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Compare two versions - a black and white and a coloured one. What effect does this have on the reader? Use the poem as a model for pupils to write their own poems. The list poem is also a useful format for other poem writing - particularly for season poems or place poems. Both these exercises have the potential for collaborative poem-building as a class.

Where does the character come from? A description of that place, or a story about how they came to be a colour collector both have good potential. School Radio Talking Poetry. Main content. Listen now. Show less. Release date: 13 July This clip is from. Talking Poetry — 3. Roger McGough. More clips from 3. Didgeridoo Duration: JN: That was - that was a problem.

And so we thought of an experiment in order to be able to see whether or not she had this extra dimension of color vision. JA: He was able to produce these 2 yellow lights that to us you know - trichromats - normal trichromats - look totally identical. So - I brought her in - I said okay - here it is. Do you see these as different? And she said — no. JA: Named Gabrielle Jordan and she apparently found 8 of these women with the extra cone. And out of those JA: Oh ho!

JN: Completely and totally a black and white world. Houses would be painted black and white. Printers would only print in black and white. JN: They would just have black and white TV. To practice? It may just lay dormant. And that he thinks might be what happens to women living with the extra cone in our world.

JN: Yeah. Everything that we make is based on the fact that humans are trichromatic. The television only has 3 colors. Our color printers have 3 different colors.

Every Time A Ear di Soun: SAVVY Funk

JA: The reason I say that is because we tried to find that one woman that he mentioned you know the one out of 8 -. And then we began to look online and you see all these websites saying are you a tetrachromat, contact us contact us. Everyone is searching for these women and we we began to feel like we were chasing unicorns a little bit. But then our producer Tim Howard claimed - claimed that he had found one. Jay told him that he tested a woman, determined that she had the 4th cone and this woman was an interior designer. JA: But Jay had not yet determined whether she could use her 4th cone so we sent Tim to Pittsburgh where she lives.

TH: In any case here was my plan. TH: I took out 3 of the swatches. She steps back from the swatches - gives it a look for a moment -. TH: So I went behind the tree. I - changed up the swatches. So that now - the middle swatch was the odd one out. TH: Then I figured I gotta make it harder. JA: Wow you found her! And the sky was just that quintessential sky blue. See I see a lot of pink like among the blue. I just see reds right - especially around like a white cloud [XX? Her book is called Color. And this story starts with - well a particular kind of goop.

And it comes from the sap of a tree that grows in the Cambodia Vietnam Thailand border area. VF: I mean the way they get it is that they cut a slash [wood cutting noise] in the bark - and then hitch up a tube made of bamboo. RK: Well you know - wait a minute.

So - after 2 long years. The harvesters come back and each of those tubes. The resin makes this incredible transformation. Which we actually saw Sean and I. VF: I I carried one around for ages. Have a look at this color, look how boring it is. Now put a drop of water on it, showing kids, and I was really happy. I even gave it to one kid um who was who was just so delighted.

RK: Ian Garrett knows that because he was technical director at this art supply company called Windsor and Newton in England. Back in the s, Windsor and Newton would get these shipments of gamboge from Cambodia and they would take it to um - to this production room. IG: And then they would have this hammer- put the gamboge pieces on this - lump of iron and then -. RK: Sometime in that 2 year drip drip process - toward the end probably as the resin was getting thick,.

RK: And those are just the ones he found lying around the factory. There were probably many more. IG: They fall into 2 thoughts. Which are about 3 quarters of an inch long. About half a dozen of each. And how they g to there and what they. RK: What we do know of course is that those years in Cambodia were years of war and murder - a million and a half people died there, most of them in the killing fields.

What happened in that grove? What terrible things happened? RK: The proposition here would be that at some point maybe - cause of the famous killing fields -. RK: That some 14 year olds with Kalashnikov rifles after finishing a series of murders or just - shot lots of -bullets?

VF: They would have just sprayed that grove. In order to get into the little tiny bamboo canisters collecting this gamboge. VF: They would have to have sprayed that entire grove with machine - machine gun bullets. And in that year or two years - um - somebody um. It could have been target practice. You see these things hanging on the side of a tree you you you wanna practice your uh - marksmanship. IG: Uh…not really. We were too remote - bought it from a guy in Holland who bought it from an exporter who got it from - lord knows where in uh Cambodia.

JA: But the idea that it could have been attached to - to that - bloodshed. Does that bother you at all? They sell some pigments that come straight out of hills that are right in the middle of war zones. Colors are sometimes soaked in blood. RK: You could think of it this way. Imagine the first person to ever find this brilliant yellow. Maybe 10, years ago. Like larger than himself. RK: Marriages, feasts, maybe war paint, to feel invincible.

