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We are surrounded by order. | 0:00:09 | 0:00:11 | |
Over the last 300 years, | 0:00:13 | 0:00:15 | |
we've developed amazing new ways to harness energy. | 0:00:15 | 0:00:20 | |
We've used this ability to transform our environment. | 0:00:21 | 0:00:25 | |
But all these structures that we see around us are just | 0:00:31 | 0:00:36 | |
one type of visible order that we've created here on planet Earth. | 0:00:36 | 0:00:41 | |
There's another type of invisible order, | 0:00:41 | 0:00:44 | |
every bit as complex that we are only now beginning to understand. | 0:00:44 | 0:00:48 | |
It's something that nature has been harnessing for billions of years. | 0:00:48 | 0:00:53 | |
Something we call information. | 0:00:53 | 0:00:55 | |
The concept of information is a very strange one. | 0:01:03 | 0:01:07 | |
It's actually a very difficult idea to get your head round. | 0:01:07 | 0:01:11 | |
But in the journey to try and understand it, scientists | 0:01:11 | 0:01:15 | |
would discover that information is a fundamental part of our universe. | 0:01:15 | 0:01:20 | |
This film is the story of information. | 0:01:23 | 0:01:27 | |
And the immense power released from manipulating it. | 0:01:27 | 0:01:30 | |
It's the story of how we discovered the power of symbols. | 0:01:34 | 0:01:38 | |
And how writing, codes | 0:01:41 | 0:01:42 | |
and computers would revolutionise our understanding of the universe. | 0:01:42 | 0:01:48 | |
It's the story of how, in a cosmos collapsing into disorder, | 0:01:51 | 0:01:56 | |
information can be used to create order and structure. | 0:01:56 | 0:02:00 | |
At first glance, information appears to be a very straightforward idea. | 0:02:50 | 0:02:56 | |
It exists everywhere in our world. | 0:02:57 | 0:03:00 | |
Our brains are filled with it. | 0:03:00 | 0:03:03 | |
And we constantly exchange it between each other. | 0:03:03 | 0:03:06 | |
But information has been one of the subtlest | 0:03:08 | 0:03:11 | |
and most difficult concepts that science has had to grapple with. | 0:03:11 | 0:03:14 | |
Understanding and harnessing it has been an extremely long | 0:03:16 | 0:03:20 | |
and difficult process. | 0:03:20 | 0:03:22 | |
The power of information would first be glimpsed over 5,000 years ago, | 0:03:24 | 0:03:30 | |
when a revolutionary technology was developed. | 0:03:30 | 0:03:33 | |
One that would set the modern world in motion. | 0:03:33 | 0:03:36 | |
Over the years, mankind has come up with some pretty remarkable stuff. | 0:03:44 | 0:03:49 | |
But of all humanity's inventions, there's one that really stands out. | 0:03:49 | 0:03:55 | |
It's the most transformative, destructive, | 0:03:55 | 0:03:59 | |
creative technology ever conceived. | 0:03:59 | 0:04:02 | |
It is also one of the simplest. | 0:04:02 | 0:04:05 | |
That invention is the written word. | 0:04:05 | 0:04:09 | |
At its heart, writing is all about the transmission | 0:04:12 | 0:04:15 | |
and storage of information. | 0:04:15 | 0:04:17 | |
Words allow ideas to endure through time. | 0:04:31 | 0:04:34 | |
These are some of the earliest texts in existence. | 0:04:36 | 0:04:39 | |
They give us an incredible insight into the development of writing. | 0:04:39 | 0:04:43 | |
I've come to meet one of the few people who can still read them - | 0:04:46 | 0:04:50 | |
Dr Irving Finkel. | 0:04:51 | 0:04:52 | |
We take writing so much for granted these days, | 0:04:54 | 0:04:58 | |
it's easy to forget that it was invented. | 0:04:58 | 0:05:01 | |
It certainly was. | 0:05:01 | 0:05:02 | |
How did it first come about? | 0:05:02 | 0:05:04 | |
The earliest writing that we have is written on clay tablets | 0:05:04 | 0:05:07 | |
and it comes from Iraq, Ancient Mesopotamia. | 0:05:07 | 0:05:11 | |
It comes from the culture of the culture of the Sumerians. | 0:05:11 | 0:05:13 | |
What happened here was that they started off with purely | 0:05:13 | 0:05:17 | |
pictographic signs to express an idea. | 0:05:17 | 0:05:20 | |
This lasted for quite a long time, until it occurred to somebody, | 0:05:20 | 0:05:24 | |
perhaps accidentally, that what you could do is make one of these | 0:05:24 | 0:05:27 | |
graphic symbols on the surface of the clay not for what it | 0:05:27 | 0:05:31 | |
looked like but for the sound it represented. | 0:05:31 | 0:05:37 | |
So not a picture of an object, a picture of a sound? | 0:05:37 | 0:05:40 | |
That's what we always called the giant leap for mankind. | 0:05:40 | 0:05:44 | |
By combining different sounding pictures, | 0:05:48 | 0:05:51 | |
the ancient Mesopotamians could express any idea imaginable. | 0:05:51 | 0:05:56 | |
The essence of their breakthrough was to see, for example, | 0:05:57 | 0:06:00 | |
that a picture of an eye | 0:06:00 | 0:06:02 | |
and a picture of a deer didn't have to mean an eye and a deer. | 0:06:02 | 0:06:07 | |
The pictures could be used simply for the sounds that they made. | 0:06:08 | 0:06:12 | |
In this case, idea. | 0:06:12 | 0:06:14 | |
Once this system was discovered, | 0:06:18 | 0:06:20 | |
