To some, digital technology is the greatest thing since sliced bread. To others, it’s a sign of the end times. Wherever you fall on the tech-support continuum, it’s clear that the translation of data into streams of zeroes and ones is a revolution the likes of which hasn’t been seen since the invention of moveable type. Not just computer scientists but art historians, composers, social psychologists, economists — all are feeling the impact of the shift from analog to digital. We asked Tufts professors from these and other disciplines to explain how two little numbers are reshaping the world.

What is binary code, anyway?

Binary code is a way to represent information using two symbols: 0 and 1. Binary is the smallest alphabet. Similar to Morse Code, where a single dot or dash doesn’t mean much, it is the sequence of the dots and dashes that creates something of meaning. Binary codes have been developed to represent everything from a sonnet to Lady Gaga’s newest song to a Google map of your neighborhood. So...what is binary code? Everything.

There’s one big catch when we talk about binary code and computers. We have only a finite amount of space to store digital representations. If we want to store the number pi, for example, we need to store an approximation. High–resolution images similarly require a great deal of space.

As memory has become cheaper and therefore more available, we have been able to store a greater amount of information. But the digital revolution isn’t just about more memory. The better our representations and approximations become, the less memory we need, which enables us to do even more with computers.

Professor Hescott

Ben Hescott is Assistant Professor of Computer Science. In 2011, he won the Lerman–Neubauer Prize for Outstanding Teaching and Advising at Tufts and the Institute of Electrical and Electronics Engineers (IEEE) Computer Society’s Computer Science and Engineering Undergraduate Teaching Award.

Do you see any connections between the origin of museums in Enlightenment France and the rise of “content curation” — the act of finding, organizing, and sharing the best news stories, articles, tweets, and videos on a specific topic — today?

In that it likens the Internet to a museum, the term “content curation” is both apt and inappropriate. The Internet — a seemingly infinite repository of knowledge — is, in a sense, a virtual museum. At the same time, however, actual museums are devoted to real things, the material traces of significant human activity and natural phenomena. Museums store objects that are rare and often irreplaceable, precious, fragile, tangible, and inherently beautiful. The word “curator” comes from the Latin curare and means “to care for,” implying an intimate relationship to things, not to ephemeral bits of information.

You sometimes hear people say that instantaneous online access to images and information has rendered museums obsolete. But quite the opposite seems to be the case. The more we find ourselves engulfed in a relentless 24/7 media world, the more we treasure the uniqueness and authenticity of meaningful things. And the more we value the peaceful space apart of real museums. This year the Metropolitan Museum of Art in New York City broke a 50-year attendance record; museums have never been more popular or relevant.

“Curating” online resources constitutes a genuine twenty–first century challenge. But curating our real museums, archives, and historic sites is perhaps more important now than it has ever been.

The more we find ourselves engulfed in a relentless 24/7 media world, the more we treasure the uniqueness and authenticity of meaningful things.

Professor Hescott

Andrew McClellan is Professor of Art History and Academic Dean in the School of Arts and Sciences. His most recent article is titled, “P. T. Barnum, Jumbo the Elephant, and the Barnum Museum of Natural History at Tufts University.”

How is the speed of the digital revolution affecting the global economy?

If the Internet is the “information superhighway,” then digitization is how we travel on that cyber super–slab. Information now flows faster and to vastly more and more distant points. News about Greek debt liabilities or government policy is communicated instantaneously to investors and traders around the world. How quickly new developments are reflected in market values is potentially good news.

However, as recent events suggest, increased speed can increase volatility as prices react — and maybe overreact — to every little bit of information. Volatility increases uncertainty, which makes it difficult for households, businesses, and governments to plan ahead. A related danger is that the amount of data flowing is now so vast that few are able to sort out what’s valid. People tend to grab onto those bits of evidence that agree with their basic views. The result can be a fractionalized array of views, perhaps none of which is correct.

Networks are one response. Network members can rely on one another to provide information and to judge its accuracy. Questions such as what brand to buy, who to work for, or who to hire will be addressed increasingly via networks, one feature of which is that the more people who use a network the more important that network becomes. This positive feedback creates interesting problems for competition. The digital revolution brings these challenges to the fore.

Did You Know?

Gottfried Wilhelm Leibniz

In 1703, German mathematician and philosopher Gottfried Wilhelm Leibniz explicated a binary system using O and 1 in an article he wrote, in French, called Explication de l’Arithmétique Binaire. Humbling, isn’t it?

Professor Hescott

Lynne Pepall is Professor of Economics and Dean of the Tufts University Graduate School of Arts and Sciences. She is also the author of Industrial Organization: Contemporary Theory and Practice, and Contemporary Industrial Organization: A Quantitative Approach.

