Good Programming Is Like Good Writing
David Heinemeier Hansson
David Heinemeier Hansson is a Danish programmer and the creator of the Ruby on Rails open source web development framework. He is also a partner with Jason Fried at the web-based software development firm 37signals. In 2005 he was given with the Hacker of the Year by Google and O'Reilly award for his creation of Ruby on Rails. He and Fried have also co-authored the New York Times bestseller "Rework," which reveals their secrets for boosting business productivity in the Internet age.
Question: What makes Ruby a special language?
David Heinemeier Hansson: To me good programming is just like good writing. It's succinct. You're expressing what you want to say in as few words as possible. You're picking just the right words for the sentence, and it's sort of a grand thing. A program is just like an article or a book; it's composed of tiny things like words that form into sentences, and paragraphs, and chapters, and so forth. A programming language—a good programming language—allows you to build a program in just the same way.
So you'll have methods that are really short. A big part of what makes Ruby so special to work with is just how much expression you can pack into few lines of code. When I compare it to something like Java where it takes perhaps ten lines to express a very simple operation, that same operation can be expressed in a single line of Ruby. And that just makes understanding the entire program that much easier when the density of expression is so much higher, and it's not just because it's short. There's plenty of programming languages where you can write exceptionally short code, and it's completely unreadable afterward. Ruby has this uncanny ability to just be shortened the same way your thought would be short, but no shorter than that.
The other part of it is also having a grand or free mode of expression that there are many different ways that you can say something. So for example: Lots of programming languages have—or all program languages have—conditionals. If something is true, do this. Now, sometimes you want the positive version of that. Like, “If employee works here, then print this screen.” Sometimes you want the opposite. In most program languages, you would go about that by saying, “If not programmer works here, then do this.” That's not a very natural way of expressing that. You would never say that in real life.
In Ruby, you can say, “Unless the programmer works here, do this.” So it's just all those little things where the creator of Ruby thought about the whole picture. It's not just that you can get something done. All programming languages can do the same things. There's nothing you can do in Ruby that you couldn't do in some other programming language. What makes Ruby special is how you say it.
Compared to natural languages, I think there's also just something to the tone and they rhythm of it. I'm Danish. I speak Danish, and I admit that Danish is not a very pretty language. Thankfully, it's not as ugly as German, which I think is probably one of the ugliest languages of all time. But if you compare something like German to something like French, you don't have to speak either language to hear that French is obviously the prettier language.
I think if somebody who doesn't even know code, they can look at a piece of Ruby code, and they can appreciate that Ruby is French and Java is German. That's sort of really the appeal to it. Because you have to work with this stuff all the time. Programmers often work for many, many, many hours a day, and this is your main mode of expression. It has to be good. If it's not good, if you're speaking in an ugly language every day for eight or ten hours a day... well, I won't say that it turns you into an ugly person, but I like to just surround myself with beautiful things. Ruby is beautiful; lots of other programming languages are much less so.
Question: Do programmers need to like the languages in which they code?
David Heinemeier Hansson: I think in the past, programming languages and environments have been determined by everything but the beauty of expression. It's been determined by “We have to make this really fast. We have to make this really efficient. We have to make this really logical. There has to be only one way of doing things.” All of these other concerns that you would think about when you would think about somebody approaching it in a very sort of binary approach. That's sort of the best way I can express it.
Ruby comes from a much different angle. In fact, the creator of Ruby said that his main goal of creating Ruby was to make programmers happy. Now, you're introducing something that in many ways seems like a foreign concept. You're talking about code. What does happiness have to do with anything? How does happiness play into this stuff? It absolutely does because programmers—surprisingly enough, I'm sure to a lot of people—are humans, too. And humans just respond to emotional things. They respond to beauty, they respond to a general sense of well being and liking your tools. It's not enough that your tools can get the job done. It's how they get them done. It's whether you like wielding those tools day out and day in.
And I've talked to a lot of Ruby programmers who came to sort of the edge of their career thinking they've been working in Java, or C-Sharp, or some other language that was just driving them miserable. And they were thinking, “You know what? I know how to do this stuff, but it's probably not for me. I'm not happy working with these languages or environments every day. I'm going to quit.” And then some of them found Ruby. And it almost sounds cheesy as sort of a religious experience that they find this program language that all of a sudden makes it interesting for them again to be programmers. But it's absolutely true. I felt exactly the same way. I was absolutely not convinced that I was going to be a programmer when I was working with PHP and Java.
