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You might have assumed that the computer age began | 0:00:06 | 0:00:09 | |
with some geeks out in California. | 0:00:09 | 0:00:11 | |
Or perhaps with the codebreakers of World War II. | 0:00:16 | 0:00:19 | |
But the pioneer who first saw the true power of the computer | 0:00:22 | 0:00:27 | |
lived way back, | 0:00:27 | 0:00:30 | |
during the transformative age of the Industrial Revolution. | 0:00:30 | 0:00:34 | |
As Queen Victoria takes to the throne in the early 19th century, | 0:00:37 | 0:00:41 | |
Britain is on the brink | 0:00:41 | 0:00:42 | |
of an even more ambitious revolution - | 0:00:42 | 0:00:45 | |
the mechanisation of thought itself. | 0:00:45 | 0:00:48 | |
Forged from brass and powered by steam, a Victorian computer age. | 0:00:49 | 0:00:54 | |
It took extraordinary foresight and yet, | 0:00:56 | 0:01:00 | |
in this patriarchal world, this visionary wasn't a man. | 0:01:00 | 0:01:05 | |
Passionate and intelligent, Lady Ada Lovelace. | 0:01:05 | 0:01:09 | |
I'm Hannah Fry. | 0:01:17 | 0:01:19 | |
As a mathematician, I want to find out how this 19th-century lady | 0:01:19 | 0:01:23 | |
prophesied the information age. | 0:01:23 | 0:01:26 | |
How she published the first computer program | 0:01:28 | 0:01:31 | |
as long ago as 1843. | 0:01:31 | 0:01:34 | |
And how she nearly brought about a Victorian computer revolution. | 0:01:36 | 0:01:41 | |
I want to rediscover the story of Ada Lovelace, | 0:01:42 | 0:01:46 | |
the woman who dared to dream of a world of computers, | 0:01:46 | 0:01:50 | |
and to uncover her role in a remarkable vision of the future. | 0:01:50 | 0:01:55 | |
To find out how this Victorian lady could have foreseen the power | 0:02:10 | 0:02:14 | |
of computers, I've come here, | 0:02:14 | 0:02:16 | |
Horsley Towers, | 0:02:16 | 0:02:18 | |
a day's ride from London and her home for most of her adult life. | 0:02:18 | 0:02:22 | |
Ada had a very privileged background. | 0:02:26 | 0:02:29 | |
In fact, she was almost one of Queen Victoria's ladies-in-waiting. | 0:02:29 | 0:02:33 | |
So it was no surprise when she was married off to Lord King, | 0:02:33 | 0:02:38 | |
soon to become the Earl of Lovelace, | 0:02:38 | 0:02:40 | |
a man who was ten years her senior | 0:02:40 | 0:02:43 | |
and as practical as Ada was imaginative. | 0:02:43 | 0:02:46 | |
Dickens, Faraday and the inventor Charles Babbage | 0:02:51 | 0:02:55 | |
were just some of their close acquaintances. | 0:02:55 | 0:02:58 | |
It was a magical, exciting time. | 0:03:02 | 0:03:05 | |
Two opposing cultures, science and romanticism, were colliding. | 0:03:05 | 0:03:10 | |
My heroine thrived at the crossroads of both. | 0:03:13 | 0:03:16 | |
She wrote her dream of a computerised world in this, | 0:03:22 | 0:03:27 | |
Taylor's Scientific Memoirs. | 0:03:27 | 0:03:29 | |
Now, this isn't just any old book. | 0:03:29 | 0:03:32 | |
This is one of the most visionary documents in the history | 0:03:32 | 0:03:36 | |
of science, a 65-page blueprint for a computer revolution. | 0:03:36 | 0:03:43 | |
It has complex mathematics, | 0:03:43 | 0:03:45 | |
it has the layout for the world's first | 0:03:45 | 0:03:48 | |
general-purpose computing machine. | 0:03:48 | 0:03:52 | |
It even has the world's first published computer programs | 0:03:52 | 0:03:56 | |
and in it, Ada suggests that a machine made from cogs and cams | 0:03:56 | 0:04:02 | |
and steam and oil could compose music. | 0:04:02 | 0:04:06 | |
In effect, it's Ada's key manifesto for a computer age. | 0:04:06 | 0:04:12 | |
And all of this as far back as 1843. | 0:04:12 | 0:04:16 | |
This document is a fascinating mix of science and imagination. | 0:04:18 | 0:04:24 | |
So how did she manage to embrace both strands - | 0:04:26 | 0:04:29 | |
logic and the creative arts? | 0:04:29 | 0:04:31 | |
It seems to me that there was one man | 0:04:39 | 0:04:41 | |
at the epicentre of everything that Ada did. | 0:04:41 | 0:04:44 | |
He had a huge influence on her upbringing | 0:04:44 | 0:04:46 | |
and was the biggest celebrity in Britain at the time. | 0:04:46 | 0:04:50 | |
Lord Byron, poet, philanderer, romantic and Ada's father. | 0:04:50 | 0:04:55 | |
Ada was his only legitimate daughter | 0:04:58 | 0:05:01 | |
and he loomed large throughout her life. | 0:05:01 | 0:05:04 | |
And yet he left her when she was just a five-week-old baby | 0:05:04 | 0:05:08 | |
and he never saw her again. | 0:05:08 | 0:05:11 | |
Her mother made quite sure of that. | 0:05:11 | 0:05:14 | |
Annabella Milbanke and Lord Byron married in 1815, | 0:05:21 | 0:05:25 | |
yet were poles apart. | 0:05:25 | 0:05:28 | |
Annabella was mathematical and stiflingly conformist. | 0:05:28 | 0:05:33 | |
Byron was free-spirited and cared little for numbers. | 0:05:33 | 0:05:38 | |
The scandalous Lord Byron, | 0:05:42 | 0:05:45 | |
as well as producing some of the most important written works | 0:05:45 | 0:05:48 | |
of the 19th century, | 0:05:48 | 0:05:50 | |
was famous for drinking out of a human skull, | 0:05:50 | 0:05:54 | |
having a pet bear and numerous affairs with both men and women. | 0:05:54 | 0:05:59 | |
Now, one spurned lover - female - famously put it that he was | 0:05:59 | 0:06:04 | |
"mad, bad and dangerous to know". | 0:06:04 | 0:06:07 | |
Annabella and Byron's marriage lasted for a very long year, | 0:06:09 | 0:06:12 | |
before it eventually broke up acrimoniously. | 0:06:12 | 0:06:16 | |
She kicked him out, covered his painting with a big curtain | 0:06:16 | 0:06:20 | |
and forbade Ada from ever looking at it, | 0:06:20 | 0:06:23 | |
which must have been torturous | 0:06:23 | 0:06:25 | |
for someone with as inquisitive a mind as Ada had. | 0:06:25 | 0:06:29 | |
Annabella loathed her estranged husband and went about purging | 0:06:33 | 0:06:38 | |
the young girl of any evidence of her father's personality. | 0:06:38 | 0:06:42 | |
"Volatile poetic insanity", she called it. | 0:06:44 | 0:06:48 | |
So she was looking for ways to try and protect Ada. | 0:06:48 | 0:06:51 | |
Annabella decided to force-feed the child on a diet of maths | 0:06:59 | 0:07:04 | |
and science with a zeal bordering on fanaticism, | 0:07:04 | 0:07:09 | |
even though the subjects were seen as the preserve of the male mind. | 0:07:09 | 0:07:14 | |
Augustus De Morgan was Ada's main tutor | 0:07:20 | 0:07:23 | |
and a brilliant mathematician in his own right. | 0:07:23 | 0:07:26 | |
He founded the maths department at UCL, which is | 0:07:26 | 0:07:29 | |
the university that I work at. But he wasn't exactly progressive. | 0:07:29 | 0:07:33 | |
In a letter that he wrote to Ada's mother, | 0:07:33 | 0:07:36 | |
he explains why women are best to avoid doing hard maths. | 0:07:36 | 0:07:40 | |
"The reason is obvious," he writes. | 0:07:40 | 0:07:42 | |
"The very great tension of mind which they require | 0:07:42 | 0:07:45 | |
"is beyond the strength of a woman's physical power of application." | 0:07:45 | 0:07:50 | |
He does recognise Ada's talents, | 0:07:50 | 0:07:52 | |
though, at least, in a slightly backhanded compliment. | 0:07:52 | 0:07:55 | |
"Lady L has unquestionably as much power as would require | 0:07:55 | 0:08:00 | |