Any moment he suspects that needed to be pulled out of the ordinary - and lifted up. GK: Whether you need something that is bright, something that is beautiful. And - special. And this yellow - gives you something special. It is a perfect yellow. Radiolab is supported in part by the Alfred P Sloan Foundation.

Enhancing public understanding of science and technology in the modern world. More information about Sloan at www. And it comes from our producer Tim Howard. Masc voice: As the soldiers marched the glean went dazzling from the magnificent bronze, all about through the upper air to the heavens. GD: To start with - he uses extremely strange [XX?

Take the color violet which to me and probably to you is like -. TH: Or how bout this one. What is both the color of honey and the color of uh - faces pale with fear. TH: So he starts going through the Iliad and the Odyssey again page by page. And he counts how many time each color appears. Masc voice: Black days. Black carrion flies. Black blood. Under his black brows. Black black black black black black black -. TH: And he started looking in other classic Greek texts too. And there he kept finding all of these strange uses of color.

TH: His thought was that they were straining to see these other colors that were kind of just outside of their reach. And then - their kid - would inherit that effort. Or their kid would just be a little bit better. TH: So Homer Jr would be able to see a little bit of yellow cause Homer tried really hard to see yellow and -.

GD: We know today of course that that there - our color vision goes back probably about 30 million years. TH: A philologist which I thought was a linguist. It basically means he studies ancient texts. He finds pretty much the same kind of weird stuff that Gladstone did. But he finds it not just in Ancient Greek texts but all over the place. BW: These hymns of more than 10, lines are brimming with descriptions of the heavens. Scarcely is there any subject about more frequently the sun and reddening dawns play of color day and night cloud and lightening - the air and the ether are unfolded before us.

And over and over in splendor and vivid fullness. And that is that the sky is blue. TH: All right. TH: So he did this massive analysis to trace when each color term was first introduced to each language. TH: First black and white - every language has black and white. Then when they get their first color term. But a couple things held, even from Geiger. Out of these colors red is always first and blue is always last. TH: Guy thinks it might have to do with a couple of things.

TH: You can just take a dried piece of red clay and you can use it as a crayon which is why paints made out of ochre go back something like 60, years. And blue? TH: And to make a long story short. Jules went to Namibia. He sat down with a bunch of members of the Himba tribe, whipped out of a laptop and showed them 12 colored squares. And they asked them very simply -. TH: Very green. And the other one is blue.

JD: No definitely not. We completely rule that out. It gets louder and louder to your eyes. The category actually feeds back on your perception - so that you notice it more. JA: The [bleeped out] sky! GD: But I wanted to see how obvious or striking this blueness of the sky is. So I decided to make an experiment. I talked a lot about colors with Alma and taught her all the colors including blue.

And we would play all these games that that dads play with their children. Boo for blue. GD: Although she had just a second before would - was happily telling me that something was blue and red or green. She just looked up and looked at me incomprehendingly. Sort of - what are you talking about? So she - then she said once blue - mm no white mm no blue. GD: Well no she never said it this way but eventually when I asked it became consistently blue. So she just would say blue.

GD: This was for me - really the point where I I could you know convince myself - convince at least my heart that this sort of. Uh - [rueing? Let her have whatever color she wants it to be. RK: having something fixed that for a while is just between you and your frenzied heart you know just -. JA: And the sky is many colors truthfully. JA: I wanna thank all the musicians who uh were so generous to let us use their music this hour and joined in in our covers of the rainbow project.

Dan Deacon right here with Colors. Busmans Holiday, Mr. By submitting your information, you're agreeing to receive communications from New York Public Radio in accordance with our Terms of Use. NYPR Network. Listen For Free Support Us. JG: Well hi. RK: This is Jim Gleick.

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JA: Hi how are you? JG: Fine how are you? JA: We did call him to talk about Isaac Newton but more specifically, colors. JA: JA: Hm. JG: So he pokes a knife into his eye. JA: He what?? JA: Ugh. RK: Huh. JA: Did that lead to him some conclusion about where the spots live? JG: No. RK: He got himself a prism which is just a - a bit of glass shaped like a pyramid.

RK: Then he shut his blinds so the room was totally dark. VF: A colored image of the sun. RK: Mm. JG: The light from the sun was sort of holy. VF: Yeah! JG: If there was anything that was pure it was white. JG: Adding some kind of impurities to the light. RK: Yeah. And this was the trick. JA: Would the prism add more colors to the blue light? JG: He inferred that the first prism is dividing light into its constituent parts.