To me, at that point programming was just something I had to do to get programs. It was sort of just a functional thing I unfortunately had to go through in order to realize the ideas that I had for programs. For me, Ruby just changed that such that the act itself was pleasurable. And I think that's just a magic moment. When you change over from not just being able to do the job to actually enjoying the job. That's just a huge difference. And I think that the product in the end also reflects that. The programs I write now are much better than the programs I wrote when I didn't like my tools.
Recorded on July 22, 2010
Interviewed by Peter Hopkins
"A big part of what makes Ruby so special to work with is just how much expression you can pack into a few lines of code," says Hansson.
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Learn the Netflix model of high-performing teams
Erin Meyer explains the keeper test and how it can make or break a team.
27 October, 2020
Videos
- There are numerous strategies for building and maintaining a high-performing team, but unfortunately they are not plug-and-play. What works for some companies will not necessarily work for others. Erin Meyer, co-author of No Rules Rules: Netflix and the Culture of Reinvention, shares one alternative employed by one of the largest tech and media services companies in the world.
- Instead of the 'Rank and Yank' method once used by GE, Meyer explains how Netflix managers use the 'keeper test' to determine if employees are crucial pieces of the larger team and are worth fighting to keep.
- "An individual performance problem is a systemic problem that impacts the entire team," she says. This is a valuable lesson that could determine whether the team fails or whether an organization advances to the next level.
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The forest of unread books: A future library in Norway
26 October, 2020
Photo by Martin Adams on Unsplash
Culture & Religion
She was walking down the forest path with a roll of white cloth in her hands. It was trailing behind her like a long veil.
<p> It was sweeping needles, leaves and soil lumps, drawing a pattern on the sandy pathway. The whiteness of the cloth contrasted with her black attire and the dark thick forest. As the path went up and down, the crowd following the woman at a distance would lose sight of her, only to see her again in a short while, like a white signpost. </p><p>Once the procession reached the clearing surrounded by old trees, the woman in black kneeled down in the centre. She began to wrap something with the cloth, already quite tatty after the walk. Her face was tense and her hands were shaking as she tried to tie up the bundle with a string. Eventually, she brought her emotions under control, tightened the knot, and held the bundle to her breast. The onlookers formed a circle around her, maintaining, however, a respectful distance. They didn't want to disturb this intimate moment: a moment of farewell.</p><p>The people who gathered there to view the ceremony sat on the moss and May-dewed grass. They walked carefully, making sure not to trample on dozen-centimetre-tall spruce trees with red ribbons tied around their tops. One could already see this year's bright green growths on the saplings.</p>
<p>The woman in black was the 49-year-old South Korean writer Han Kang, who won the Man Booker International Prize 2016. The thing she wrapped with the white cloth was a manuscript. When the spruce saplings with red ribbons grow, they will become her book. It will happen, however, in the year 2114. Until then, for nearly 100 years, Kang's manuscript, in a tatty cloth, will have remained hidden from public view. Neither the writer nor her 18-year-old son will live to see its publication. The onlookers who gathered that day in the Nordmarka forest in the hills outside of Oslo won't bear witness to it either. 'Future Library' is being created for the generations to come, in the hope that in 100 years' time humanity will still exist and want to read books.</p><p>Future Library<em> </em>is a project conceived by Scottish conceptual artist Katie Paterson. Each year, on the clearing where future books are growing, a writer selected by the Future Library Trust hands over their manuscript. Its content, form, volume and other details – except the title – will remain secret for 100 years. The first contributor who arrived in Oslo in 2014 was Margaret Atwood, renowned for her dystopian representations of the future. She was followed by British novelist David Mitchell, Icelandic poet and novelist Sjón, Turkish author Elif Shafak and, in 2019, Han Kang. The next contributor is Karl Ove Knausgård, who will hand over his manuscript on the forest clearing in May 2020. From among all the writers, he will have the shortest distance to cover to get there: he is a Norwegian, born in Oslo and still living there. There is space for 94 more authors.</p>
