The Science of Discworld II: The Globe by Terry Pratchett Ian Stewart Jack S. Cohen

Author:Terry Pratchett, Ian Stewart, Jack S. Cohen [Pratchett, Terry & Stewart, Ian & Cohen, Jack]
Language: eng
Format: epub, mobi, pdf
ISBN: 9780091888053
Amazon: 0091888050
Publisher: Ebury Press
Published: 2002-01-02T08:00:00+00:00

EIGHTEEN

BIT FROM IT

A semaphore is a simple and time-honoured example of a digital communication system. It encodes letters of the alphabet using the positions of flags, lights, or something similar. In 1795 George Murray invented a version that is close to the system currently used in Discworld: a set of six shutters that could be opened or closed, thus giving 64 different ‘codes’, more than enough for the entire alphabet, numbers 0 to 10 and some ‘special’ codes. The system was further developed but ceased to be cutting-edge technology when the electric telegraph heralded the wired age. The Discworld semaphore (or ‘clacks’) has been taken much further, with mighty trunk route towers carrying bank after bank of shutters, aided by lamps after dark, and streaming messages bi-directionally across the continent. It is a pretty accurate ‘evolution’ of the technology: if we too had failed to harness steam and electricity, we might well be using something like it …

There is enough capacity on that system even to handle pictures - seriously. Convert the picture to a 64 x 64 grid of little squares that can be black, white or four shades of grey, and then read the grid from left to right and top to bottom like a book. It’s just a matter of information, a few clever clerks to work out some compression algorithms, and a man with a shallow box holding 4,096 wooden blocks, their six sides being, yes, black, white and four shades of grey. It’ll take them a while to reassemble the pictures, but clerks are cheap.

Digital messages are the backbone of the Information Age, which is the name we currently give to the one we’re living in, in the belief that we know a lot more than anyone else, ever. Discworld is comparably proud of being in the Semaphore Age, the Age of the Clacks. But what, exactly, is information?

When you send a message, you are normally expected to pay for it - because if you don’t, then whoever is doing the work of transmitting that message for you will object. It is this feature of messages that has got Ridcully worried, since he is wedded to the idea that academics travel free.

Cost is one way to measure things, but it depends on complicated market forces. What, for example, if there’s a sale on? The scientific-concept of ‘information’ is a measure of how much message you’re sending. In human affairs, it seems to be a fairly universal principle that for any given medium, longer messages cost more than short ones. At the back of the human mind, then, lurks a deep-seated belief that messages can be quantified: they have a size. The size of a message tells you ‘how much information’ it contains.

Is ‘information’ the same as ‘story’? No. A story does convey information, but that’s probably the least interesting thing about stories. Most information doesn’t constitute a story. Think of a telephone directory: lots of information, strong cast, but a bit weak on narrative. What counts in a story is its meaning.

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