The Information: A History, a Theory, a Flood. James Gleick

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      A WOODCUT IMPRESSION (1853) OF ASMALL PORTION OF THE DIFFERENCE ENGINE

      As the difficulties grew, so did Babbage’s ambitions. After ten years, the engine stood twenty-four inches high, with six vertical axles and dozens of wheels, capable of computing six-figure results. Ten years after that, the scale—on paper—had reached 160 cubic feet, 15 tons, and 25,000 parts, and the paper had spread, too, the drawings covering more than 400 square feet. The level of complexity was confounding. Babbage solved the problem of adding many digits at once by separating the “adding motions” from the “carrying motions” and then staggering the timing of the carries. The addition would begin with a rush of grinding gears, first the odd-numbered columns of dials, then the even columns. Then the carries would recoil across the rows. To keep the motion synchronized, parts of the machine would need to “know” at critical times that a carry was pending. The information was conveyed by the state of a latch. For the first time, but not the last, a device was invested with memory. “It is in effect a memorandum taken by the machine,” wrote his publicizer, Dionysius Lardner. Babbage himself was self-conscious about anthropomorphizing but could not resist. “The mechanical means I employed to make these carriages,” he suggested, “bears some slight analogy to the operation of the faculty of memory.”

      In ordinary language, to describe even this basic process of addition required a great effulgence of words, naming the metal parts, accounting for their interactions, and sorting out interdependencies that multiplied to form a long chain of causality. Lardner’s own explanation of “carrying,” for example, was epic. A single isolated instant of the action involved a dial, an index, a thumb, an axis, a trigger, a notch, a hook, a claw, a spring, a tooth, and a ratchet wheel:

      Now, at the moment that the division between 9 and 0 on the dial B² passes under the index, a thumb placed on the axis of this dial touches a trigger which raises out of the notch of the hook which sustains the claw just mentioned, and allows it to fall back by the recoil of the spring, and drop into the next tooth of the ratchet wheel.

      Hundreds of words later, summing up, Lardner resorted to a metaphor suggesting fluid dynamics:

      There are two systems of waves of mechanical action continually flowing from the bottom to the top; and two streams of similar action constantly passing from the right to the left. The crests of the first system of adding waves fall upon the last difference, and upon every alternate one proceeding upwards. . . . The first stream of carrying action passes from right to left along the highest row and every alternate row.

      This was one way of abstracting from the particular—the particulars being so intricate. And then he surrendered. “Its wonders, however, are still greater in its details,” he wrote. “We despair of doing it justice.”

      Nor were ordinary draftsman’s plans sufficient for describing this machine that was more than a machine. It was a dynamical system, its many parts each capable of several modes or states, sometimes at rest and sometimes in motion, propagating their influence along convoluted channels. Could it ever be specified completely, on paper? Babbage, for his own purposes, devised a new formal tool, a system of “mechanical notation” (his term). This was a language of signs meant to represent not just the physical form of a machine but its more elusive properties: its timing and its logic. It was an extraordinary ambition, as Babbage himself appreciated. In 1826 he proudly reported to the Royal Society “On a Method of Expressing by Signs the Action of Machinery.” In part it was an exercise in classification. He analyzed the different ways in which something—motion, or power—could be “communicated” through a system. There were many ways. A part could receive its influence simply by being attached to another part, “as a pin on a wheel, or a wheel and pinion on the same axis.” Or transmission could occur “by stiff friction.” A part might be driven constantly by another part “as happens when a wheel is driven by a pinion”—or not constantly, “as is the case when a stud lifts a bolt once in the course of a revolution.” Here a vision of logical branching entered the scheme: the path of communication would vary depending on the alternative states of some part of the machine. Babbage’s mechanical notation followed naturally from his work on symbolic notation in mathematical analysis. Machinery, like mathematics, needed rigor and definition for progress. “The forms of ordinary language were far too diffuse,” he wrote. “The signs, if they have been properly chosen, and if they should be generally adopted, will form as it were an universal language.” Language was never a side issue for Babbage.

He finally won a university post, at Cambridge: the prestigious Lucasian Professorship of Mathematics, formerly occupied by Newton. As in Newton’s time, the work was not onerous. Babbage did not have to teach students, deliver lectures, or even live in Cambridge, and this was just as well, because he was also becoming a popular fixture of London social life. At home at One Dorset Street he hosted a regular Saturday soirée that drew a glittering crowd—politicians, artists, dukes and duchesses, and the greatest English scientists of the age: Charles Darwin, Michael Faraday, and Charles Lyell, among others.² They marveled at his calculating machine and, on display nearby, the dancing automaton of his youth. (In invitations he would write, “I hope you intend to patronise the ‘Silver Lady.’ She is to appear in new dresses and decorations.”) He was a mathematical raconteur—that was no contradiction, in this time and place. Lyell reported approvingly that he “jokes and reasons in high mathematics.” He published a much-quoted treatise applying probability theory to the theological question of miracles. With tongue in cheek he wrote Alfred, Lord Tennyson, to suggest a correction for the poet’s couplet: “Every minute dies a man, / Every minute one is born.”

      I need hardly point out to you that this calculation would tend to keep the sum total of the world’s population in a state of perpetual equipoise, whereas it is a well-known fact that the said sum total is constantly on the increase. I would therefore take the liberty of suggesting that in the next edition of your excellent poem the erroneous calculation to which I refer should be corrected as follows: “Every moment dies a man / And one and a sixteenth is born.” I may add that the exact figures are 1.167, but something must, of course, be conceded to the laws of metre.

      Fascinated with his own celebrity, he kept a scrapbook—“the pros and cons in parallel columns, from which he obtained a sort of balance,” as one visitor described it. “I was told repeatedly that he spent all his days in gloating and grumbling over what people said of him.”

      But progress on the engine, the main source СКАЧАТЬ