<h3>59°59'10.0 N 10°41'48.6 E</h3><p>Take Line no. 1 (<em>T-bane</em>) in downtown Oslo. While still within the city limits, the train goes above ground and up the hills overlooking both the fjord and the capital. At the end of the line, Frognerseteren station, follow the signs to the restaurant. Once there, follow the forest road lined with streetlights – in winter-time they light up the cross-country skiing route. After a slightly more than kilometre-and-a-half-long walk, enter a much narrower and steeper path. It is the start of the trail that climbs up to Frønsvollen hill. After 100 metres, you will see a sign in both English and Norwegian: 'Future Library Forest' / 'Framtidsbibliotekskogen.' You are here.</p><blockquote>A forest<br>of unread books<br>growing over 100 years<br></blockquote><p>Katie Paterson didn't expect her idea to turn into something more than three lines of text in the haiku-like form: that is how she tends to note down her project-related thoughts. Future Library has become, however, a large-scale undertaking; or, perhaps, it is still becoming one since there seems to be no form that could contain the project that unfolds over 100 years.</p><p>"I began by drawing rings," she tells me. "I would draw tree's growth rings, imagining each to be a subsequent book chapter. I was pondering the relations between the tree and the book, the forest and the library – their interfusion. As I immersed myself in thoughts, I would doodle more rings on the sheets of paper."</p>
<p>Paterson is 38 years old. Her art often engages with the cosmos and brings to mind scientific research projects, like her map of the sky with 27,000 dead stars or clocks that tell the time on different planets. Some of her artworks – for instance the bulb that emits the light of a full moon, or the spinning wheel that contains all the colours of the universe – were created in collaboration with scientists and engineers. She even invited the European Space Agency (ESA) to one of her projects. They helped her return to space a Campo del Cielo meteorite, which had travelled through our solar system for 4.5 billion years before it fell to Earth. Recently, NASA has expressed their wish to collaborate with her. One might look at Paterson through the prism of the places where she has exhibited: Tate Britain, Guggenheim Museum in New York, The Louisiana Museum of Modern Art in Copenhagen, or Turner Contemporary. This doesn't make much sense, however, since what is equally important are her open-air projects, located far from famous galleries. One fine example is "Hollow"<em> – </em>an installation in the grounds of University of Bristol, which is composed of 10,000 wood pieces, each from different tree species from all parts of the world. Another project invites people to go to the beach and make sand replicas of the most famous mountains. Participants are provided with special Kilimanjaro- or Stromboli-shaped molds, and when the high tide washes their replicas away, they might ponder time and transience, which also come to mind in the context of Future Library.</p>
<p>"Immediately after receiving the invitation to become a writer for Future Library, I imagined the world one hundred years from now. The world a long time after I myself have died, when my child, however long they manage to hold on to life, will likely no longer exist, and neither will any of the ones I love, any of the human beings who are living and breathing together with me on the Earth in this moment. It was a frighteningly lonely image to conjure. But, cutting across that desolateness, I kept on imagining. Imagining the world one hundred years from now which, since even in this moment time is owing without fail, will arrive as an inevitable reality. The trees of the forests around Oslo, that will grow thick and dense in those hundred years. The leaves and branches of spring, the afternoon sunlight that will shine down on them. The evenings and cold, still nights that will come without fail," said Han Kang quietly, standing in the centre of the clearing, surrounded by the spruce trees that will become books, and one of them – her book.</p><p>To understand how much can change over the coming century, imagine that in May 1914 – 100 years before the first manuscript was handed over to Future Library – the Great War hadn't broken out yet. It turned out to be the First World War, as 25 years later humankind decided to prove that it is capable of even more horrendous acts. Soon, such terms as the Holocaust, D-Day, or Little Boy came into use. People didn't even dream of the internet or mobile phones, not to mention mobile phones with internet access. It wasn't until 1926 that Henry Ford started to close his factories over Saturdays and Sundays, thus introducing the idea of the 'weekend'. In most European countries, women were granted suffrage after 1918. In the US, the 19th Amendment guaranteed women the right to vote in 1920. It wasn't until 1964 that the US abolished racial segregation. 100 years is a very long time.</p>