"all the strength of a man's constitution." | 0:08:00 | 0:08:03 | |
She studied voraciously. | 0:08:10 | 0:08:12 | |
At just 13, she became fascinated by flight, | 0:08:15 | 0:08:20 | |
and designed a mechanical bird that could flap its wings. | 0:08:20 | 0:08:26 | |
She was developing skills that were coveted | 0:08:36 | 0:08:39 | |
in the Victorian age of engineering - | 0:08:39 | 0:08:41 | |
inventiveness and scientific rigour - and by the young age of 17, | 0:08:41 | 0:08:46 | |
she was ready to show them off. | 0:08:46 | 0:08:48 | |
The stage her mother chose | 0:08:58 | 0:09:00 | |
was one of the most sought-after soirees of the day, | 0:09:00 | 0:09:04 | |
hosted by the famous inventor Charles Babbage | 0:09:04 | 0:09:08 | |
and attended by the great and the good. | 0:09:08 | 0:09:11 | |
A guest wrote at the time, "One of three qualifications were necessary | 0:09:15 | 0:09:20 | |
"for those who sought to be invited - | 0:09:20 | 0:09:22 | |
"intellect, beauty or rank." | 0:09:22 | 0:09:24 | |
The young Lady Lovelace had all three. | 0:09:26 | 0:09:29 | |
At the party, | 0:09:35 | 0:09:37 | |
Babbage was keen to unveil a new creation to his select audience. | 0:09:37 | 0:09:40 | |
He called it the difference engine, | 0:09:47 | 0:09:49 | |
the most ambitious mechanical calculator ever designed. | 0:09:49 | 0:09:53 | |
Its mathematical elegance impressed the young Ada. | 0:09:57 | 0:10:01 | |
And this is the actual machine that Ada would have seen at Babbage's. | 0:10:17 | 0:10:22 | |
Just a small sample of what it could have been, | 0:10:22 | 0:10:26 | |
had it been built fully, but enough to understand how it worked. | 0:10:26 | 0:10:30 | |
And enough to spark her imagination. | 0:10:30 | 0:10:34 | |
And maybe somewhere on there still, | 0:10:34 | 0:10:35 | |
there's a couple of Ada's fingerprints left over. | 0:10:35 | 0:10:38 | |
The machine would do the work of a whole army of mathematicians - | 0:10:42 | 0:10:47 | |
a body of men who were actually known as computers. | 0:10:47 | 0:10:51 | |
This was just one-seventh of an entire difference engine. | 0:10:53 | 0:10:58 | |
The full version, constructed from Babbage's plans, | 0:10:59 | 0:11:02 | |
can be seen at the London Science Museum. | 0:11:02 | 0:11:05 | |
There's a loose floorboard there. | 0:11:06 | 0:11:08 | |
'It's lovingly tended by curator Tilly Blyth.' | 0:11:10 | 0:11:13 | |
So, for the first time that I ever see it, where should I be standing? | 0:11:14 | 0:11:18 | |
I think it's nice to stand in the front so that you can see | 0:11:18 | 0:11:20 | |
-the whole machine working in harmony and have a real sense of it. -OK. | 0:11:20 | 0:11:24 | |
-But it's also beautiful from the back as well. -OK. OK. | 0:11:24 | 0:11:27 | |
I'm genuinely excited about this. | 0:11:27 | 0:11:29 | |
TILLY LAUGHS | 0:11:29 | 0:11:31 | |
Wow! | 0:11:35 | 0:11:37 | |
So you've got the units at the bottom and then going up, | 0:11:37 | 0:11:40 | |
-tens and hundreds, right? -That's right. | 0:11:40 | 0:11:43 | |
So every time you go past nine, you have to carry up the column? | 0:11:43 | 0:11:47 | |
Wow. Actually, that is incredible. | 0:11:47 | 0:11:49 | |
It must have seemed like mechanising thought itself, right? | 0:12:00 | 0:12:04 | |
They called it the thinking machine. | 0:12:04 | 0:12:06 | |
So what does the machine actually do, Tilly? | 0:12:07 | 0:12:10 | |
So the really incredible thing about this machine is, it works | 0:12:10 | 0:12:15 | |
using purely addition. It works using something called | 0:12:15 | 0:12:17 | |
the method of finite differences. | 0:12:17 | 0:12:19 | |
So this allows you to take any equation and work that through | 0:12:19 | 0:12:24 | |
using an approximation, but using only addition. | 0:12:24 | 0:12:27 | |
So in a way, I suppose this machine takes the equation, | 0:12:27 | 0:12:31 | |
breaks it down to smaller and smaller and smaller pieces, | 0:12:31 | 0:12:35 | |
until...you end up with something | 0:12:35 | 0:12:37 | |
so simple that it can be done by the turning of a cog? | 0:12:37 | 0:12:40 | |
Each one of those cogs is just doing addition to the next cog. | 0:12:40 | 0:12:44 | |
-Adding, adding, adding. -Exactly. | 0:12:44 | 0:12:46 | |
The method allows simultaneous work on a multitude of simple sums. | 0:12:49 | 0:12:54 | |
Tricky for the human brain to keep track of, | 0:12:56 | 0:12:58 | |
but perfect for the methodical workings of a machine. | 0:12:58 | 0:13:02 | |
When each addition passes through ten, | 0:13:03 | 0:13:06 | |
these hypnotic spirals carry the one up the column. | 0:13:06 | 0:13:10 | |
And at the end, the difference engine | 0:13:11 | 0:13:14 | |
automatically prints the answers into tables, | 0:13:14 | 0:13:17 | |
removing the risk of human error. | 0:13:17 | 0:13:20 | |
Why was it important? | 0:13:20 | 0:13:21 | |
So, in the 19th century, | 0:13:21 | 0:13:24 | |
people were using mathematical tables for all sorts of things. | 0:13:24 | 0:13:28 | |
They were using them for engineering, | 0:13:28 | 0:13:29 | |
they were using them for astronomy, but probably most importantly, | 0:13:29 | 0:13:33 | |
they were using these tables for navigation. | 0:13:33 | 0:13:36 | |
So sailors were referring to these mathematical tables | 0:13:36 | 0:13:39 | |
and if there were errors in them, then lives could be lost. | 0:13:39 | 0:13:42 | |
You know, people could be sailing to the wrong places. | 0:13:42 | 0:13:46 | |
'It's an ingenious machine, but this was not a computer. | 0:13:46 | 0:13:52 | |
'Rather, it was an incredibly advanced calculator. | 0:13:52 | 0:13:56 | |
'Precise up to 31 decimal places.' | 0:13:56 | 0:14:00 | |
-Could you do it one more time? -OK. | 0:14:00 | 0:14:03 | |
I'm going to stay on this side. This side's gorgeous. | 0:14:03 | 0:14:06 | |
'At the time Ada saw the difference engine, | 0:14:12 | 0:14:15 | |
'it was just the small demonstration piece.' | 0:14:15 | 0:14:18 | |
For many of the guests that night, it was an amusing curiosity. | 0:14:20 | 0:14:25 | |
But not for her. The debutante grasped its significance. | 0:14:25 | 0:14:30 | |
Wife of Ada's tutor, Mrs De Morgan, wrote of the night, | 0:14:41 | 0:14:46 | |
"When most of the guests looked on with the expression that | 0:14:46 | 0:14:50 | |
"savages show on seeing a looking glass, Miss Byron, young as she was, | 0:14:50 | 0:14:57 | |
"understood its working and saw the great beauty of the invention." | 0:14:57 | 0:15:02 | |
It was enough to ignite sparks between Babbage and Ada - | 0:15:02 | 0:15:06 | |
not sexual sparks, but intellectual ones | 0:15:06 | 0:15:09 | |
and the beginning of a lifelong friendship. | 0:15:09 | 0:15:12 | |
And Ada's excitement almost certainly gave Babbage extra vigour | 0:15:12 | 0:15:16 | |
to push forward with his audacious plans. | 0:15:16 | 0:15:19 | |
To build such a technologically advanced machine would need | 0:15:24 | 0:15:28 | |
state-of-the-art manufacturing. | 0:15:28 | 0:15:30 | |
The best engineer was hired to mill each of the 25,000 parts | 0:15:33 | 0:15:39 | |
to exacting tolerances. | 0:15:39 | 0:15:41 | |
It wasn't going to come cheap. | 0:15:41 | 0:15:43 | |
But if there was ever an era for extraordinary projects, | 0:15:48 | 0:15:53 | |