Is the explosion of social media — and opportunities to shape one's image online — changing the way psychologists think about identity?

NOT SO MUCH THE WAY WE THINK ABOUT IDENTITY; MORE THE WAY WE STUDY IT.

Social psychologists look at how situations involving real or imagined “other people” influence our thoughts, feelings, and behavior. Facebook Like  likes this. Take racial bias and prejudice as an example. The illusions of interpersonal distance and anonymity make people more willing to say and do things online that they might not in person. So social psychologists have used Facebook, Twitter, OkCupid, even Second Life to explore intergroup bias in interpersonal attraction, political attitudes, and consumer behavior.

Because people have become more comfortable with modes of interaction such as virtual reality and chat rooms (the same people who might have asked themselves why I was “SHOUTING” at the start of my answer), we can use these technologies to study behavior. In lab settings, we can manipulate variables such as race, gender, age, and other aspects of physical appearance to see how these factors influence our judgments of others.

See, we’re never going to make progress in these areas unless we can get people to be more open and honest about their feelings. Social media allows us to tap into those attitudes more than ever before. We can even learn about how prejudice rears its ugly head among people who don’t believe themselves to be prejudiced. The more we know when, how, and why race matters in the lab, the more we can do to reduce the expression of prejudice in both the online and real worlds. #fingerscrossed

Social psychologists have used Facebook, Twitter, OkCupid, and even Second Life to explore intergroup bias in interpersonal attraction, political attitudes, and consumer behavior.

Professor Hescott

Keith Maddox is Associate Professor of Psychology and Director of the Tufts University Social Cognition (TUSC) laboratory. He also serves on the editorial board of the Journal of Black Psychology. Follow him on Twitter @MaddBlackProf.

Of all the ways the digital revolution has transformed the music world, what’s the most significant?

One of the strangest aspects of our high-tech digital world is the widespread fascination with old music technologies. There are obsessive collectors of vinyl LPs, eight–track tapes, and boom boxes. “Retrotronic” engineers build amplifiers using vacuum tubes; musicians in the “Chiptune” scene create music from modified video–game systems from the ancient 1980s. Inexpensive programs recreate “classic” synthesizers on any computer, accurate down to the patch cords and power switch.

The software system Abbey Road Keyboards offers a particularly striking example of how far people will go in the attempt to recapture the sounds of the past. Released in 2007 for use with the computer music production program Reason, Abbey Road Keyboards provides digital samples of the pianos, organ, and other instruments that The Beatles used to create many of their most famous songs. The packaging promises us a kind of time travel, reconnecting us with:

  • The classic instruments.
  • Recorded with the original mics.
  • In the original recording room.
  • With the original equipment.

This is Abbey Road in a box.

But the notion that we could somehow use this program to find ourselves back in the Abbey Road Studios suggests that we may be closer than we think to the world of virtual reality depicted in The Matrix. The sounds of the samples from our computer speakers have traveled a dizzying distance from Abbey Road Studios through many layers of digital simulation. By thinking about what we gain and what we lose with “Abbey Road in a box,” we might also start to wonder about other aspects of our lives and experiences that we are also putting in digital boxes.

Professor Hescott

Joseph Auner is Professor and Chair of the Department of Music at Tufts. His answer is taken from an article he wrote titled, “Wanted Dead and Alive: Historical Performance Practice and Electro–Acoustic Music from IRCAM to Abbey Road.”

Alien Speak


Plaques on the Pioneer 10 (Pioneer F) and Pioneer 11 (Pioneer G) spacecraft, launched in 1972 and 1973 to explore asteroid fields in deep space, each contain a message to alien civilizations. What did astrophysicists use when they wanted to tell E.T.s about how to find us? Groups of vertical and horizontal strokes that are yet another example of binary code. Why? It’s apparently simple and universal enough for even a Martian to understand.

How is digital culture changing the way the brain learns to read?

To begin, the human brain was never meant to read. Not text, not papyrus, not computer screens. Our ability to read represents our brain’s capacity to learn something outside our repertoire by creating new circuits that connect existing circuits in a different way. Every time we learn a new skill – whether playing the cello or using Facebook – that is what we are doing.

After we become literate, we literally “think differently.” Different writing systems produce different reading brains. The characteristics of the medium also influence what parts of the reading circuit are employed and to what extent. The Web invites the reader to move from one stimulus to the next in rapid fashion. The book invites more focused attention.

My research group and I are most concerned with how the acquisition of new capacities changes human development. In the case of reading, we know that the “expert reading brain” includes a beautifully complex circuit that integrates simpler decoding skills with what I call “deep reading” processes: critical analysis, analogical thought, inference, and insight. Will the time-consuming development of the deep reading processes be diminished or atrophied in a culture whose principal mediums advantage speed and multitasking? Will an immersion in digitally dominated forms of reading change the capacity of young readers to form and develop their deep reading processes? No one at this moment possesses the evidence to answer these questions, but our children’s development and our species’ intellectual evolution require that we confront them.