<p><em>"Sometimes I imagine the world in the year 2114. I guess that the most optimistic scenario is the one in which no radical changes take place; the one in which everything stays almost exactly the same, with minor differences only," says Paterson.</em></p><p><em></em>The curators decided to equip Future Library with a printing press and instruction manual in case 100 years from now humans lose their ability to produce paper books (provided, of course, that humankind survives). On the eve of Han Kang's manuscript handover, an informal dinner for Future Library's friends was held in a theatre in Oslo. At this small event, attended by slightly over 40 international guests, Anne Beate Høvind, the project technical director, entered the stage and discussed some unexpected practical problems. As she explained, the presses intended for industrial printing are not supposed to be turned off. "Once switched on, the machine operates continuously. When switched off, especially for a long time, it starts to rust," she clarified and added, smiling: "The printing problem hasn't been solved then. Well, I'm going to worry about it later, in about 10 years…"</p><p>Overpowered by emotions, Han Kang didn't come to dinner. On the following day, she admitted to having a moment of doubt as to whether to condemn her book, the writing of which took such an immense effort, to a 95-year-long oblivion. Kang has a delicate voice. When she speaks, it is as if she was whispering. She seems fragile and shy, yet in her works she deals with the thorniest issues.</p><p>Kang's most recent work, published in English under the title <em>White Book</em>, is an attempt to confront her own history. The narrator is her older sister, whom she never got to know since she died only two hours after birth. Their parents said that if she had survived, they wouldn't have decided to have more children. When Kang's mother was pregnant with her, she seriously considered having an abortion. The idea for the book, in which each chapter is a description of something white, was conceived far from Kang's hometown, but close to the editorial office of "Przekrój". She was working on it during a four-month residency at the University of Warsaw's Faculty of Oriental Studies. Although she felt lonely and isolated, since she didn't know the local language, she took to Warsaw at first (and liked it "till November", as she emphasized). She enjoyed strolling around the Łazienki Park, but the ubiquitous remnants of World War II kept haunting her. She was thinking about destruction and reconstruction, and realized that her sister's spirit was part of her. And since for her the colour white represents both life and death, she decided to hold a roll of white cloth during the manuscript handover ceremony in the Nordmarka forest.</p>
<p>"On the one hand, it felt like a wedding ceremony, with the cloth as a veil. It was a wedding of the book and the forest. On the other hand, it seemed like a ceremony celebrating the birth of a child, in this case a new book. At the same time, I had a strong impression that it was a funeral, with the cloth as a mourning dress: the funeral of my book," observed Kang.</p><p>At the ceremony, Kang, almost whispering, shared her dimly optimistic vision of the future: "And the moment I eventually write the first sentence; I have to believe in the world one hundred years from now. In the uncertain possibility that there will still be human beings who have survived, and who will read what I write. I have to hope that human history will not yet have vanished as a phantom, that this planet will not have become a huge ruin or grave of humans. It is a hope whose foundation is shaky, like the assumption that the people who run this project, and the writers of the present and future, who will die and be born in the course of the next hundred years, will continue this work as though carrying embers forward. Yet I have to believe, even in the tenuous possibility that a paper book's fate will be to survive long enough to reach the world one hundred years from now."</p><p>The story of Future Library is not only a story about faith and hope, but also fear. If predictions prove correct, in 2114 those humans who have survived will be too busy fighting for water or habitable land to think about an art project that dates back 100 years. According to the Australian think tank National Centre for Climate Restoration (Breakthrough), so many regions will become inhabitable around 2050 that great masses of people will have to move, nations will dissolve, and the world order as we know it today will collapse. Over a billion people will be forced to migrate and two billion will have limited access to water.</p><p>The coming of the Anthropocene, the epoch in which human actions exert an impact on natural processes, has been discussed for almost 100 years. Although the term itself hasn't been officially recognized yet, the Anthropocene doesn't seem to care much. One million animal and plant species are at risk of extinction, glaciers are melting, and the temperature is rising regardless of the fact that the term hasn't been accepted.</p>