Babbage and Lovelace were in it. | 0:15:53 | 0:15:54 | |
Brunel was engineering the Great Eastern steamship. | 0:15:58 | 0:16:02 | |
Wheatstone had proposed the world's first telegraph system. | 0:16:03 | 0:16:07 | |
Darwin was transforming our understanding of how we had evolved. | 0:16:07 | 0:16:13 | |
And Faraday, Babbage's close friend, | 0:16:13 | 0:16:16 | |
was revealing the secrets of electricity. | 0:16:16 | 0:16:19 | |
Britain celebrated inventiveness. | 0:16:23 | 0:16:25 | |
But all of a sudden, | 0:16:28 | 0:16:30 | |
Babbage shelved his idea of a grand mechanical calculator. | 0:16:30 | 0:16:34 | |
Here at Royal Holloway, engineer Doron Swade | 0:16:38 | 0:16:42 | |
thinks he knows the reason for Babbage's change of heart. | 0:16:42 | 0:16:46 | |
Why did Babbage drop the idea of the difference engine, then? | 0:16:47 | 0:16:50 | |
The simple answer is, he had a better idea. | 0:16:50 | 0:16:53 | |
But the circumstances are rather curious. | 0:16:53 | 0:16:55 | |
He had a dispute which was unresolved with his engineer, | 0:16:55 | 0:16:58 | |
Joseph Clement, and by law in those days, | 0:16:58 | 0:17:00 | |
the engineer, or the toolmaker, owned the drawings. | 0:17:00 | 0:17:04 | |
The drawings belonged to him. | 0:17:04 | 0:17:06 | |
So Babbage could not recover the drawings, so there was an | 0:17:06 | 0:17:08 | |
enforced gap in his progression of his difference engine designs. | 0:17:08 | 0:17:12 | |
He was left without the drawings. He couldn't work on them. | 0:17:12 | 0:17:14 | |
Without his drawings, he then began to go back to the first principles | 0:17:14 | 0:17:17 | |
and say, well, what was he trying to do here? | 0:17:17 | 0:17:19 | |
And in the course of those reflections, he had the second idea | 0:17:19 | 0:17:22 | |
which is an engine that would vastly supersede in aspiration | 0:17:22 | 0:17:26 | |
and capability, and that was the analytical engine. | 0:17:26 | 0:17:29 | |
Babbage's new idea was audacious - | 0:17:32 | 0:17:37 | |
the most complicated machine ever conceived. | 0:17:37 | 0:17:41 | |
He called it the analytical engine, and it would define Ada's legacy. | 0:17:42 | 0:17:48 | |
So I've had a little look at the plans for the analytical engine. | 0:17:52 | 0:17:55 | |
And the first thing that really strikes you, especially | 0:17:55 | 0:17:57 | |
in comparison to the difference engine, is just the size of it. | 0:17:57 | 0:18:01 | |
I mean, this thing is vast. | 0:18:01 | 0:18:02 | |
It is enormous and probably one of the plans you might have | 0:18:02 | 0:18:05 | |
looked at is plan 25 from 1840. | 0:18:05 | 0:18:08 | |
This is the culmination of a major piece of work, | 0:18:08 | 0:18:12 | |
done from about 1834 onwards, and this is where he tried | 0:18:12 | 0:18:15 | |
to present to the world the overall conception of what he was about. | 0:18:15 | 0:18:18 | |
So this drawing is deeply, deeply significant. | 0:18:18 | 0:18:20 | |
In it, it shows a machine that is 15 foot high, | 0:18:20 | 0:18:23 | |
six foot in diameter, the main thing that did all the processing, | 0:18:23 | 0:18:27 | |
and then a store, a memory as we would now call it, | 0:18:27 | 0:18:30 | |
extending almost indefinitely. | 0:18:30 | 0:18:32 | |
Now, his entry-level machine... HANNAH LAUGHS | 0:18:32 | 0:18:34 | |
had 100 what we would call registers, | 0:18:34 | 0:18:36 | |
what he called variables - 100 of those. | 0:18:36 | 0:18:39 | |
Now, a machine with 100 variables would be 45 foot long | 0:18:39 | 0:18:43 | |
and 15 foot high, but he spoke of machines ten times bigger. | 0:18:43 | 0:18:46 | |
He spoke of machines with 1,000 variables. | 0:18:46 | 0:18:49 | |
Now, a machine with 1,000 variables | 0:18:49 | 0:18:51 | |
would be five times the complete length of this. | 0:18:51 | 0:18:54 | |
-That's 90 feet, roughly, from the end to here... -Vast. | 0:18:54 | 0:18:57 | |
Five times that would be... | 0:18:57 | 0:18:59 | |
The entry-level machine would be 45 foot long, which is from | 0:18:59 | 0:19:03 | |
more or less where that stand is to the beginning of the red steps. | 0:19:03 | 0:19:07 | |
Absolutely extraordinary. | 0:19:07 | 0:19:08 | |
-So you are talking about a monster. -Yes. | 0:19:08 | 0:19:11 | |
The analytical engine was so huge, | 0:19:12 | 0:19:15 | |
Babbage designed it to be driven by steam. | 0:19:15 | 0:19:19 | |
But what made it superior to the difference engine | 0:19:20 | 0:19:23 | |
wasn't its size, but a small, ingenious detail. | 0:19:23 | 0:19:27 | |
The other thing I noticed when looking at the plans - | 0:19:27 | 0:19:30 | |
and you have to correct me if I'm wrong here - | 0:19:30 | 0:19:33 | |
but something I thought was kind of extraordinary about these plans was, | 0:19:33 | 0:19:36 | |
in all of the vastness of this machine, | 0:19:36 | 0:19:41 | |
there's one thing that really stands out | 0:19:41 | 0:19:44 | |
that makes it a computer, really. | 0:19:44 | 0:19:46 | |
So I had my colleagues print up a sort of mock-up version of this | 0:19:46 | 0:19:50 | |
and I was wondering if you could explain it for us. | 0:19:50 | 0:19:52 | |
-The conditional arm. -Yes. | 0:19:52 | 0:19:54 | |
But this illustrates the principle of conditional branching. | 0:19:54 | 0:19:57 | |
It sounds a complex thing - if/then. | 0:19:57 | 0:19:58 | |
If this is true, do this. If it's not true, do something else. | 0:19:58 | 0:20:01 | |
So there's a branch. You can take one or another course of action. | 0:20:01 | 0:20:04 | |
-It's making a decision, it is a decision. -Absolutely. | 0:20:04 | 0:20:07 | |
So it can root its way through, if you like, a decision space. | 0:20:07 | 0:20:10 | |
So the idea is that this stud or dowel moves forward | 0:20:10 | 0:20:16 | |
and interrogates the space, says, "Is there anything in that space?" | 0:20:16 | 0:20:19 | |
So it moves forward. | 0:20:19 | 0:20:20 | |
-If this stud, the slug, is absent, nothing happens. -Mm-hm. | 0:20:20 | 0:20:24 | |
It stops short and nothing happens. | 0:20:24 | 0:20:25 | |
If this dowel is present, | 0:20:25 | 0:20:27 | |
then that dowel moving forward will activate this lever. | 0:20:27 | 0:20:30 | |
So whether or not this is present, | 0:20:30 | 0:20:32 | |
it will or will not activate that lever. | 0:20:32 | 0:20:34 | |
Now, this is terribly important for, | 0:20:34 | 0:20:36 | |
one is a general principle of computing that it can do branching. | 0:20:36 | 0:20:39 | |
-That still exists today. -Absolutely, absolutely. | 0:20:39 | 0:20:42 | |
So if you did, for example, ten divided by three. | 0:20:42 | 0:20:45 | |
It would go ten, seven, | 0:20:45 | 0:20:47 | |
-four, one, minus two. -Absolutely. | 0:20:47 | 0:20:50 | |
And then the next time that thing said, "Have you gone negative?", | 0:20:50 | 0:20:53 | |
it would say, "Oops" and activate something that would multiply by ten | 0:20:53 | 0:20:56 | |
-and do the whole thing. -Amazing. -This is a revolutionary machine | 0:20:56 | 0:20:59 | |
in so far as it embodies almost all the logical principles | 0:20:59 | 0:21:03 | |
of a modern, digital, electronic computer which is completely... | 0:21:03 | 0:21:06 | |
Something in 1840, it's astonishing. | 0:21:06 | 0:21:08 | |