JL: Yeah he was this German romantic poet. JA: That is author Jonah Lehrer. RK: A regular with us who writes about this kind of thing, always wonderfully. JL: One day he is walking in the park and he spots these yellow crocuses. JL: - seemed just as real. RK: As real as the yellow crocus. RK: And today hundreds of years later this is still an open question. RK: Me too.

Sound & Fury

JA: Me three. JA: Yes. RK: Where is color? JA: Yeah! RK: In the killing fields of Cambodia. JA: With a woman who may see colors the rest of us can only dream of. JA: Yeah. You can go to our website radiolab. RK: And thank you by the way, everybody who sent us those songs. Okay so uh should we go? RK: Yes. Here - here he is. JA: Would you like some grapes? MC: Uh no thank you.

RK: And we threw the question at him. JC: Uh your dog as color vision has blue yellow and black white. JA: Really? JC: Yes. JA: So what would a world look like to a dog? JA: Huh. JA: That by the way is Tom Cronin.

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Choir: Hi Tom. JA: Mark suggested we give him a call. He told us that humans see 7 colors in the rainbow. TC: So it would see a rainbow starting with blue. JA: Same blue we see. TC: And then grading off into green. Choir: Green. TC: And then disappearing. JA: With a tiny bit of yellow throw in. TC: Yeah so the rainbow would be - only be about half as thick as ours. JA: Wow. JA: [laughs] And what is it about the dog eye that makes it see this way?

Choir: Hi Jay. JN: Because of this kind of multiplicative thing. Red can get mixed with blue. Choir: Purple. Choir: Yellow. JA: To make orange. Choir: Orange. JN: And green can mix with blue. JA: To get teal or turquoise. Choir: Turquoise. TC: Right. RK: Oh. TC: Now sparrows have ultraviolet vision.

RK: What do they see? TC: And then it would see the violet. Choir: Violet. TC: And it would see the blue. Choir: Blue. TC: And the uh greens. TC: And the oranges. TC: A more red sensitive red receptor than we have. TC: So they see a much broader rainbow. It would start earlier and it would end later. RK: Oh really? JA: Like what? We only have 3 remember. TC: Yeah. RK: so if a butterfly were looking at a rainbow.

JA: Ohh. TC: Yup. RK: Then it would see violet. JA: And then blue blue green? Choir: Blue blue green. JA: And green green bluey bluey or whatever? Choir: Green green bluey bluey. RK: And then orange and red and all that? Choir: [unclear? JA: Okay just to recap. RK: All right. And finally, the butterfly. JA: What are they called? Like - TC: Mantis like a praying mantis. JA: Oh. RK: Oh mantis shrimp. TC: The shrimp catches prey using an arm like a praying mantis has. RK: Uh huh. TC: No they are colorful though.

WHAT is the COLOR of SOUND

JA: Here look at this. JA: Iridescent. And their eyes are like little cartoon eyes. They have 2 really big eyes right on the front. TC: Butterfly has 5. TC: Depends on the butterfly. Uh mantis shrimps have RK: [laughs] JA: 16?!! RK: [laughs] JA: Oh my god!

JA: What would the rainbow look like to them? I mean could they even see it? TC: Yep. RK: But only in the reds. TC: Yeah! No other animal that we know of has a visual system within 50 percent as complicated. JA: All right mantis! RK: But what do they kill?

TC: Yeah small ones. A good size mantis shrimp will - can break the wall of an aquarium. JA: Oh my god. JA: Special thanks to Jim Briggs our engineer for the uh choir session which was a blast. RK: To Mark Changizi for setting us off in this direction. RK: Thank you thank you thank you. Choir: Hallelujahhhh. TC: Hi this is Tom Cronin.

JN: Hello this is Jay Neitz. Choir: in the modern world. VF: More information about Sloan.

‘Poetry Is A Spiritual Language’: Burlington Poet Rajnii Eddins

JN: At www. JN: dot org. JG: This is James Gleick. Radiolab is produced by WNYC. Choir: And distributed by NPR. JN: Bye. JN: Okay. JA: And that actually brings us back to Jay Neitz. JN: I - well yeah. JA: Which is not unlike a lot of human males. RK: Oh my god! JA: Was this like Lasik, so it was just like a a 10 minute outpatient situation for the monkeys? JN: I would say close. Close to Lasik. RK: Could they then now see red? RK: And the screen looks totally grey. But - in that field of grey he adds a little red blob. JN: Right.

Yeah I failed? Did you fail? JA: Really! RK: Really! JA: And check out this dot! Look at this thing! RK: Check it out! We could cure colorblindness in a human with exactly this technique. RK: Really. Now men as we know only have 1 of those. RK: Women have 2 X chromosomes.