it meant anything that could be spoken, even the most strange | 0:06:20 | 0:06:24 | |
or abstract thoughts could be transformed into symbols. | 0:06:24 | 0:06:29 | |
Information could now live outside of the human brain. | 0:06:30 | 0:06:34 | |
This meant it could endure over vast spans of time. | 0:06:35 | 0:06:39 | |
It was an idea that fascinated the ancient Mesopotamians. | 0:06:41 | 0:06:44 | |
This lovely tablet here, this king lived in about 2100 BC. | 0:06:49 | 0:06:56 | |
He buried this in the foundations of his temple as a message | 0:06:56 | 0:06:58 | |
for the future. | 0:06:58 | 0:07:00 | |
This King Ur-Nammu, the powerful male, King of Sumer and Akkad - | 0:07:00 | 0:07:06 | |
that's the south and north part of Ancient Mesopotamia. | 0:07:06 | 0:07:10 | |
Her house - he built for her and he even restored it afterwards. | 0:07:10 | 0:07:14 | |
This is a proud thing. | 0:07:14 | 0:07:16 | |
He wants everybody to know about it | 0:07:16 | 0:07:18 | |
and this is a real message for the future. | 0:07:18 | 0:07:21 | |
What's so remarkable for me | 0:07:21 | 0:07:23 | |
is this is information stored on clay for thousands of years. | 0:07:23 | 0:07:27 | |
-Yes. -Ideas that someone had 4,000 years ago are still there. | 0:07:27 | 0:07:31 | |
You have ideas, you have speech, human hopes, literature, | 0:07:31 | 0:07:36 | |
prayers - all these sorts of outpourings of the human soul | 0:07:36 | 0:07:40 | |
fixed for ever in clay. | 0:07:40 | 0:07:42 | |
By turning sounds into symbols, | 0:07:49 | 0:07:52 | |
the Mesopotamian scribes had discover that information could be | 0:07:52 | 0:07:56 | |
changed very easily from one form to another. | 0:07:56 | 0:08:00 | |
From something that existed as spoken sounds, | 0:08:04 | 0:08:07 | |
to something that existed as symbols on clay tablets. | 0:08:07 | 0:08:11 | |
This was just the beginning. | 0:08:13 | 0:08:15 | |
Humans were yet to realise the true power of symbols. | 0:08:15 | 0:08:19 | |
For 4,000 years, writing was pretty much the only | 0:08:37 | 0:08:42 | |
information technology people used. | 0:08:42 | 0:08:45 | |
But in the 19th century, during the great Industrial Revolution, | 0:08:45 | 0:08:49 | |
things would begin to change. | 0:08:49 | 0:08:51 | |
In the maelstrom of ideas and inventions, | 0:08:53 | 0:08:55 | |
a series of seemingly unconnected technologies would emerge | 0:08:55 | 0:08:59 | |
that all began to hint at the immense power of information. | 0:08:59 | 0:09:04 | |
These technologies would all come from very practical, | 0:09:06 | 0:09:09 | |
very un-theoretical origins. | 0:09:09 | 0:09:12 | |
They would start to reveal that information was a much deeper | 0:09:12 | 0:09:15 | |
and more powerful concept than anyone had realised. | 0:09:15 | 0:09:20 | |
One of the first of a new breed of information technologies would be | 0:09:22 | 0:09:26 | |
developed in the French city of Lyon at the end of the 18th century. | 0:09:26 | 0:09:30 | |
18th-century Lyon was home to some of the best craftsmen in the world. | 0:09:36 | 0:09:40 | |
It was also a place of great opulence, | 0:09:40 | 0:09:43 | |
grandeur and, above all, money. | 0:09:43 | 0:09:46 | |
Thanks to the rich and fashionable aristocrats | 0:09:46 | 0:09:48 | |
and bankers who lived there, | 0:09:48 | 0:09:50 | |
it would become home to the greatest silk-weaving industry in the world. | 0:09:50 | 0:09:55 | |
Almost a third of the city's inhabitants worked in | 0:09:55 | 0:09:57 | |
the silk industry, and it was home to over 14,000 looms. | 0:09:57 | 0:10:02 | |
This is brocade. | 0:10:13 | 0:10:15 | |
The material that made Lyon famous. | 0:10:15 | 0:10:19 | |
It's a beautiful and intricately woven fabric that, | 0:10:19 | 0:10:22 | |
as you might imagine, is incredibly labour intensive to produce. | 0:10:22 | 0:10:26 | |
A two-man team, working flat out for a day, | 0:10:26 | 0:10:30 | |
could at best produce about an inch of this amazing stuff. | 0:10:30 | 0:10:33 | |
The demand for the fine fabrics of Lyon was immense. | 0:10:39 | 0:10:43 | |
But the silk weaving process was painful slow. | 0:10:43 | 0:10:46 | |
But thanks to a soldier and weaver named Joseph Marie Jaquard, | 0:10:49 | 0:10:53 | |
a device will be developed to help speed up weaving. | 0:10:53 | 0:10:57 | |
In the process, it would reveal a fundamental truth about information. | 0:10:57 | 0:11:02 | |
Building on the work of a number of others, in 1804 Jaquard | 0:11:15 | 0:11:20 | |
patented his invention. | 0:11:20 | 0:11:22 | |
At the time, the loom was the most complex mechanism | 0:11:22 | 0:11:26 | |
ever built by humankind | 0:11:26 | 0:11:27 | |
Jaquard's loom was a miracle of ingenuity. | 0:11:37 | 0:11:41 | |
You see, he had designed a single machine, which without any | 0:11:41 | 0:11:44 | |
alteration to its construction - its hardware, to use a modem term - | 0:11:44 | 0:11:49 | |
could be programmed to weave any pattern a designer could think up. | 0:11:49 | 0:11:53 | |