Babbage's plans for a steam-driven computer | 0:21:12 | 0:21:16 | |
went far beyond the comprehension of his contemporaries. | 0:21:16 | 0:21:20 | |
He dreamt that one day, banks of such engines would industrialise | 0:21:26 | 0:21:31 | |
the production of faultless mathematical tables, | 0:21:31 | 0:21:35 | |
calculated from any number of different equations. | 0:21:35 | 0:21:39 | |
It fired the imagination of his young prodigy - Ada Lovelace. | 0:21:49 | 0:21:54 | |
She threw herself into understanding the complexities of the machine | 0:21:55 | 0:22:00 | |
and eventually began to realise even more than Babbage himself | 0:22:00 | 0:22:05 | |
the full extent of what the analytical engine | 0:22:05 | 0:22:08 | |
could actually think about. | 0:22:08 | 0:22:10 | |
The mechanics - the hardware - were only half the story. | 0:22:13 | 0:22:18 | |
The computer needed software | 0:22:21 | 0:22:23 | |
if it were to be versatile enough to calculate any type of equation. | 0:22:23 | 0:22:28 | |
And it was here that Lovelace would reveal her genius. | 0:22:30 | 0:22:34 | |
Graphic novelist Sydney Padua is somewhat of an accidental expert | 0:22:47 | 0:22:52 | |
when it comes to Babbage and Lovelace. | 0:22:52 | 0:22:54 | |
What got you into Ada Lovelace in the first place? | 0:22:57 | 0:23:01 | |
It was a complete accident. | 0:23:01 | 0:23:03 | |
I did a very short biographical comic | 0:23:03 | 0:23:05 | |
and just doing that little bio of, you know, | 0:23:05 | 0:23:09 | |
four pages or three pages or whatever, I became completely | 0:23:09 | 0:23:12 | |
mesmerised by this person and the machinery and the period. | 0:23:12 | 0:23:16 | |
The contrast was so violent and exciting, | 0:23:16 | 0:23:20 | |
and also they were just wonderful personalities. | 0:23:20 | 0:23:22 | |
I mean, I just really liked them as people. | 0:23:22 | 0:23:26 | |
Her character, did it complement Babbage? | 0:23:26 | 0:23:29 | |
I mean, in a sense they were very similar people, you know, | 0:23:29 | 0:23:32 | |
-they were quite literal-minded, they were very... -Headstrong. | 0:23:32 | 0:23:35 | |
Headstrong, stubborn, independent, they knew what they wanted. | 0:23:35 | 0:23:39 | |
She liked to pursue her obsessions. | 0:23:39 | 0:23:42 | |
When she really wanted to find something out, | 0:23:42 | 0:23:44 | |
she wouldn't rest until she got to the bottom of it. | 0:23:44 | 0:23:47 | |
-Let me see your drawing. -There you go. | 0:23:47 | 0:23:49 | |
HANNAH LAUGHS | 0:23:49 | 0:23:51 | |
I love it. She's not exactly ladylike in that one. | 0:23:51 | 0:23:54 | |
Why is she wearing trousers? | 0:23:54 | 0:23:55 | |
You can't wear skirts in the engines. | 0:23:55 | 0:23:57 | |
-I mean... -That'll be completely impractical. | 0:23:57 | 0:23:59 | |
It's a very serious hazard there. | 0:23:59 | 0:24:02 | |
Not one for hanging around, | 0:24:07 | 0:24:09 | |
Ada went on a tour of the cotton mills of the north of England | 0:24:09 | 0:24:13 | |
immediately after Babbage showed her the plans. | 0:24:13 | 0:24:16 | |
She came to see this... | 0:24:19 | 0:24:20 | |
..the Jacquard loom. | 0:24:22 | 0:24:24 | |
A state-of-the-art device that automated the weaving | 0:24:26 | 0:24:30 | |
of patterned silk. | 0:24:30 | 0:24:31 | |
Babbage had an idea to repurpose the technology | 0:24:33 | 0:24:37 | |
to instruct his new analytical engine. | 0:24:37 | 0:24:39 | |
I'll show you how it works. If you come through this way. | 0:24:45 | 0:24:48 | |
May like to stand over there, get a good view. | 0:24:48 | 0:24:51 | |
Now, very simply, the Jacquard is up the top | 0:24:51 | 0:24:54 | |
and it's selecting which strings to lift up. | 0:24:54 | 0:24:58 | |
So when you press the treadle, you'll hear a clunk up the top | 0:24:58 | 0:25:02 | |
but you'll see these strings lift up. | 0:25:02 | 0:25:04 | |
OK. | 0:25:04 | 0:25:06 | |
So you can see the design building up and we've now got a leaf there. | 0:25:26 | 0:25:30 | |
-Actually relatively quick. -Yeah. -Quicker than I was expecting. | 0:25:30 | 0:25:34 | |
The Jacquard mechanism meant complicated patterns | 0:25:36 | 0:25:40 | |
could be manufactured by unskilled workers, | 0:25:40 | 0:25:44 | |
the loom being controlled by a series of punch cards. | 0:25:44 | 0:25:49 | |
The punch card goes on top and each of these lines up with a little pin. | 0:25:49 | 0:25:55 | |
A hole, the pin just goes right through. | 0:25:55 | 0:25:57 | |
-No hole, the pin is pushed. -OK. | 0:25:57 | 0:26:00 | |
So if you push it down then you'll see, | 0:26:00 | 0:26:03 | |
according to the pattern on the cards, | 0:26:03 | 0:26:05 | |
some of the little levers will go in, some won't. | 0:26:05 | 0:26:08 | |
So now suddenly, whatever was on the card | 0:26:09 | 0:26:12 | |
-has been translated into these hooks moving up and down. -Yeah. | 0:26:12 | 0:26:15 | |
So that difference then - hole, no hole - | 0:26:15 | 0:26:18 | |
is the thing that causes something to happen back here. | 0:26:18 | 0:26:21 | |
Yeah. It's a kind of binary. | 0:26:21 | 0:26:23 | |
This was the height of technology in a fast modernising world. | 0:26:26 | 0:26:31 | |
What do you think people were making of these machines at that time? | 0:26:33 | 0:26:36 | |
-How do they feel about them? -Erm... | 0:26:36 | 0:26:38 | |
I think a lot of people found them quite unsettling, | 0:26:38 | 0:26:40 | |
if you kind of read period descriptions of it, you know, | 0:26:40 | 0:26:44 | |
they sound a bit nervous about it. | 0:26:44 | 0:26:46 | |
Where might this lead? | 0:26:46 | 0:26:47 | |
You know, this is where you start seeing people comparing humans | 0:26:47 | 0:26:50 | |
to automata. | 0:26:50 | 0:26:52 | |
It does everything automatically, it turns automatically, | 0:26:52 | 0:26:54 | |
it selects all the threads automatically. | 0:26:54 | 0:26:56 | |
-Almost like it's making decisions. -Yeah, exactly. | 0:26:56 | 0:26:59 | |
I mean, the machine is literally selecting the threads. | 0:26:59 | 0:27:02 | |
The automation of skilled labour was controversial. | 0:27:05 | 0:27:09 | |
A group of textile workers known as Luddites | 0:27:09 | 0:27:13 | |
protested that the technology would steal their jobs. | 0:27:13 | 0:27:17 | |
Ironically, Ada's father, Lord Byron, | 0:27:17 | 0:27:20 | |
was a vocal supporter of their movement. | 0:27:20 | 0:27:23 | |
She had no such worries, | 0:27:24 | 0:27:27 | |
but saw how the punch cards could work | 0:27:27 | 0:27:30 | |
with Babbage's new analytical engine. | 0:27:30 | 0:27:34 | |
The punch cards bring in this element of choice, actually. | 0:27:34 | 0:27:38 | |
The power is in whoever programmed the card. | 0:27:40 | 0:27:43 | |
Ada was fascinated by the men making the cards. | 0:27:46 | 0:27:51 | |
They were translating complicated patterns, such as a flower petal, | 0:27:51 | 0:27:55 | |
into a simple language the loom could understand. | 0:27:55 | 0:28:01 | |
Hole, no hole. | 0:28:01 | 0:28:03 | |
The world's first binary machine code. | 0:28:03 | 0:28:06 | |
She later wrote, | 0:28:11 | 0:28:13 | |
"We may say most aptly that the analytical engine | 0:28:13 | 0:28:17 | |
"weaves algebraic patterns | 0:28:17 | 0:28:19 | |
"just as the Jacquard loom weaves flowers and leaves." | 0:28:19 | 0:28:23 | |