<p>Half a century ago we landed on the moon. We boasted about being able to see from there a man-made artefact: the Great Wall of China. It turned out not to be true: the Great Wall is too narrow to be seen from the Moon with a naked eye. We can see from space, however, Dubai's artificial palm-shaped archipelago for the rich, Almeria's greenhouses with roofs made of white plastic (which cover an area half the size of Warsaw), open-pit mines, the cutting-down of the Amazon Rainforest, the illuminated India–Pakistan border, and the earliest evidence of the Anthropocene: the Pyramids of Giza. It isn't necessary to fly into space, however, to see what is happening on the Earth. 18 of the 19 hottest summers – those with the highest average temperatures – have been reported since 2001, with 2016 as the warmest year on record. This data is provided by NASA, but the numbers given by Climatic Research Unit and National Oceanic and Atmospheric Administration are almost the same. In their October 2018 report, the Intergovernmental Panel on Climate Change (IPCC) alerted us that there are 12 years left to prevent the catastrophe. 12 wasted months later there are 11 years left, and the clock is ticking…</p><p>Paterson claims, however, that Future Library makes her optimistic: "It is the forest that has such an effect on me. Whenever I'm there, I'm reminded of how old it is. Primeval forests are beyond time – when humans enter them, it is as if they travelled into the distant past. Hopefully, the forest we planted will be like that as well: the saplings on the clearing will grow as tall as the trees surrounding them. My optimism is tempered, of course, when I see what happens to our planet. I know that a lot of my projects immediately bring to mind climate change. This is also true for Future Library. I'm perfectly aware that the Earth is in horrific crisis, but it is not the struggle against the crisis that should define my art. My goal is to stir people's imagination. I'm interested in the entanglements and interfusions. The forest is turned into paper, the paper into a book, the book into a library, which, in turn, connects future readers with the authors who lived in the past. Future Library is mostly a project about time. It has to do with the environment and ecology as well, of course, but I'm not vain enough to claim that I can change the world through art."</p><p>Nevertheless, she does change something. While you're reading this text, the manuscripts are held in a safe in Oslo Public Library, Deichmanske Bibliotek. Han Kang's new work lies next to the oldest book in the collection: a handwritten manuscript of the Vulgate bible of Aslak Bolt, written in 1250. Next year, the library will relocate to a new facility situated next to the famous Oslo Opera House in the Bjørvika neighbourhood, which has been undergoing urban redevelopment, or rather, has been built from scratch. Bjørvika – until recently an industrial port area – in now a modern neighbourhood, characterized by steel and glass design. The final touches are now being put on office and apartment buildings. The Opera House, the new Munch Museum and the new library are meant to be the flagships of this revamped neighbourhood, situated by the fjord.</p><p>On the top floor of the new library, which will be fully operational by spring 2020, there will be a room made from wood. In this specially-designed room there will be 100 removable drawers, where manuscripts will be kept. Those which already hold manuscripts will be delicately illuminated. Each author will be able to choose their drawer. Han Kang was the first to chose. Other writers who have already handed over their manuscripts will come back to Oslo and have their pick.</p>
<p><em>As Paterson explains: "The room is made from the trees cut down in the Nordmarka forest to plant new trees for Future Library. Manuscripts will be safe there. As for the forest itself… well, there is not much we can do. Ideally, we should leave it alone."</em></p><p><em></em>It is not a coincidence that this project was developed in Oslo. It is, in fact, a municipal project: the only person who could officially accept Han Kang's manuscript is the mayor of the capital of Norway—Marianne Borgen. Only in Scandinavia can a high-ranking official show up on the forest clearing, get there on foot and without security, and instead of turning their speech into a rally, thank previous generations of politicians, who 120 years ago decided that Nordmarka should be under protection and that it should be the people's forest.</p><p>In 2018, electric cars accounted for over 49% of all new cars bought in Norway. The government exempted their owners from the car tax and the 25% VAT, while Oslo city council waived parking fees and congestion charges. This exemplifies how systemic solutions are far more effective than individual spurts. Which doesn't mean, however, that you, Dear Reader, should go back to using plastic straws or drinking water from plastic bottles, waiting for politicians to tackle the climate crisis.