It fact, it could produce a whole range of silk designs | 0:11:53 | 0:11:57 | |
with barely a pause in production. | 0:11:57 | 0:11:59 | |
Jaquard had found the holy grail of weaving. | 0:11:59 | 0:12:03 | |
And the secret was a simple punched card. | 0:12:03 | 0:12:07 | |
The punched card held within it the essence of the designs | 0:12:13 | 0:12:17 | |
that the loom would weave. | 0:12:17 | 0:12:19 | |
When these punched cards were fed into the loom | 0:12:24 | 0:12:27 | |
they would act to lower and lift the relevant threads... | 0:12:27 | 0:12:31 | |
..recreating the pattern in silk. | 0:12:35 | 0:12:38 | |
Any design you could think of could be broken down and translated into | 0:12:44 | 0:12:48 | |
a series of punch cards that could then woven by the loom. | 0:12:48 | 0:12:52 | |
Information was being translated from | 0:12:59 | 0:13:03 | |
picture to punch card to the finished fabric. | 0:13:03 | 0:13:06 | |
It's a machine for weaving textiles, that's its task, | 0:13:11 | 0:13:14 | |
but there is nothing specific about what textile it should weave. | 0:13:14 | 0:13:17 | |
That is contained in the information, | 0:13:17 | 0:13:20 | |
which is encoded on the cards. | 0:13:20 | 0:13:22 | |
So if you like, the cards, programme it, that is to say instruct it | 0:13:22 | 0:13:27 | |
what to do. And this has huge resonances for what came later. | 0:13:27 | 0:13:31 | |
Jaquard's Loom revolutionised the silk industry. | 0:13:33 | 0:13:37 | |
But at its heart was something deeper, something more universal | 0:13:37 | 0:13:40 | |
than its industrial origins and its ability to speed up weaving. | 0:13:40 | 0:13:45 | |
The loom revealed the power of abstracting information. | 0:13:45 | 0:13:50 | |
It showed you can take the essence of something, extract the vital | 0:13:50 | 0:13:54 | |
information and represent it in another form. | 0:13:54 | 0:13:57 | |
Writing had revealed you could use a set of symbols to capture | 0:14:03 | 0:14:07 | |
spoken language. | 0:14:07 | 0:14:09 | |
Now, Jaquard had shown that with just two symbols - | 0:14:09 | 0:14:13 | |
a hole or a blank space, it was possible to capture | 0:14:13 | 0:14:17 | |
the information in any picture imaginable. | 0:14:17 | 0:14:20 | |
This is a portrait of Jaquard that's been woven in silk. | 0:14:27 | 0:14:31 | |
It's spectacularly detailed with hundreds of thousands of stitches. | 0:14:31 | 0:14:36 | |
Yet all the information you need to capture this life-like image can be | 0:14:36 | 0:14:41 | |
stored in a series of punched cards. 24,000 of them to be precise. | 0:14:41 | 0:14:48 | |
This picture is a fantastic example of a really far-reaching idea. | 0:15:03 | 0:15:08 | |
That the simplest of systems - | 0:15:09 | 0:15:11 | |
in this case, cards with a series of holes punched in them - | 0:15:11 | 0:15:15 | |
can capture the essence of something much, much more complicated. | 0:15:15 | 0:15:22 | |
If 24,000 punched cards could create an image like this... | 0:15:24 | 0:15:30 | |
What would happen if you had 24 million? | 0:15:33 | 0:15:36 | |
Or 24 trillion cards? | 0:15:39 | 0:15:42 | |
What new types of complex information | 0:15:49 | 0:15:52 | |
might be able to be captured and represented? | 0:15:52 | 0:15:55 | |
Jacquard had stumbled on an incredibly deep | 0:16:02 | 0:16:05 | |
and far-reaching idea. | 0:16:05 | 0:16:07 | |
As long as you have enough of them, simple symbols can be used | 0:16:13 | 0:16:17 | |
to describe anything in the entire universe. | 0:16:17 | 0:16:21 | |
Translating information into abstract symbols | 0:16:39 | 0:16:42 | |
to store and process, had proven to be an extremely powerful idea. | 0:16:42 | 0:16:47 | |
But the way information was sent, | 0:16:48 | 0:16:51 | |
the way it was communicated, hadn't changed for thousands of years. | 0:16:51 | 0:16:55 | |
The world before telecommunications technology | 0:16:56 | 0:16:58 | |
was a very different place, | 0:16:58 | 0:17:00 | |
cos you could only send messages as fast as you could send objects. | 0:17:00 | 0:17:03 | |
You'd write a message on a piece of paper or something like that | 0:17:03 | 0:17:06 | |
and then you'd give it to somebody who could run very fast, | 0:17:06 | 0:17:09 | |
or could go on horse or on a ship very fast. | 0:17:09 | 0:17:11 | |
The point was you could only send information as fast as | 0:17:11 | 0:17:13 | |
you could send matter. | 0:17:13 | 0:17:14 | |
But in the 19th century, the speed at which information | 0:17:17 | 0:17:20 | |
could be sent would dramatically increase, | 0:17:20 | 0:17:23 | |
thanks to an incredible new information-carrying medium - | 0:17:23 | 0:17:28 | |
electricity. | 0:17:28 | 0:17:31 | |
Very soon after electricity was discovered, | 0:17:35 | 0:17:38 | |
excitement grew about its potential as a medium to transmit messages. | 0:17:38 | 0:17:43 | |
It seemed that if it could be controlled and summoned at will, | 0:17:43 | 0:17:47 | |
electricity would be the perfect medium for sending information. | 0:17:47 | 0:17:52 | |