Her enforced scientific upbringing was paying dividends. | 0:28:29 | 0:28:33 | |
If Ada's early education was driven, sometimes cruelly, | 0:28:35 | 0:28:39 | |
by her mother's wishes to purge her of her father's poetical madness, | 0:28:39 | 0:28:44 | |
then Ada's twenties were fired by mathematical ambition. | 0:28:44 | 0:28:49 | |
She once told her mother that she wanted to compensate | 0:28:49 | 0:28:52 | |
for Byron's misguided genius. | 0:28:52 | 0:28:55 | |
In fact, she said, | 0:28:55 | 0:28:57 | |
"If he has transmitted to me any portion of his genius, | 0:28:57 | 0:29:01 | |
"then I will use it to bring out great truths and principles." | 0:29:01 | 0:29:05 | |
So over the next ten years, | 0:29:08 | 0:29:11 | |
as well as getting married and having three children, | 0:29:11 | 0:29:14 | |
she used her intellect to absorb and uncover the maths needed | 0:29:14 | 0:29:19 | |
to demonstrate the abilities of the analytical engine. | 0:29:19 | 0:29:23 | |
She also started to grasp what Babbage's engine | 0:29:24 | 0:29:28 | |
might be truly capable of. | 0:29:28 | 0:29:30 | |
The problem was, her relationship with Babbage was not equal. | 0:29:31 | 0:29:36 | |
He was the lecturer and she the student. | 0:29:36 | 0:29:39 | |
Then, in 1842, she got a chance to turn the tables. | 0:29:40 | 0:29:45 | |
Babbage was woefully inadequate at promoting his machine, | 0:29:46 | 0:29:51 | |
and, in fact, much of what we know about the analytical engine | 0:29:51 | 0:29:54 | |
comes from this key book. | 0:29:54 | 0:29:56 | |
It started with Ada's translations of the writings | 0:29:56 | 0:30:00 | |
of an Italian military engineer | 0:30:00 | 0:30:02 | |
after he attended one of Babbage's rare lectures | 0:30:02 | 0:30:06 | |
and it's entitled Article XXIX. | 0:30:06 | 0:30:10 | |
"Sketch of the analytical engine invented by Charles Babbage Esquire, | 0:30:10 | 0:30:14 | |
"by L F Menabrea of Turin, Officer of the Military Engineers." | 0:30:14 | 0:30:19 | |
Luigi Menabrea's notes were impressively detailed, | 0:30:22 | 0:30:27 | |
but, like Babbage, he limited the capabilities of the engine | 0:30:27 | 0:30:31 | |
only to mathematics, making for a tough read. | 0:30:31 | 0:30:35 | |
It must have driven her mad. | 0:30:37 | 0:30:39 | |
She knew the engine way better than this Luigi guy | 0:30:39 | 0:30:43 | |
and yet here she was, having to churn it out like a secretary. | 0:30:43 | 0:30:46 | |
"Now, to conceive how these operations may be | 0:30:46 | 0:30:49 | |
"reproduced by a machine, | 0:30:49 | 0:30:50 | |
"suppose the latter to have three dials designated as A, B, C | 0:30:50 | 0:30:53 | |
"on each of which are traced, say a thousand divisions, | 0:30:53 | 0:30:55 | |
"by way of example, over which a needle shall pass." | 0:30:55 | 0:30:58 | |
Babbage suggested to Ada that this might be a wasted opportunity | 0:30:58 | 0:31:02 | |
and that she should add some of her own thoughts | 0:31:02 | 0:31:04 | |
to accompany the translation. | 0:31:04 | 0:31:07 | |
She went at it, in her words, "like a devil possessed." | 0:31:07 | 0:31:11 | |
Day and night, Ada toiled. | 0:31:14 | 0:31:17 | |
For nine months, she formulated her thoughts | 0:31:19 | 0:31:21 | |
on not so much how the analytical engine worked, | 0:31:21 | 0:31:25 | |
but rather the computational possibilities | 0:31:25 | 0:31:28 | |
of such a powerful machine. | 0:31:28 | 0:31:30 | |
Ada's notes ended up being twice the length of the original | 0:31:37 | 0:31:40 | |
and there are even some moments | 0:31:40 | 0:31:42 | |
where she seems to be addressing Babbage directly. | 0:31:42 | 0:31:45 | |
She talks about the use of the punch cards and even gives some examples | 0:31:45 | 0:31:49 | |
of configurations. And here, she even writes a program | 0:31:49 | 0:31:54 | |
for how to create Bernoulli numbers. | 0:31:54 | 0:31:57 | |
Now, Bernoulli numbers are a sequence of numbers | 0:31:57 | 0:31:59 | |
that are important in mathematics, but what Ada's done is written | 0:31:59 | 0:32:03 | |
almost a recipe for how to make these numbers. | 0:32:03 | 0:32:07 | |
A series of step-by-step instructions | 0:32:07 | 0:32:10 | |
that can be read by the engine. | 0:32:10 | 0:32:11 | |
At the age of 27, Lovelace had articulated the language | 0:32:14 | 0:32:19 | |
that could construct the machine to weave her algebraic patterns. | 0:32:19 | 0:32:23 | |
I suppose it's a bit controversial to say exactly where | 0:32:27 | 0:32:31 | |
the balance of credit lies between Ada and Babbage for this program. | 0:32:31 | 0:32:35 | |
Ultimately, it was Babbage's machine, | 0:32:35 | 0:32:37 | |
so he must have known how the program worked. | 0:32:37 | 0:32:41 | |
But what you can't argue with is that this book makes Ada | 0:32:41 | 0:32:45 | |
the world's first published computer programmer in 1843. | 0:32:45 | 0:32:52 | |
But, for me, it's not where her real contribution lies. | 0:32:52 | 0:32:56 | |
Her notes show Ada was understanding | 0:33:05 | 0:33:08 | |
how to unlock the full potential of a computing machine. | 0:33:08 | 0:33:13 | |
Mathematicians see the world in a very particular way. | 0:33:17 | 0:33:20 | |
As much as you can appreciate a day like this, | 0:33:20 | 0:33:23 | |
you also see the mathematical patterns everywhere around you. | 0:33:23 | 0:33:27 | |
Everything from the movement of the sun in the sky | 0:33:27 | 0:33:30 | |
to the surface tension in the ripples on the water | 0:33:30 | 0:33:33 | |
and the fractal nature of the trees. | 0:33:33 | 0:33:36 | |
And Ada, as a mathematician, would have been exactly the same. | 0:33:36 | 0:33:40 | |
But it's not just in the natural world. | 0:33:40 | 0:33:42 | |
If she was listening to music, she would have heard the harmonics | 0:33:42 | 0:33:46 | |
and thought about the mathematical patterns that underpin | 0:33:46 | 0:33:49 | |
the way that the notes are created. | 0:33:49 | 0:33:51 | |
She realised because Babbage's machine could manipulate numbers | 0:33:53 | 0:33:58 | |
and the world is made of numbers, | 0:33:58 | 0:34:01 | |
the analytical engine could manipulate anything. | 0:34:01 | 0:34:04 | |
Ada had this leap of imagination that saw the machine | 0:34:11 | 0:34:15 | |
as way beyond just a calculator. | 0:34:15 | 0:34:18 | |
In her notes she writes, "The engine might compose elaborate | 0:34:18 | 0:34:22 | |
"and scientific music of any degree of complexity or extent." | 0:34:22 | 0:34:28 | |
She envisages the analytical engine as way more than Babbage, | 0:34:28 | 0:34:34 | |
who essentially just saw it as an enormous mechanical number-cruncher. | 0:34:34 | 0:34:39 | |
Where Babbage just saw numbers... | 0:34:47 | 0:34:50 | |
..she also saw music. | 0:34:52 | 0:34:54 | |
For her, the analytical engine was a tool to investigate unseen worlds. | 0:35:02 | 0:35:08 | |
The mathematics that underpin us all. | 0:35:10 | 0:35:13 | |
She knew it had the potential to change the world. | 0:35:15 | 0:35:21 | |
She wrote, "A new and powerful language is developed | 0:35:25 | 0:35:30 | |
"for the future use of analysis." | 0:35:30 | 0:35:33 | |
Ada had voiced the aspirations and possibilities of computing. | 0:35:34 | 0:35:38 | |
