experts and their — increasingly failing — computer models are all telling us we are in the middle of the worst health crisis since the Black Death.
I happen to be, as you know, a lifelong libertarian and the most fervid advocate of the First Amendment that you will ever read. Therefore, I cannot endorse the suggestion I’ve heard that whenever an “expert” testifies about anything before any legislative body anywhere, and the words “computer model” come out of his mouth, the Sergeant-at-Arms should smash his face in, drag him out into the street, and shoot him him the back of the head. Perhaps millions of lives could be saved that way, but, as a lifelong libertarian and the most fervid advocate of the First Amendment you will ever read, I cannot endorse that position.
So drink up, my dear friends and readers and have the best time — under house arrest — that you possibly can!
April 4, 2020
Eighteenth century health improvements through “ventilators”
In the latest Age of Invention newsletter, Anton Howes relates how a mistaken belief still led to a significant improvement in health:
One of the most worrying diseases of the mid-eighteenth century was typhus. We now know that it is spread by lice or fleas, but at the time, like so many other diseases, it was thought to be caused by noxious air — “malaria”, for example, literally means “bad air”. This was not a silly theory. It was based on empirical observation, which perhaps explains why the belief in such noxious miasmas persisted for so long — well into the late nineteenth century, if not the early twentieth, before finally being ousted by germ theory. Our ancestors were not stupid, no matter how strange their beliefs might appear in hindsight. (Also take alchemy, or the belief that some animals spontaneously generated.)
The Central Tower of the Palace of Westminster is actually a disguised ventilator.
Photo by Cary Bass via Wikimedia Commons.Typhus fit the miasma theory especially well because it frequently appeared in confined spaces, like ships’ holds, prisons, mines, workhouses, and hospitals. The disease was thus often called “gaol fever”, or “hospital fever”. And there was the fact that at least one of the solutions designed to combat miasmas, the ventilator, actually seemed to work. This ventilator was not the kind that is in such high demand right now, used to help feed oxygen into patients’ lungs, but instead a machine used to get the air flowing in and out of confined spaces — like a 1740s air-conditioning unit.
At first glance, removing the stale air from a space shouldn’t do anything against typhus. But mortality declined drastically in the prisons and ships to which the ventilator was introduced. It halved the number of deaths per year in Newgate prison, where the bellows-like machinery was powered by a windmill, and the inmates of the Savoy prison fared even better. On ships, too, mortality declined among mariners, passengers, soldiers, and especially among the group that suffered most from long voyages across the eighteenth-century Atlantic: slaves.
But it’s not clear exactly why. After all, the ventilator did not kill the typhus-ridden lice or fleas. I have a few theories as to what must have been going on. Perhaps, by improving the supply of oxygen to confined spaces, people’s bodies were simply better served to deal with all manner of diseases. Surgeons aboard slave ships sometimes noted that, without proper ventilation, many slaves would simply die in the night of suffocation. Or perhaps the ventilator’s effectiveness had something to do with its drying effect. The machine was used to prevent grain stores from becoming humid, thus staving off damp-loving weevils. The ventilators might thus have staved off typhus through a similar means: although I’m not so certain about body lice, humid conditions are preferred by fleas. Regardless of the real reasons, the ventilators worked, and even when they did not reduce mortality, they made confined spaces more bearable for those who had to endure them. Ship captains reported that they did not even have to force their sailors to pump the ventilator’s bellows, because they liked the cool air so much. Ventilators were soon installed in the House of Commons, and in many of London’s theatres.
From the Wikipedia entry on architectural ventilation:
The development of forced ventilation was spurred by the common belief in the late 18th and early 19th century in the miasma theory of disease, where stagnant ‘airs’ were thought to spread illness. An early method of ventilation was the use of a ventilating fire near an air vent which would forcibly cause the air in the building to circulate. English engineer John Theophilus Desaguliers provided an early example of this, when he installed ventilating fires in the air tubes on the roof of the House of Commons. Starting with the Covent Garden Theatre, gas burning chandeliers on the ceiling were often specially designed to perform a ventilating role.
Mechanical systems
A more sophisticated system involving the use of mechanical equipment to circulate the air was developed in the mid 19th century. A basic system of bellows was put in place to ventilate Newgate Prison and outlying buildings, by the engineer Stephen Hales in the mid-1700s. The problem with these early devices was that they required constant human labour to operate. David Boswell Reid was called to testify before a Parliamentary committee on proposed architectural designs for the new House of Commons, after the old one burned down in a fire in 1834. In January 1840 Reid was appointed by the committee for the House of Lords dealing with the construction of the replacement for the Houses of Parliament. The post was in the capacity of ventilation engineer, in effect; and with its creation there began a long series of quarrels between Reid and Charles Barry, the architect.Reid advocated the installation of a very advanced ventilation system in the new House. His design had air being drawn into an underground chamber, where it would undergo either heating or cooling. It would then ascend into the chamber through thousands of small holes drilled into the floor, and would be extracted through the ceiling by a special ventilation fire within a great stack.
Reid’s reputation was made by his work in Westminster.