Electricity seemed to offer many advantages | 0:17:53 | 0:17:56 | |
as a way of sending messages. | 0:17:56 | 0:17:59 | |
It was sent down a wire which means it could pretty much go anywhere. | 0:17:59 | 0:18:03 | |
It wasn't affected by bad weather conditions | 0:18:03 | 0:18:06 | |
and most importantly, it could move very quickly. | 0:18:06 | 0:18:10 | |
But there was one big problem facing those in the early 19th century | 0:18:10 | 0:18:14 | |
who wanted to use electricity as a means to communicate. | 0:18:14 | 0:18:17 | |
How could such a simple signal be used to send complex messages? | 0:18:17 | 0:18:22 | |
Here in the Science Museum archive, | 0:18:25 | 0:18:28 | |
they have one of the most impressive collections | 0:18:28 | 0:18:31 | |
of early electronic communications technology in the world. | 0:18:31 | 0:18:35 | |
Here are just some of the early devices | 0:18:40 | 0:18:42 | |
designed to send signals using electricity. | 0:18:42 | 0:18:45 | |
This one's particularly fun. | 0:18:45 | 0:18:47 | |
It was developed in 1809 in Bavaria by Samuel Soemmering. | 0:18:47 | 0:18:51 | |
So if the sender wants to send letter A, | 0:18:51 | 0:18:53 | |
he sends a current through that corresponding wire. | 0:18:53 | 0:18:57 | |
At the receiver's end is a tank full of liquid | 0:18:57 | 0:19:00 | |
and electric current forces a chemical reaction | 0:19:00 | 0:19:03 | |
causing bubbles to appear above the corresponding letter A. | 0:19:03 | 0:19:07 | |
The whole process is ingenious, if a little laborious. | 0:19:07 | 0:19:10 | |
But what's really fun is that the sender has to let the receiver know | 0:19:10 | 0:19:14 | |
he's about to send a signal. | 0:19:14 | 0:19:16 | |
He does that by sending extra electric currents | 0:19:16 | 0:19:19 | |
so that more bubbles appear, | 0:19:19 | 0:19:21 | |
forcing an arm upwards which releases a ball... | 0:19:21 | 0:19:24 | |
BELL RINGS | 0:19:24 | 0:19:26 | |
..and triggers a bell. | 0:19:26 | 0:19:28 | |
As you can imagine, this wouldn't be the quickest of systems. | 0:19:34 | 0:19:38 | |
After Soemmering, all sorts of approaches were taken | 0:19:38 | 0:19:41 | |
in trying to crack the problem of sending messages using electricity. | 0:19:41 | 0:19:46 | |
But they all suffered from having over-complex codes. | 0:19:47 | 0:19:51 | |
These devices, each cunning and innovative in its own way, | 0:19:53 | 0:19:57 | |
were all destined for the scrap heap of history. | 0:19:57 | 0:20:00 | |
And that's because in the 1840s, they were superseded by a way | 0:20:00 | 0:20:04 | |
of sending signals that still endures to this day. | 0:20:04 | 0:20:08 | |
It was developed by artist and entrepreneur Samuel Morse, | 0:20:08 | 0:20:13 | |
together with his colleague Alfred Vale. | 0:20:13 | 0:20:16 | |
What was so special about their system wasn't the technology | 0:20:16 | 0:20:19 | |
that was used to carry their messages, | 0:20:19 | 0:20:22 | |
but the incredibly simple and effective code | 0:20:22 | 0:20:26 | |
they used to send them. | 0:20:26 | 0:20:27 | |
Just like Jacquard's punch cards, the genius of Morse and Vale's code | 0:20:36 | 0:20:41 | |
lay in its simplicity. | 0:20:41 | 0:20:43 | |
Using a collection of short and long pulses of electrical current, | 0:20:45 | 0:20:49 | |
they could spell out the letters of the alphabet. | 0:20:49 | 0:20:52 | |
Vale suggested that the most frequent letters | 0:20:55 | 0:20:57 | |
in the English language get the shortest code. | 0:20:57 | 0:21:00 | |
So an E is sent like this. | 0:21:03 | 0:21:06 | |
While an X is sent like this. | 0:21:08 | 0:21:11 | |
This means that messages can be sent quickly and efficiently. | 0:21:12 | 0:21:16 | |
Figuring out the code part of it, the software if you like, | 0:21:18 | 0:21:20 | |
was as complicated as figuring out the hardware side of things | 0:21:20 | 0:21:24 | |
with the batteries and the wires, and together they made an entirely new | 0:21:24 | 0:21:28 | |
technology which is the electric telegraph. | 0:21:28 | 0:21:30 | |
The telegraph had once again revealed the power | 0:21:33 | 0:21:35 | |
of translating information from one medium to another. | 0:21:35 | 0:21:39 | |
Information had at first been fixed in human brains. | 0:21:41 | 0:21:46 | |
Then held in symbols in clay and paper and punched cards. | 0:21:46 | 0:21:51 | |
Now, thanks to Morse, information could reside in electricity | 0:21:53 | 0:21:58 | |
and this made it unimaginably lighter and quicker | 0:21:58 | 0:22:02 | |
than it had every been before. | 0:22:02 | 0:22:03 | |
In just a few short years, the telegraph network | 0:22:08 | 0:22:11 | |
would spread around the entire globe, | 0:22:11 | 0:22:13 | |
laying the foundations of the modern information age. | 0:22:13 | 0:22:17 | |
Between them, Jacquard and Morse had found new novel ways to manipulate, | 0:22:26 | 0:22:32 | |
process and transmit information. | 0:22:32 | 0:22:35 | |
What had begun with the invention of writing thousands of years ago | 0:22:35 | 0:22:39 | |
had culminated in the binding of the entire planet | 0:22:39 | 0:22:43 | |