</p><p>Future Library is one of the projects that accompanies the redevelopment of the Bjørvika neighbourhood. As Høvind clarifies: "The city council announced a competition for public art projects that engage with the nature of time." A few steps away from the Opera House, you can also find the Losæter city farm.<strong> </strong>On this quite big plot of land, local people grow vegetables and fruit. There are chickens roaming around the rows and a beautiful arc-shaped bakery made from wood and glass. The city employs a farmer who takes care of the land, relying on traditional agricultural methods. This project was conceived by the American artist Amy Franceschini. The room of unread books is not far from the farm.</p><p>Paterson expresses her hope that "future generations will somehow benefit from the project." "These are just books," she says, "but they show that we think about those who haven't been born yet. They demonstrate that not all of us want them to inherit nothing but havoc and devastation."</p>
<p>Høvind also imagines the world 100 years from now: "I'll be dead … that's all I know. I'm scared, but I do whatever I can because of a sense of great duty. I believe that we need projects rooted in cathedral thinking," she explains.</p><p>'Cathedral thinking' is a term that applies to projects that don't unfold over years, but over generations. It is thinking and designing in a non-egotistical way, where the satisfaction is derived from the process itself, not the final result. As its name suggests (and as those who haven't come across the term before can quickly infer), cathedral thinking has its roots in the Middle Ages and the building of cathedrals. The idea and its execution were separated by hundreds of years, and subsequent generations continued to work on the same design. The builders knew they would never witness the final effect of their work. At that time, such future-oriented thinking was motivated by the desire to secure one's place in heaven. Today we need it to make heaven on Earth. Or, at least, to escape hell.</p><p><span></span>Cathedral thinking optimistically assumes that the future matters, stoically forcing us to ponder the meaning of life and the passing of time. "I'm sure I won't have a chance to read the books collected in Future Library, but this young boy here… who knows?" Paterson points at her son, who is sitting on her lap. "His life is still being measured in months, not years. He is intimately related to this project. I was in the forest while pregnant – back then spruce saplings hardly protruded above the ground. Last year we went there together again, and I had to carry him around. This year he was the loudest participant of the ceremony. He will be growing together with the forest."</p><p>Han Kang closed her speech on the Nordmarka forest clearing with the following words: "If it is possible to call prayer the moment when, in spite of all the uncertainty, we have to take just one step towards the light, in this moment I feel that perhaps this project is something close to a century-long prayer." She could reveal only one fact about her book: its title. "My Dear Son, My Love," she whispered.</p><p><em>Translated from <a href="https://przekroj.pl/kultura/las-nieprzeczytanych-ksiazek-klara-kowtun-and-piotr-zelazny" target="_blank">the Polish</a> by Joanna Mąkowska.</em></p><p>Reprinted with permission of <a href="https://przekroj.pl/en/" target="_blank" style="">Przekrój</a>. Read the <a href="https://przekroj.pl/en/culture/the-forest-of-unread-books-klara-kowtun-and-piotr-zelazny" target="_blank" style="">original article</a>. </p>
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AI reveals the Sahara actually has millions of trees
A study finds 1.8 billion trees and shrubs in the Sahara desert.
22 October, 2020
Credit: bassvdo/Shutterstock
Surprising Science
- AI analysis of satellite images sees trees and shrubs where human eyes can't.
- At the western edge of the Sahara is more significant vegetation than previously suspected.
- Machine learning trained to recognize trees completed the detailed study in hours.
<p>Satellite imagery of the Sahara desert presents an arid expanse, the endless rolling dunes we know from movies. The thing is, normal satellite images don't show individual trees, but that doesn't necessarily mean they're not there. Researchers from the <a href="https://news.ku.dk/all_news/2020/10/artificial-intelligence-reveals-hundreds-of-millions-of-trees-in-the-sahara/" target="_blank">University of Copenhagen</a> and NASA taught artificial intelligence about trees and had them take another look. It turns out there is lots of vegetation in the Western Sahara: an estimated 1.8 billion trees and shrubs.</p><p>"We were very surprised to see that quite a few trees actually grow in the Sahara Desert, because up until now, most people thought that virtually none existed," says lead author <a href="https://ign.ku.dk/english/employees/geography/?pure=en/persons/504589" target="_blank">Martin Brandt</a> of the university's Department of Geosciences and Natural Resource Management. "We counted hundreds of millions of trees in the desert alone. Doing so wouldn't have been possible without this technology."</p><p>The research is published in the journal <a href="https://www.nature.com/articles/s41586-020-2824-5" target="_blank">Nature</a>.</p>