Babbage was astounded by her vision. | 0:35:40 | 0:35:43 | |
"The more I read your notes, the more surprised I am | 0:35:43 | 0:35:47 | |
"and regret not having earlier explored | 0:35:47 | 0:35:50 | |
"so rich a vein of the noblest metal." | 0:35:50 | 0:35:53 | |
Babbage wrote a letter to Michael Faraday in which he describes her | 0:35:56 | 0:36:01 | |
as "that enchantress who's thrown her magical spell | 0:36:01 | 0:36:05 | |
"over the most abstract of sciences | 0:36:05 | 0:36:08 | |
"and has grasped it with a force few masculine intellects | 0:36:08 | 0:36:12 | |
"could have exerted over it." | 0:36:12 | 0:36:15 | |
To understand how she was able to make this leap of thought, | 0:36:15 | 0:36:19 | |
it's important to remember the inventiveness of the time | 0:36:19 | 0:36:22 | |
that she lived in | 0:36:22 | 0:36:24 | |
and also who her father was. | 0:36:24 | 0:36:26 | |
Ada had creativity in her blood and was educated in science. | 0:36:28 | 0:36:33 | |
She understood that the numbers on the engine could be replaced | 0:36:33 | 0:36:37 | |
with symbols and represent something other than just quantities. | 0:36:37 | 0:36:42 | |
She was on the brink of a new age of discovery. | 0:36:42 | 0:36:45 | |
But that's not how it turned out. | 0:36:48 | 0:36:51 | |
So what went wrong? | 0:36:51 | 0:36:53 | |
VOICES CLAMOUR | 0:36:53 | 0:36:57 | |
To really prove the concept of a computerised world, | 0:36:58 | 0:37:02 | |
money needed to be raised to build the analytical engine, | 0:37:02 | 0:37:06 | |
but that wasn't going to be easy with Babbage in control. | 0:37:06 | 0:37:10 | |
He'd already been given a considerable sum | 0:37:10 | 0:37:13 | |
of government money to build his previous machine | 0:37:13 | 0:37:17 | |
and yet he delivered no engine, | 0:37:17 | 0:37:19 | |
nor any change from the £17,000 that they'd given him, | 0:37:19 | 0:37:23 | |
roughly the cost of two Royal Navy warships at the time. | 0:37:23 | 0:37:28 | |
VOICES CLAMOUR | 0:37:28 | 0:37:32 | |
There was much disquiet in parliament | 0:37:32 | 0:37:34 | |
over the apparent waste of government money. | 0:37:34 | 0:37:37 | |
None of this was helped by Babbage's irascible personality. | 0:37:41 | 0:37:45 | |
He could be a really difficult man and was constantly getting | 0:37:45 | 0:37:49 | |
into arguments with politicians over money. | 0:37:49 | 0:37:52 | |
After one particularly ferocious row with the Prime Minister at the time, | 0:37:52 | 0:37:56 | |
Robert Peel, Peel made his thoughts known in a letter. | 0:37:56 | 0:38:00 | |
"What shall we do to get rid of Mr Babbage and his calculating machine? | 0:38:00 | 0:38:05 | |
"It would be worthless as far as science is concerned." | 0:38:05 | 0:38:09 | |
With Babbage at the helm, | 0:38:09 | 0:38:11 | |
it looked like the analytical engine was dead in the water. | 0:38:11 | 0:38:15 | |
VOICES CLAMOUR | 0:38:15 | 0:38:19 | |
And then up stepped Lady Lovelace. | 0:38:21 | 0:38:24 | |
BELLS CHIME | 0:38:24 | 0:38:27 | |
Ada had a plan to get the analytical engine funded. | 0:38:38 | 0:38:42 | |
She knew that she was famous, eloquent, | 0:38:44 | 0:38:47 | |
frighteningly bright and the only person in the world | 0:38:47 | 0:38:51 | |
that had recognised the full potential of the engine, | 0:38:51 | 0:38:55 | |
not just for science but for the Empire. | 0:38:55 | 0:38:57 | |
Her proposal to Babbage was going to be a sensitive subject. | 0:38:59 | 0:39:04 | |
In a letter dated 14th August, 1843, | 0:39:04 | 0:39:08 | |
after a few platitudes, she broached it. | 0:39:08 | 0:39:11 | |
"I must now come to a practical question in respecting the future. | 0:39:11 | 0:39:16 | |
"Would there be any chance of you allowing myself | 0:39:16 | 0:39:19 | |
"to conduct the business for you, | 0:39:19 | 0:39:21 | |
"your own undivided energies being devoted to | 0:39:21 | 0:39:24 | |
"the execution of the work?" | 0:39:24 | 0:39:26 | |
Basically, you stick to building the thing | 0:39:26 | 0:39:30 | |
because you're a liability when it comes to getting it made. | 0:39:30 | 0:39:33 | |
"You will wonder over this last query, | 0:39:33 | 0:39:36 | |
"but I strongly advise you not to reject it." | 0:39:36 | 0:39:39 | |
Her somewhat presumptuous tone reflects the passion | 0:39:44 | 0:39:48 | |
she felt for the engine. | 0:39:48 | 0:39:49 | |
Writing her notes had revealed the possibilities | 0:39:51 | 0:39:54 | |
of a wondrous future, | 0:39:54 | 0:39:57 | |
one she was desperate to bring to life. | 0:39:57 | 0:39:59 | |
But it appears that Ada had crossed a line with Babbage. | 0:40:04 | 0:40:07 | |
He refused all of her conditions and any relinquishment of control. | 0:40:07 | 0:40:13 | |
He said no. | 0:40:13 | 0:40:15 | |
It's not clear why her friend and mentor turned his back on her. | 0:40:22 | 0:40:26 | |
But I suspect she understood. | 0:40:27 | 0:40:29 | |
She'd chosen to make her name in science... | 0:40:31 | 0:40:34 | |
..traditionally an all-male domain. | 0:40:35 | 0:40:37 | |
Even her tutor, Augustus De Morgan, | 0:40:40 | 0:40:42 | |
impressed as he was by Ada's ability, thought that she would | 0:40:42 | 0:40:46 | |
fatigue herself with a struggle of mind and body. | 0:40:46 | 0:40:50 | |
It's likely that Babbage assumed that if he couldn't raise the money, | 0:41:12 | 0:41:16 | |
then Lovelace certainly couldn't. | 0:41:16 | 0:41:18 | |
Women in Victorian society were not seen as equals. | 0:41:20 | 0:41:25 | |
With her scientific ambitions in jeopardy, | 0:41:30 | 0:41:33 | |
she came here and started gambling. | 0:41:33 | 0:41:36 | |
It raises the intriguing possibility that she was trying to raise money | 0:41:40 | 0:41:45 | |
for her beloved analytical engine. | 0:41:45 | 0:41:47 | |
I don't think that Ada had gone completely bonkers just yet anyway. | 0:41:50 | 0:41:54 | |
Instead, she was thinking about the gambling | 0:41:54 | 0:41:57 | |
from a mathematical perspective in the way that she always did. | 0:41:57 | 0:42:01 | |
Now, if you look at gambling mathematically, | 0:42:01 | 0:42:03 | |
suddenly you don't really care about the reality of the situation, | 0:42:03 | 0:42:06 | |
the noise of the hooves or the emotion of placing a bet itself. | 0:42:06 | 0:42:10 | |
Instead, it's as though you're just thinking about numbers | 0:42:10 | 0:42:13 | |
on a page in a kind of dispassionate way, almost. | 0:42:13 | 0:42:17 | |
-TANNOY: -So, nine runners. | 0:42:17 | 0:42:20 | |
And the latest betting, Secret Missile gets 4/1. | 0:42:20 | 0:42:24 | |
Logic over emotion. | 0:42:25 | 0:42:28 | |
Exactly how Ada had been trained. | 0:42:28 | 0:42:31 | |
She knew even the smallest miscalculations | 0:42:34 | 0:42:38 | |
by the bookmakers could be exploited. | 0:42:38 | 0:42:41 | |
She was gambling that her maths was better than theirs. | 0:42:47 | 0:42:51 | |
Biographer Ben Woolley has researched | 0:42:58 | 0:43:01 | |
this particularly shady part of Lovelace's life. | 0:43:01 | 0:43:04 | |
-What are your odds? -8/11. -8/11. -Yeah. | 0:43:07 | 0:43:09 | |
So that means if you put, well, | 0:43:09 | 0:43:12 | |
if you put a fiver on, you're going to be getting... | 0:43:12 | 0:43:16 | |
£8.64. | 0:43:16 | 0:43:18 | |