in a lattice of wires carrying highly abstracted information | 0:22:43 | 0:22:47 | |
at incredible speeds. | 0:22:47 | 0:22:49 | |
For people at the end of the 19th century | 0:22:49 | 0:22:52 | |
it may have seemed that humanity's ability to manipulate | 0:22:52 | 0:22:56 | |
and transmit information was at its zenith. | 0:22:56 | 0:22:59 | |
They couldn't have been more wrong. | 0:22:59 | 0:23:02 | |
Information would reveal itself to be a more important, | 0:23:02 | 0:23:05 | |
more fundamental concept than anyone could have imagined. | 0:23:05 | 0:23:10 | |
It would soon become apparent that information | 0:23:13 | 0:23:15 | |
wasn't just about human communication. | 0:23:15 | 0:23:19 | |
It was a much further-reaching idea than that. | 0:23:19 | 0:23:22 | |
The true nature of information would first be hinted at | 0:23:23 | 0:23:27 | |
thanks to a strange problem, | 0:23:27 | 0:23:29 | |
one dreamed up by a brilliant Scottish physicist | 0:23:29 | 0:23:32 | |
who appeared to be thinking about something else entirely. | 0:23:32 | 0:23:35 | |
James Clerk Maxwell was one of the great minds of the 19th century. | 0:23:51 | 0:23:56 | |
Among his many interests, Maxwell became fascinated | 0:24:00 | 0:24:03 | |
by the science of thermodynamics - | 0:24:03 | 0:24:07 | |
the study of heat and motion that had sprung up | 0:24:07 | 0:24:09 | |
with the birth of the steam engine. | 0:24:09 | 0:24:11 | |
Maxwell was one of the first to understand | 0:24:18 | 0:24:20 | |
that heat is really just the motion of molecules. | 0:24:20 | 0:24:24 | |
The hotter something is, the faster its molecules are moving. | 0:24:24 | 0:24:28 | |
This idea would lead Maxwell to dream up a very bizarre | 0:24:31 | 0:24:35 | |
thought experiment in which information played a crucial role. | 0:24:35 | 0:24:39 | |
Maxwell theorised that simply by knowing what's going on | 0:24:46 | 0:24:51 | |
inside a box full of air, it'll be possible to make one half hotter | 0:24:51 | 0:24:56 | |
and the other half colder. | 0:24:56 | 0:24:59 | |
Think of it like building an oven next to a fridge | 0:24:59 | 0:25:02 | |
without using any energy. | 0:25:02 | 0:25:04 | |
It sounds crazy, but Maxwell's argument was extremely persuasive. | 0:25:16 | 0:25:21 | |
It goes like this. | 0:25:21 | 0:25:22 | |
Imagine a small demon perched on to of the box, | 0:25:22 | 0:25:26 | |
who has such excellent eye sight that he could observe accurately | 0:25:26 | 0:25:30 | |
the motion of all the molecules of air inside the box. | 0:25:30 | 0:25:34 | |
Now, crucially, | 0:25:50 | 0:25:52 | |
he's in control of a partition that divides the box into two halves. | 0:25:52 | 0:25:57 | |
Every time he sees a fast-moving molecule approaching the partition | 0:25:57 | 0:26:01 | |
from the right-hand side he opens it up, allowing it through to the left. | 0:26:01 | 0:26:07 | |
And every time he sees a slow moving molecule approaching the partition | 0:26:07 | 0:26:10 | |
from the left, he opens it up, allowing the molecule | 0:26:10 | 0:26:14 | |
through to the right. | 0:26:14 | 0:26:15 | |
Now, you can see what's going to happen. | 0:26:27 | 0:26:30 | |
Over time, all the fast-moving hot molecules will accumulate | 0:26:30 | 0:26:35 | |
on the left-hand side of the box, | 0:26:35 | 0:26:37 | |
and all the slow-moving cold molecules on the right. | 0:26:37 | 0:26:40 | |
Crucially, the demon has done this sorting with nothing more | 0:26:41 | 0:26:46 | |
than information about the motion of the molecules. | 0:26:46 | 0:26:49 | |
Maxwell's demon seemed to say that just by having information | 0:26:53 | 0:26:57 | |
about the molecules, you could create order from disorder. | 0:26:57 | 0:27:02 | |
This idea flew in the face of 19th-century thinking. | 0:27:03 | 0:27:07 | |
The science of thermodynamics had shown very clearly | 0:27:12 | 0:27:15 | |
that over time, the entropy of the universe, its disorder, | 0:27:15 | 0:27:20 | |
would always increase. Things were destined to fall apart. | 0:27:20 | 0:27:25 | |
But the demon seemed to suggest that you could put things back together | 0:27:31 | 0:27:35 | |
without using any energy at all. | 0:27:35 | 0:27:38 | |
Just by using information, you could create order. | 0:27:38 | 0:27:43 | |
It would prove to be a fiendishly difficult problem to solve, | 0:27:47 | 0:27:51 | |
not least because the brilliant Maxwell had come up with an idea | 0:27:51 | 0:27:55 | |
far, far ahead of its time. | 0:27:55 | 0:27:57 | |
It's amazing, the impact that he had on physics, | 0:28:01 | 0:28:04 | |
and that he came up with this very intricate concept | 0:28:04 | 0:28:08 | |
and that he already in some sense pre-anticipated the notion | 0:28:08 | 0:28:14 | |
of information. It wasn't actually there at the time, | 0:28:14 | 0:28:17 | |
there was no such thing. | 0:28:17 | 0:28:19 | |
I think this idea was astonishing. | 0:28:22 | 0:28:24 | |
He didn't really have a resolution, he raised it as a concern | 0:28:24 | 0:28:28 | |