Why this matters
<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDU2MDQ1OC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzOTkyODg5NX0.O3S2DRTyAxh-JZqxGKj9KkC6ndZAloEh4hKhpcyeFDQ/img.jpg?width=980" id="3770d" class="rm-shortcode" data-rm-shortcode-id="3c27b79d4c0600fb6ebb82e650cabec0" data-rm-shortcode-name="rebelmouse-image" />Area in which trees were located
Credit: University of Copenhagen
<p>As important as trees are in fighting climate change, scientists need to know what trees there are, and where, and the study's finding represents a significant addition to the global tree inventory.</p><p>The vegetation Brandt and his colleagues have identified is in the Western Sahara, a region of about 1.3 million square kilometers that includes the desert, <a href="https://en.wikipedia.org/wiki/Sahel" target="_blank">the Sahel</a>, and the <a href="https://www.sciencedirect.com/topics/agricultural-and-biological-sciences/subhumid-zones" target="_blank" rel="noopener noreferrer">sub-humid zones</a> of West Africa.</p><p>These trees and shrubs have been left out of previous tabulations of carbon-processing worldwide forests. Says Brandt, "Trees outside of forested areas are usually not included in climate models, and we know very little about their carbon stocks. They are basically a white spot on maps and an unknown component in the global carbon cycle."</p><p>In addition to being valuable climate-change information, the research can help facilitate strategic development of the region in which the vegetation grows due to a greater understanding of local ecosystems.</p>Trained for trees
<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDU2MDQ3MC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzNTk5NTI3NH0.fR-n1I2DHBIRPLvXv4g0PVM8ciZwSLWorBUUw2wc-Vk/img.jpg?width=980" id="e02c0" class="rm-shortcode" data-rm-shortcode-id="79955b13661dca8b6e19007935129af1" data-rm-shortcode-name="rebelmouse-image" />Credit: Martin Brandt/University of Copenhagen
<p>There's been an assumption that there's hardly enough vegetation outside of forested areas to be worth counting in areas such as this one. As a result the study represents the first time a significant number of trees — likely in the hundreds of millions when shrubs are subtracted from the overall figure — have been catalogued in the drylands region.</p><p>Members of the university's Department of Computer Science trained a machine-learning module to recognize trees by feeding it thousands of pictures of them. This training left the AI be capable of spotting trees in the tiny details of satellite images supplied by NASA. The task took the AI just hours — it would take a human years to perform an equivalent analysis.</p><p>"This technology has enormous potential when it comes to documenting changes on a global scale and ultimately, in contributing towards global climate goals," says co-author Christian Igel. "It is a motivation for us to develop this type of beneficial artificial intelligence."</p><p>"Indeed," says Brandt says, "I think it marks the beginning of a new scientific era."</p>Looking ahead and beyond
<p>The researchers hope to further refine their AI to provide a more detailed accounting of the trees it identifies in satellite photos.</p><p>The study's senior author, Rasmus Fensholt, says, "we are also interested in using satellites to determine tree species, as tree types are significant in relation to their value to local populations who use wood resources as part of their livelihoods. Trees and their fruit are consumed by both livestock and humans, and when preserved in the fields, trees have a positive effect on crop yields because they improve the balance of water and nutrients."</p><p>Ahead is an expansion of the team's tree hunt to a larger area of Africa, with the long-term goal being the creation of a more comprehensive and accurate global database of trees that grow beyond the boundaries of forests.</p>
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NASA finds water on sunlit moon surface for first time
Water may be far more abundant on the lunar surface than previously thought.
26 October, 2020
Credit: Helen_f via AdobeStock
Surprising Science
- Scientists have long thought that water exists on the lunar surface, but it wasn't until 2018 that ice was first discovered on the moon.
- A study published Monday used NASA's Stratospheric Observatory for Infrared Astronomy to confirm the presence of molecular water..
- A second study suggests that shadowy regions on the lunar surface may also contain more ice than previously thought.