-Christophermarlowe, Christophermarlowe, I think. -Hello. | 0:43:21 | 0:43:23 | |
Can I have a fiver...? Ooh, no, fiver on Christophermarlowe. | 0:43:23 | 0:43:26 | |
£5 win, number one, Christophermarlowe. | 0:43:26 | 0:43:28 | |
There's your ticket, darling. Thank you very much. | 0:43:28 | 0:43:31 | |
What does he even look like? | 0:43:33 | 0:43:35 | |
This is exactly what you shouldn't do | 0:43:35 | 0:43:37 | |
if you're a mathematician, is just pick a horse based on its name. | 0:43:37 | 0:43:40 | |
Yeah, I know. Well, that's the element of risk. | 0:43:40 | 0:43:42 | |
Well, it's good fun anyway. | 0:43:42 | 0:43:44 | |
So, why was she gambling in the first place? | 0:43:55 | 0:43:58 | |
Why did she become so attracted to the horse races at all? | 0:43:58 | 0:44:01 | |
Well, one speculation, one possibility is the reason | 0:44:01 | 0:44:04 | |
that she got into gambling in this big way was because | 0:44:04 | 0:44:07 | |
she wanted to raise the money for the analytical engine. | 0:44:07 | 0:44:10 | |
Since Babbage had come up with this amazing machine, | 0:44:10 | 0:44:14 | |
this sort of precursor of the modern computer, | 0:44:14 | 0:44:16 | |
this mechanical computer, and she'd written these notes about it, | 0:44:16 | 0:44:19 | |
she'd become very personally involved in the whole thing | 0:44:19 | 0:44:22 | |
and perhaps she saw this as an opportunity of raising | 0:44:22 | 0:44:26 | |
the enormous amount of money needed to, you know, bring it in | 0:44:26 | 0:44:29 | |
to fruition, to actually build the thing. | 0:44:29 | 0:44:32 | |
Was she doing this gambling alone? | 0:44:44 | 0:44:46 | |
Er, no, she had a little coterie of men surrounding her | 0:44:46 | 0:44:49 | |
which effectively acted as a gambling syndicate. | 0:44:49 | 0:44:52 | |
People like, erm... Well, there was a chap named Nightingale, | 0:44:52 | 0:44:55 | |
almost certainly Florence Nightingale's father. | 0:44:55 | 0:44:58 | |
Although it's all fairly secretive, the names, | 0:44:58 | 0:45:01 | |
it's not entirely clear who they are. | 0:45:01 | 0:45:03 | |
There's another one called John Crosse. | 0:45:04 | 0:45:06 | |
Is that the one who became her lover? | 0:45:06 | 0:45:08 | |
Yes, John Crosse was the son of Andrew Crosse, | 0:45:08 | 0:45:10 | |
who was this famous electrical scientist, | 0:45:10 | 0:45:13 | |
some speculate inspiring the figure of Frankenstein. | 0:45:13 | 0:45:18 | |
They provided the money | 0:45:18 | 0:45:19 | |
because she didn't have access to the money herself. | 0:45:19 | 0:45:22 | |
But she was quite a wealthy woman, though, wasn't she? | 0:45:22 | 0:45:24 | |
She wasn't a wealthy woman in the sense | 0:45:24 | 0:45:26 | |
that she didn't have control over her own money. | 0:45:26 | 0:45:28 | |
Her mother had arranged that she didn't get her hands | 0:45:28 | 0:45:32 | |
basically on the family fortune. | 0:45:32 | 0:45:34 | |
The success of the analytical engine might have been resting | 0:45:34 | 0:45:38 | |
on the results of these horse races. | 0:45:38 | 0:45:40 | |
-Go on, Christophermarlowe! -He's so chilled out. | 0:45:42 | 0:45:45 | |
Yes! | 0:45:50 | 0:45:51 | |
-You can have my £8.64. -£8.64. | 0:45:51 | 0:45:56 | |
Made a profit of £3.64. | 0:45:56 | 0:45:59 | |
That was a risk worth taking. | 0:45:59 | 0:46:01 | |
OK, go and pick up the winnings. The vast winnings. | 0:46:11 | 0:46:15 | |
All £3.64 of it. | 0:46:15 | 0:46:17 | |
Can I have my winnings, please? | 0:46:20 | 0:46:22 | |
-Five... -Thank you. | 0:46:22 | 0:46:25 | |
-It's the big bucks. -It's the big bucks. What a win. | 0:46:25 | 0:46:28 | |
There's a bonus there, look, because I haven't got any silver. | 0:46:28 | 0:46:31 | |
-Aw, you're too kind to me. -Well done. Thank you very much. | 0:46:31 | 0:46:33 | |
Thank you very much. We got a bit lucky there. | 0:46:33 | 0:46:35 | |
-Yeah, we've even got some extra. -£9. | 0:46:35 | 0:46:38 | |
But how did Ada do? | 0:46:38 | 0:46:39 | |
Ada did very badly indeed. | 0:46:39 | 0:46:41 | |
She had this series of bets that she put on in the spring season of 1851 | 0:46:41 | 0:46:47 | |
right here on that turf and it went very, very wrong. | 0:46:47 | 0:46:51 | |
It resulted in her owing £3,200. | 0:46:51 | 0:46:54 | |
Which in the 1850s is a lot of money, isn't it? | 0:46:54 | 0:46:57 | |
Yeah, a lot of money. | 0:46:57 | 0:46:58 | |
It's probably around half a million pounds. | 0:46:58 | 0:47:00 | |
Especially to someone who only had pocket money, really, to go on. | 0:47:00 | 0:47:03 | |
Yeah, she ended up owing thousands of pounds | 0:47:03 | 0:47:06 | |
to some pretty dodgy characters, some of whom were, you know, | 0:47:06 | 0:47:09 | |
trying to extort money out of her by suggesting that they were | 0:47:09 | 0:47:13 | |
revealing what she'd done with her gambling and so on, | 0:47:13 | 0:47:16 | |
who had to be paid off. It got very sticky for her by that stage, | 0:47:16 | 0:47:19 | |
but she seemed to raise some of her own contributions to this | 0:47:19 | 0:47:23 | |
by pawning the family's jewels for up to 800 quid. | 0:47:23 | 0:47:26 | |
So then, do you think that Ada had just lost the system? | 0:47:26 | 0:47:30 | |
Do you think that she'd allowed herself to be carried away | 0:47:30 | 0:47:33 | |
-with the emotion of the event? -Well, I think, yes, | 0:47:33 | 0:47:36 | |
it was that sort of perilous combination of mathematics | 0:47:36 | 0:47:39 | |
and recklessness, of risk and maths, | 0:47:39 | 0:47:42 | |
the hope that she could use sort of the rational methods | 0:47:42 | 0:47:45 | |
that she'd learned through her mathematics | 0:47:45 | 0:47:48 | |
in this kind of risky environment and it came off very badly for her. | 0:47:48 | 0:47:53 | |
Ada's syndicate had trusted in her mathematical prowess | 0:47:56 | 0:48:01 | |
but they hadn't counted on | 0:48:01 | 0:48:02 | |
the emergence of an old Byron family vice... | 0:48:02 | 0:48:06 | |
..a love of taking risks. | 0:48:07 | 0:48:10 | |
Her demise was swift. | 0:48:19 | 0:48:22 | |
She'd worked hard all her life, | 0:48:22 | 0:48:25 | |
a woman in a man's world. | 0:48:25 | 0:48:27 | |
Now, just ten years after writing her manifesto | 0:48:28 | 0:48:31 | |
for a computer revolution, her dream was slipping away. | 0:48:31 | 0:48:36 | |
"My kingdom is not to be a temporal one, thank heavens! | 0:48:45 | 0:48:49 | |
"Labour is its own reward. | 0:48:49 | 0:48:52 | |
"And it is perhaps well for the world that my line and ambition | 0:48:52 | 0:48:56 | |
"is over the spiritual | 0:48:56 | 0:48:58 | |
"and not that I've taken it into my head or lived in times | 0:48:58 | 0:49:02 | |
"and circumstances calculated to put it into my head | 0:49:02 | 0:49:06 | |
"to deal with the sword, poison and intrigue | 0:49:06 | 0:49:09 | |
"in the place of X, Y and Z. | 0:49:09 | 0:49:11 | |
"That brain of mine is something more than mortal, as time will show. | 0:49:13 | 0:49:18 | |
"The devil's in it if I've not sucked out | 0:49:18 | 0:49:20 | |
"some of the lifeblood from the mysteries of this universe. | 0:49:20 | 0:49:23 | |
"No-one knows what almost awful energy lies yet undeveloped | 0:49:23 | 0:49:27 | |
"in that wiry little system of mine. | 0:49:27 | 0:49:30 | |