and he left it open. | 0:28:28 | 0:28:29 | |
And I think what followed is more or less 120 years | 0:28:30 | 0:28:34 | |
of extremely exciting debate and development | 0:28:34 | 0:28:38 | |
to try to resolve and address this concern. | 0:28:38 | 0:28:42 | |
So what was going on with Maxwell's demon? | 0:28:53 | 0:28:57 | |
It may sound far-fetched and fanciful, | 0:28:57 | 0:28:59 | |
but imagine the possibilities if we could build a machine | 0:28:59 | 0:29:03 | |
in the real world that could mimic the actions of the Demon. | 0:29:03 | 0:29:07 | |
I could use it to heat a cup of coffee, or run an engine, | 0:29:07 | 0:29:12 | |
or power a city all using nothing more than pure information. | 0:29:12 | 0:29:18 | |
It's as though we could create order in the universe | 0:29:18 | 0:29:20 | |
without expending any energy. | 0:29:20 | 0:29:22 | |
Scientists felt intuitively that it had to be wrong. | 0:29:23 | 0:29:27 | |
The problem was it would take over 100 years to solve the problem. | 0:29:27 | 0:29:32 | |
While Maxwell's riddle rumbled on, | 0:29:39 | 0:29:41 | |
something quite unexpected was to happen, | 0:29:41 | 0:29:43 | |
a new device was dreamt up that could perform quite incredible | 0:29:43 | 0:29:48 | |
and complex tasks simply by processing information. | 0:29:48 | 0:29:52 | |
What's more, this was a device that could actually be built. | 0:29:52 | 0:29:56 | |
The machine would come to be known as the computer, and the idea | 0:29:56 | 0:30:00 | |
behind it came from a quite remarkable and visionary scientist. | 0:30:00 | 0:30:05 | |
Alan Turing was the first person to conceive of the modern computer, | 0:30:18 | 0:30:23 | |
a machine whose sole function is to manipulate and process information. | 0:30:23 | 0:30:29 | |
A machine that harnesses the power of abstract symbols. | 0:30:29 | 0:30:33 | |
A machine that enables almost every aspect of the modern world. | 0:30:33 | 0:30:37 | |
Turing's incredible idea would first appear in a now-legendary | 0:30:40 | 0:30:44 | |
mathematical paper published in 1936. | 0:30:44 | 0:30:48 | |
In his brief life, Alan Turing brought fresh, groundbreaking ideas | 0:30:51 | 0:30:56 | |
to a whole range of topics, | 0:30:56 | 0:30:59 | |
from cryptography through to biology. | 0:30:59 | 0:31:02 | |
The sheer breadth of his thinking is breathtaking. | 0:31:02 | 0:31:06 | |
But for most scientists, it's the concepts he outlined | 0:31:07 | 0:31:11 | |
in these 36 pages that mark him out as truly special. | 0:31:11 | 0:31:18 | |
It's this work that makes him worthy of the title "Genius". | 0:31:18 | 0:31:23 | |
Published when Turing was just 24 years old, | 0:31:26 | 0:31:29 | |
On Computable Numbers | 0:31:29 | 0:31:31 | |
With An Application To The Entscheidungsproblem | 0:31:31 | 0:31:33 | |
tackles the foundations of mathematical logic. | 0:31:33 | 0:31:35 | |
What's amazing about it is that the idea for the modern computer | 0:31:39 | 0:31:44 | |
emerged simply as a consequence of Turing's brilliant reasoning. | 0:31:44 | 0:31:49 | |
He was thinking about something else entirely, | 0:31:49 | 0:31:51 | |
he wasn't, you know, sitting there thinking, | 0:31:51 | 0:31:53 | |
"I want to try and invent the modern computer," he was thinking | 0:31:53 | 0:31:56 | |
about this very abstract problem in the foundations of mathematics. | 0:31:56 | 0:32:00 | |
And the computer kind fell sideways out of that research, | 0:32:00 | 0:32:03 | |
completely unexpectedly. | 0:32:03 | 0:32:05 | |
I mean, nobody could have guessed that Turing's very abstract, | 0:32:05 | 0:32:10 | |
abstruse research in the foundations of mathematics could produce | 0:32:10 | 0:32:13 | |
anything of any practical value whatsoever, let alone a machine that | 0:32:13 | 0:32:18 | |
was going to change the lives of, you know, nearly everyone on the planet. | 0:32:18 | 0:32:21 | |
Turing had set out to understand if certain processes | 0:32:24 | 0:32:27 | |
in mathematics could be done simply by following a set of rules. | 0:32:27 | 0:32:32 | |
And this is what would get him thinking about computers. | 0:32:32 | 0:32:36 | |
In 1936, the word "computer" had a very different meaning | 0:32:39 | 0:32:44 | |
to what it does today. | 0:32:44 | 0:32:45 | |
It meant a real person with a pencil and paper, | 0:32:45 | 0:32:49 | |
engaged in arithmetical calculations. | 0:32:49 | 0:32:51 | |
Banks hired many such people, often women, | 0:32:52 | 0:32:56 | |
to work out interest payments. | 0:32:56 | 0:32:58 | |
The Inland Revenue employed them to work out how much tax to charge. | 0:32:58 | 0:33:02 | |
Observatories hired them to calculate navigational data. | 0:33:02 | 0:33:06 | |
Human computers were vital to the modern world, | 0:33:07 | 0:33:11 | |
dealing with the huge amounts of information produced | 0:33:11 | 0:33:14 | |
as science and industry grew ever more complex. | 0:33:14 | 0:33:18 | |
What Turing did in his 1936 paper was ask a simple | 0:33:22 | 0:33:26 | |
but profound question. | 0:33:26 | 0:33:28 | |