<p>For the first time, scientists have confirmed the presence of water on the sunlit surface of the moon, a discovery with major implications for future moon missions and deep-space exploration.<br></p><p>Since the 1990s, a series of observations have suggested the moon harbors ice, but scientists haven't been able to confirm whether the data was signaling the presence of water (H2O) or a chemical relative called hydroxyl, which is oxygen bonded with hydrogen. In 2018, scientists confirmed that water — in the form of ice — exists in the moon's polar regions.</p><p>Now, a new study confirms that water — not just hydroxyl — exists on sunlit surfaces of the moon.</p>
<div id="cb890" class="rm-shortcode" data-rm-shortcode-id="d95c457262cfa66e224aca4beb5b6646"><blockquote class="twitter-tweet twitter-custom-tweet" data-twitter-tweet-id="1320781145274023936" data-partner="rebelmouse"><div style="margin:1em 0">💦🌚 Water molecules were found in Clavius Crater, one of the largest craters visible from Earth on the Moon! This di… https://t.co/LYvkYXSTf5</div> — NASA (@NASA)<a href="https://twitter.com/NASA/statuses/1320781145274023936">1603733738.0</a></blockquote></div><p>Publishing their findings in the journal <a href="https://www.nature.com/articles/s41550-020-01222-x#_blank" target="_blank">Nature Astronomy</a> on Monday, researchers examined the lunar surface using NASA's Stratospheric Observatory for Infrared Astronomy (SOFIA). This airborne observatory is mounted on a customized Boeing 747 that flies at an altitude of about 45,000 feet. That's high enough to rise above Earth's lower atmosphere, which contains water vapor that prevents land-based observatories from getting a clear view of the moon.</p><p>Using SOFIA, the team took a close look at two sites near, one near the lunar equator and another near the Clavius crater, one of the largest craters on the moon. The researchers observed light signals that could only have come from molecular water.</p><p style="margin-left: 20px;">"We had indications that H2O – the familiar water we know – might be present on the sunlit side of the Moon," Paul Hertz, director of the Astrophysics Division in the Science Mission Directorate at NASA Headquarters in Washington, said in a <a href="https://www.nasa.gov/press-release/nasa-s-sofia-discovers-water-on-sunlit-surface-of-moon/" target="_blank">statement</a>. "Now we know it is there. This discovery challenges our understanding of the lunar surface and raises intriguing questions about resources relevant for deep space exploration."</p>
<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDU5Mjc1NS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzOTM3NjgwMX0.V2wdEbmO-vtCKHZBwEZSZ8MuTHK2nqsdXiMmlVdqJvI/img.jpg?width=980" id="91fc0" class="rm-shortcode" data-rm-shortcode-id="49bb9834168431bbe3e90f94bf406ef6" data-rm-shortcode-name="rebelmouse-image" alt="\u200bSOFIA" />
SOFIA
Credits: NASA/Daniel Rutter
<p>Still, it's not as if the moon is dripping wet. The observations suggest that a cubic meter of the lunar surface (in the Clavius crater site, at least) contains water in concentrations of 100 to 412 parts per million. That's roughly equivalent to a 12-ounce bottle of water. In comparison, the same plot of land in the Sahara desert contains about 100 times more water.</p><p>But a second study suggests other parts of the lunar surface also contain water — and potentially lots of it. Also publishing their findings in <a href="https://www.nature.com/articles/s41550-020-1198-9#_blank" target="_blank">Nature Astronomy</a> on Monday, the researchers used the Lunar Reconnaissance Orbiter to study "cold traps" near the moon's polar regions. These areas of the lunar surface are permanently covered in shadows. In fact, about 0.15 percent of the lunar surface is permanently shadowed, and it's here that water could remain frozen for millions of years.</p><p>Some of these permanently shadowed regions are huge, extending more than a kilometer wide. But others span just 1 cm. These smaller "micro cold traps" are much more abundant than previously thought, and they're spread out across more regions of the lunar surface, according to the new research.</p><img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDU5Mjg1MS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0MzQwMTAwMH0.6U64krUfr-q_vJ8NnsCC0GCtK0xOd_ISbXlDE_HFe8A/img.jpg?width=980" id="9082a" class="rm-shortcode" data-rm-shortcode-id="96852009b1c39242c3baaf2149613982" data-rm-shortcode-name="rebelmouse-image" />
Credit: dottedyeti via AdobeStock
<p>Still, the second study didn't confirm that ice is embedded in micro cold traps. But if there is, it would mean that water would be much more accessible to astronauts, considering they wouldn't have to travel into deep, shadowy craters to extract water.</p><p>Greater accessibility to water would not only make it easier for astronauts to get drinking water, but could also enable them to generate rocket fuel and power.</p><p style="margin-left: 20px;">"Water is a valuable resource, for both scientific purposes and for use by our explorers," said Jacob Bleacher, chief exploration scientist in the advanced exploration systems division for NASA's Human Exploration and Operations Mission Directorate, in a statement. "If we can use the resources at the Moon, then we can carry less water and more equipment to help enable new scientific discoveries."</p>
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