The human brain was never meant to read. Not text, not papyrus, not computer screens.

Professor Hescott

Maryanne Wolf is Professor of Child Development, Director of the Center for Reading and Language Research, and John DiBiaggio Professor of Citizenship and Public Service. Her latest book is Proust and the Squid: The Story and Science of the Reading Brain.

What impact has the revolution in computing over the past 20 years had on electrical engineering?

We can solve 3-D problems involving tens of thousands of unknowns in applications where the underlying physics is far more complicated than what we could even dream of 17 years ago.

Since the 1990s, I have been working on solving fundamental challenges to producing images for applications ranging from breast cancer detection to oil exploration. While physics tells us that it is possible to use infrared light or microwaves as the basis for detecting breast cancers, the mathematics of turning observations of light or electromagnetic fields into a map of hemoglobin concentration in the body from which tumors can be delineated is challenging for a host of reasons. Trying to use electrical currents to image the subsurface structure of the earth leads to similar difficulties. The physics of the problem, coupled with limitations as to where and how we can “scan,” make image formation extraordinarily sensitive to noise in the data and highly computationally intensive.

In 1994, the best we could do were two-dimensional problems where the images were 32 pixels wide and 32 pixels high — not exactly high resolution. Today, in the same amount of time, we can solve 3-D problems involving tens of thousands of unknowns in applications where the underlying physics is far more complicated than what we could even dream of 17 years ago. As processing advances, and as new technologies such as graphical processing units move from the world of gaming to the world of scientific computing, I am giddy with the thought of what we will be able to do, the problems we can solve, and the impact we can have on the world by the time my research career comes to a close two decades hence.

Professor Hescott

Eric Miller is Professor of Electrical and Computer Engineering and Associate Dean of Research in the School of Engineering. His research interests include physics-based medical imaging and landmine and unexploded ordnance remediation.

High-Flown Code


Look up when you walk into Tisch Library and the first thing you'll see is an enormous banner covered in rows of binary code. A 2004 article in the campus newspaper, the Tufts Daily, explains: "The sculpture was installed in 1997 and was designed by then-Museum School students Sarah Hollis Perry and Rachel Perry Welty. It is a binary-code translation of the poem 'New Eyes Each Year' by Philip Larkin. A translation of the poem is located on a plaque under the sculpture." We would include it, if we didn't want you to visit Tufts and read it for yourself.

As an historian, do you miss paper?

I built my scholarly career working in freezing cold archives in Portugal with ridiculous bureaucratic rules about using only so many documents in a specific time period and taking notes using only a pencil. I then moved to Mozambique where I worked in the stinking hot, filthy attic of the municipal “native affairs” building, taking care not to leave bundles of documents under broken roof tiles, and thus subject to seasonal rainfall. Day after day for months, I worked nine hours each day in the attic reading an uncatalogued cache of paper.

Worse than the archive conditions is that fact that for the first several decades of my research life, I took notes by hand on the 5” x 8” bond paper note cards that were the era’s standard mode of research organization. I still have to work from those thousands of note cards. Sometimes I look at them and despair that I was clearly born at the WRONG time. However, I was lucky to have the right kind of children at the right time. Our youngest made sure we were a card-carrying Apple family by the time he was eight. The hardware and software are perfectly magical, but the point is that they support amazing possibilities for research and access — from GPS/GIS to digital archives, online journals, and audio-video clips. My students and I can even search microfilm digitally. Now if some super-geek could find a way to transfer my 5” x 8” notes into digital files, life would be perfect.

Did You Know?

Pulsar

The first digital watch, the Pulsar, was based on a prototype designed in 1968 for Stanley Kubrick’s classic science fiction film, 2001: A Space Odyssey.

Professor Hescott

Jeanne Marie Penvenne is Associate Professor of History. She specializes in Southern Africa with a focus on Mozambican labor and social history.

The Art of Nicky Broekhuysen

When a current student suggested we use the work of Nicky Broekhuysen on Jumbo’s first cover, we did. The artist does something with 1s and 0s that no machine ever could. She hand stamps them onto paper and other objects to evoke – in this collection – topographic maps and celestial orbs. “The binary numbers represent data,” she explains. “My work uses this binary data as a metaphorical language for potential and change within an environment of chaos and order. I shift the numbers in and out of structures and forms forever adapting and evolving them away from fixed states. Within the binary numbers lies an endless potential of meaning and form which exists beyond time, filled with past, present and future potentials.”

All images copyright Nicky Broekhuysen, courtesy of Dittrich & Schlechtriem Berlin