"What goes on in the mind of a person carrying out a computation?" | 0:33:28 | 0:33:33 | |
To do this, he first had to discard all the superfluous detail, | 0:33:33 | 0:33:38 | |
so that only the very essence of the process of computation remained. | 0:33:38 | 0:33:43 | |
So, first off went the inkpot. | 0:33:43 | 0:33:46 | |
Then the pen, then the slide-rule. | 0:33:46 | 0:33:49 | |
Then the pencils and the pads of paper. | 0:33:49 | 0:33:51 | |
All these things made it easier, but none of them | 0:33:51 | 0:33:54 | |
were absolutely crucial to the person carrying out the computation. | 0:33:54 | 0:33:59 | |
Now Turing asked, "What goes on in the brain of a human computer?" | 0:34:03 | 0:34:08 | |
It's a vastly complex biological system, | 0:34:08 | 0:34:11 | |
capable of consciousness, thoughts and insights, but to Turing, | 0:34:11 | 0:34:15 | |
none of these was critical to the process of computation either. | 0:34:15 | 0:34:19 | |
Turing realised that to compute something, | 0:34:19 | 0:34:23 | |
a set of rules had to be followed precisely. | 0:34:23 | 0:34:26 | |
That was all. | 0:34:26 | 0:34:28 | |
It takes the higher level intelligence | 0:34:30 | 0:34:32 | |
that was presupposed to be involved in calculation, | 0:34:32 | 0:34:35 | |
which was thinking, and says you can have a mechanical process - | 0:34:35 | 0:34:39 | |
and by mechanical, he means an unthinking process - | 0:34:39 | 0:34:43 | |
to perform the same act. | 0:34:43 | 0:34:44 | |
And therefore eliminates the necessity of human agency, | 0:34:44 | 0:34:48 | |
with all its high-level functions. | 0:34:48 | 0:34:50 | |
And that is what is revolutionary about what he tries to do. | 0:34:50 | 0:34:54 | |
Turing's brilliant mind saw that any calculation had two aspects... | 0:34:57 | 0:35:01 | |
The data, and the instructions for what to do with the data. | 0:35:02 | 0:35:08 | |
And this would be the key to his insight. | 0:35:08 | 0:35:11 | |
Turing had to find a way of getting machines to understand instructions | 0:35:13 | 0:35:17 | |
like "add," "subtract," "multiply," "divide" | 0:35:17 | 0:35:20 | |
and so on, in the same way that humans do. | 0:35:20 | 0:35:24 | |
In other words, he had to find a way of translating instructions | 0:35:24 | 0:35:27 | |
like these into a language that machines could understand. | 0:35:27 | 0:35:31 | |
And with flawless, impeccable logic, Turing did exactly that. | 0:35:31 | 0:35:35 | |
This may look like a random series of ones and zeroes, | 0:35:41 | 0:35:46 | |
but to a computing machine, it's a set of instructions | 0:35:46 | 0:35:49 | |
that can be read off step by step, | 0:35:49 | 0:35:52 | |
telling the machine to behave in a certain way. | 0:35:52 | 0:35:56 | |
So, while a human computer could look at this symbol | 0:35:56 | 0:35:59 | |
and understand the process that was required, | 0:35:59 | 0:36:01 | |
the computing machine had to have it explained, like this. | 0:36:01 | 0:36:06 | |
This paper tape that Turing envisaged is what | 0:36:08 | 0:36:11 | |
we would now call the memory of the computer. | 0:36:11 | 0:36:14 | |
But Turing didn't stop there. | 0:36:15 | 0:36:17 | |
Turing realised that feeding a machine instructions in this way | 0:36:22 | 0:36:26 | |
had an amazing consequence. | 0:36:26 | 0:36:29 | |
It meant that just one machine is needed to perform almost any task | 0:36:29 | 0:36:33 | |
you can think of. | 0:36:33 | 0:36:35 | |
It's a beautifully simple concept. | 0:36:35 | 0:36:38 | |
In order to get the machine to do something new, all you had to do | 0:36:38 | 0:36:41 | |
was feed it a new set of instructions, new information. | 0:36:41 | 0:36:46 | |
This idea became known as the Universal Turing Machine. | 0:36:47 | 0:36:51 | |
The more you wanted your machine to do, the longer the tape had to be. | 0:36:55 | 0:37:01 | |
Bigger memories could hold complex, multilayered instructions | 0:37:01 | 0:37:05 | |
about how to process and order any kind of information imaginable. | 0:37:05 | 0:37:10 | |
With a big enough memory, | 0:37:14 | 0:37:16 | |
the computer will be capable of an almost limitless number of tasks. | 0:37:16 | 0:37:20 | |
This idea of Turing's, that a multitude of different tasks | 0:37:25 | 0:37:29 | |
can be carried out simply by giving a computing machine | 0:37:29 | 0:37:33 | |
a long sequence of instructions, is his greatest legacy. | 0:37:33 | 0:37:37 | |
Since his paper, Turing's dream has been realised. | 0:37:37 | 0:37:41 | |
So, calculations, making phone calls, | 0:37:41 | 0:37:44 | |
recording moving images, writing letters, listening to music - | 0:37:44 | 0:37:48 | |
none of these require bespoke machines. | 0:37:48 | 0:37:51 | |
They can all be carried out on a single device. | 0:37:51 | 0:37:54 | |
A computing machine. | 0:37:55 | 0:37:57 | |
This phone is a modern incarnation of Turing's amazing idea. | 0:37:58 | 0:38:03 | |
Inside here are many, many instructions. | 0:38:03 | 0:38:06 | |
What we call programmes, or software, or apps, | 0:38:06 | 0:38:09 | |