"I say awful because you can imagine what it might be | 0:49:30 | 0:49:34 | |
"under different circumstances. | 0:49:34 | 0:49:37 | |
"Your fairy forever, AAL." | 0:49:37 | 0:49:40 | |
Ada remained supremely confident of her ability. | 0:49:45 | 0:49:50 | |
However, the one thing Lady Lovelace lacked was time. | 0:49:50 | 0:49:54 | |
In 1852, Ada fell gravely ill. | 0:50:01 | 0:50:05 | |
She took to her bed in this very room. | 0:50:06 | 0:50:11 | |
As she lay dying, painfully and slowly, | 0:50:14 | 0:50:19 | |
from what we now know was almost certainly a cancer of the womb, | 0:50:19 | 0:50:23 | |
she confessed to her mother about her gambling debts. | 0:50:23 | 0:50:27 | |
Now, when she finally did die, Ada was just 36 years old, | 0:50:27 | 0:50:33 | |
exactly the same age her father had been at his death. | 0:50:33 | 0:50:37 | |
Her life had been full of regret. | 0:50:44 | 0:50:47 | |
Her determination to rise from the shadows of her father | 0:50:47 | 0:50:51 | |
had seemingly come to little. | 0:50:51 | 0:50:53 | |
Her extraordinary manifesto was largely forgotten. | 0:50:55 | 0:50:59 | |
Even Babbage rarely talked about it. | 0:50:59 | 0:51:03 | |
History was shutting her out. | 0:51:03 | 0:51:06 | |
There's one final twist in Ada's story | 0:51:11 | 0:51:14 | |
which I think is particularly telling, | 0:51:14 | 0:51:16 | |
her last wish before she died. | 0:51:16 | 0:51:19 | |
Against her mother's will, she insisted on being taken | 0:51:26 | 0:51:30 | |
miles away from her home. | 0:51:30 | 0:51:32 | |
Her wish was to be buried in this tomb alongside the man | 0:51:41 | 0:51:46 | |
she hadn't seen since she was a baby, her father, Lord Byron. | 0:51:46 | 0:51:50 | |
Cheating husband, poetical genius | 0:51:50 | 0:51:54 | |
and supporter of the Luddites. | 0:51:54 | 0:51:57 | |
Now, no-one really knows why she made this decision. | 0:51:57 | 0:52:00 | |
Perhaps she was trying to exert some control in death | 0:52:00 | 0:52:03 | |
that she lacked in life. | 0:52:03 | 0:52:05 | |
Perhaps it was a final attempt at a lasting legacy. | 0:52:05 | 0:52:09 | |
But to my mind at least, Ada, the daughter of art and science, | 0:52:09 | 0:52:14 | |
who struggled so much with the coldness of her mother in life, | 0:52:14 | 0:52:18 | |
longed for the warmth of her father. | 0:52:18 | 0:52:21 | |
"Is thy face like thy mother's, my fair child | 0:52:23 | 0:52:28 | |
"Ada! Sole daughter of my house and heart? | 0:52:28 | 0:52:31 | |
"When last I saw thy young blue eyes they smiled | 0:52:31 | 0:52:36 | |
"And then we parted - not as now we part | 0:52:36 | 0:52:40 | |
"But with a hope." | 0:52:40 | 0:52:42 | |
Her coffin, adorned with a crown, was laid beside Lord Byron. | 0:52:44 | 0:52:50 | |
Ada Lovelace returned to the shadow of her more famous father, | 0:52:50 | 0:52:55 | |
her contribution to science buried. | 0:52:55 | 0:52:58 | |
It took over a century for her genius to be resurrected. | 0:53:06 | 0:53:10 | |
It was the height of World War II, | 0:53:13 | 0:53:15 | |
a time of national peril. | 0:53:15 | 0:53:17 | |
Here at Bletchley Park, amidst great secrecy, | 0:53:19 | 0:53:22 | |
a team of scientists were experimenting | 0:53:22 | 0:53:25 | |
with thinking machines. | 0:53:25 | 0:53:27 | |
One key pioneer took a keen interest in Ada's ideas of computer science - | 0:53:31 | 0:53:37 | |
Alan Turing, the brains behind this machine. | 0:53:37 | 0:53:40 | |
Now, it had taken over a century, | 0:53:40 | 0:53:43 | |
but this was finally an example of mechanised thought in action. | 0:53:43 | 0:53:47 | |
Turing was fascinated by how a machine could be made to understand | 0:53:49 | 0:53:54 | |
and act upon instructions, | 0:53:54 | 0:53:57 | |
just as Ada had been 100 years earlier. | 0:53:57 | 0:54:01 | |
MECHANICAL WHIRRING | 0:54:01 | 0:54:03 | |
He designed this particular machine, | 0:54:07 | 0:54:09 | |
codenamed the Bombe, | 0:54:09 | 0:54:11 | |
and instructed it to run through combinations | 0:54:11 | 0:54:14 | |
and look for patterns in data. | 0:54:14 | 0:54:16 | |
It would prove vital in cracking encrypted messages | 0:54:19 | 0:54:22 | |
of Hitler's armed forces. | 0:54:22 | 0:54:24 | |
Turing had had the same idea as Ada, | 0:54:28 | 0:54:32 | |
the ability to interchange numbers and symbols in a computerised world. | 0:54:32 | 0:54:37 | |
In many ways, Alan Turing and Ada Lovelace were kindred spirits. | 0:54:40 | 0:54:45 | |
Both saw further than any of their peers | 0:54:48 | 0:54:51 | |
as to the true versatility of computers. | 0:54:51 | 0:54:55 | |
Turing did his early work without having seen Ada's notes, | 0:55:01 | 0:55:05 | |
but he came across them in the 1940s. | 0:55:05 | 0:55:08 | |
Now, that must have been an amazing moment, | 0:55:08 | 0:55:12 | |
almost like a dialogue between two like-minded people across history. | 0:55:12 | 0:55:17 | |
Now, Turing wrote about Ada's work and her far-reaching ideas | 0:55:17 | 0:55:21 | |
and it's thanks to him | 0:55:21 | 0:55:23 | |
that she's become known as a pioneer of computers. | 0:55:23 | 0:55:27 | |
So how should we remember Lady Ada Lovelace? | 0:55:35 | 0:55:38 | |
This was somebody with enormous talent, | 0:55:41 | 0:55:43 | |
in an extraordinary environment, | 0:55:43 | 0:55:45 | |
hugely privileged, with a background that made her | 0:55:45 | 0:55:48 | |
a celebrity from birth, struggling for balance. | 0:55:48 | 0:55:50 | |
How could she make meaning of her life? And the meaning she sought | 0:55:50 | 0:55:54 | |
was to be a savant, to be somebody who could interpret the world. | 0:55:54 | 0:55:57 | |
And I suppose in that sense | 0:55:57 | 0:55:58 | |
-her accomplishments are undeniable, right? -Yes, yes. | 0:55:58 | 0:56:02 | |
She wrote about the engine, what it signified | 0:56:02 | 0:56:05 | |
and what it meant in ways that Babbage never did. | 0:56:05 | 0:56:07 | |
In all of his 11 volumes of published writings, | 0:56:07 | 0:56:09 | |
nowhere does he write about the aspirations | 0:56:09 | 0:56:12 | |
and potential of computing in the way that Lovelace does. | 0:56:12 | 0:56:15 | |
And this is not a suggestive hint, | 0:56:15 | 0:56:17 | |
this isn't a backwards projection from our own age | 0:56:17 | 0:56:20 | |
onto the blank canvas of the past, | 0:56:20 | 0:56:22 | |
this is Lovelace thumping the table, saying, | 0:56:22 | 0:56:25 | |
"This is what is significant about this machine." | 0:56:25 | 0:56:28 | |
The modern world now teems with computers. They're everywhere, | 0:56:31 | 0:56:36 | |
often hidden as miniaturised microchips. | 0:56:36 | 0:56:39 | |
If we don't take them totally for granted, | 0:56:41 | 0:56:44 | |
we certainly aren't surprised that they can do so much more | 0:56:44 | 0:56:47 | |
than simple number-crunching. | 0:56:47 | 0:56:49 | |
Ada had seen this, the extraordinary flexibility of computers, | 0:56:50 | 0:56:55 | |
nearly 200 years ago. | 0:56:55 | 0:56:57 | |
It would have been quite something, | 0:56:59 | 0:57:01 | |
a Victorian information age with hardware driven by steam | 0:57:01 | 0:57:07 | |
and software with the power to unpick the fabric of reality, | 0:57:07 | 0:57:12 | |
dreamt up by Ada Lovelace. | 0:57:12 | 0:57:14 |