that are nothing more than a long sequence of numbers | 0:38:09 | 0:38:12 | |
telling the phone what to do. | 0:38:12 | 0:38:15 | |
What's amazing about Turing's idea is its incredible scope. | 0:38:17 | 0:38:22 | |
The sets of instructions that can be fed to a computer | 0:38:22 | 0:38:26 | |
could tell it how to mimic telephones or typewriters. | 0:38:26 | 0:38:30 | |
But they could also describe the rules of nature, | 0:38:30 | 0:38:33 | |
the laws of physics. | 0:38:33 | 0:38:35 | |
The processes of the natural world. | 0:38:35 | 0:38:38 | |
This is a simulation of many millions of particles | 0:38:42 | 0:38:46 | |
behaving like a fluid. | 0:38:46 | 0:38:48 | |
To work out how it flows, | 0:38:48 | 0:38:50 | |
the computer simply follows a set of instructions held in its memory. | 0:38:50 | 0:38:55 | |
This only begins to hint at the power of computing machines. | 0:38:56 | 0:39:00 | |
This is a computer simulation of the large-scale structure | 0:39:09 | 0:39:14 | |
of the entire universe. | 0:39:14 | 0:39:16 | |
And it reveals the true power of Turing's idea. | 0:39:16 | 0:39:20 | |
Turning instructions into symbols that a machine can understand | 0:39:22 | 0:39:26 | |
allows you to recreate not just a simple picture or sound, | 0:39:26 | 0:39:31 | |
but a process, a system, something that is changing and evolving. | 0:39:31 | 0:39:37 | |
By manipulating simple symbols, | 0:39:39 | 0:39:42 | |
computers are capable of capturing the essence, | 0:39:42 | 0:39:45 | |
the order of the natural world itself. | 0:39:45 | 0:39:48 | |
By thinking about how the human brain processes | 0:40:03 | 0:40:06 | |
and computes information, | 0:40:06 | 0:40:09 | |
Alan Turing had had one of the most important ideas of the 20th century. | 0:40:09 | 0:40:13 | |
The power of information was revealing itself. | 0:40:16 | 0:40:20 | |
GARBLED VOICES | 0:40:25 | 0:40:28 | |
It would be very easy to think that after Turing's ideas were made real, | 0:40:34 | 0:40:38 | |
the true power of information would be unleashed. | 0:40:38 | 0:40:42 | |
But Turing was only half the story. | 0:40:42 | 0:40:45 | |
The modern information age would require another idea, | 0:40:46 | 0:40:49 | |
one that would finally pin down the nature of information, | 0:40:49 | 0:40:52 | |
and its relationship to the order and disorder of the universe. | 0:40:52 | 0:40:57 | |
It was an idea that would be dreamt up | 0:40:57 | 0:40:59 | |
by a gifted and eccentric mathematician and engineer. | 0:40:59 | 0:41:03 | |
Claude Shannon was a true maverick, and his desire to tackle | 0:41:12 | 0:41:16 | |
unusual problems would lead to a revolutionary new idea. | 0:41:16 | 0:41:20 | |
One that would uncover the fundamental nature of information, | 0:41:20 | 0:41:25 | |
and the process of communication in all its varied forms. | 0:41:25 | 0:41:29 | |
This is Claude Shannon's paper, | 0:41:31 | 0:41:34 | |
The Mathematical Theory Of Communication. | 0:41:34 | 0:41:37 | |
Now, the title may sound a bit dry, but trust me, | 0:41:37 | 0:41:40 | |
it's one of the most important scientific papers | 0:41:40 | 0:41:43 | |
of the 20th century. Not only did it lay the foundations | 0:41:43 | 0:41:46 | |
for the modern world's communication network, | 0:41:46 | 0:41:49 | |
it also gave us fresh insights into human language, | 0:41:49 | 0:41:53 | |
into things we do intuitively, like speaking and writing. | 0:41:53 | 0:41:58 | |
The paper was published in 1948, | 0:42:03 | 0:42:07 | |
while Shannon was working at the Bell Labs in New Jersey - | 0:42:07 | 0:42:10 | |
the research arm of the vast Bell Telephone Network. | 0:42:10 | 0:42:14 | |
It was an institution famous for its forward-thinking, | 0:42:14 | 0:42:17 | |
relaxed atmosphere. | 0:42:17 | 0:42:20 | |
The mathematicians were free to work on any problem that interested them. | 0:42:20 | 0:42:25 | |
The only thing that the laboratory management required of them | 0:42:25 | 0:42:31 | |
was that they keep an open door, | 0:42:31 | 0:42:33 | |
and if anybody from any other department came with a problem, | 0:42:33 | 0:42:37 | |
that they would at least think about it. | 0:42:37 | 0:42:40 | |
Otherwise they were absolutely free, and the atmosphere was incredible. | 0:42:40 | 0:42:45 | |
People were playing, and encouraged to play. | 0:42:45 | 0:42:49 | |
Hello. I'm Claude Shannon, | 0:42:50 | 0:42:52 | |
a mathematician here at the Bell Telephone Laboratory. | 0:42:52 | 0:42:55 | |
Claude Shannon in particular was given free reign | 0:42:55 | 0:42:58 | |
to do pretty much whatever he wanted. | 0:42:58 | 0:43:00 | |
This is Theseus. | 0:43:00 | 0:43:02 | |
Theseus is an electrically controlled mouse, mouse. | 0:43:02 | 0:43:05 | |
Oh, they treated him as their darling. | 0:43:07 | 0:43:09 | |
I never saw him juggle, but I certainly saw him ride his unicycle. | 0:43:09 | 0:43:14 | |
He brought it to work one day, | 0:43:14 | 0:43:16 | |
and he must have cost Bell Labs | 0:43:16 | 0:43:20 | |
at least a hundred man-hours of time. | 0:43:20 | 0:43:24 | |
But despite the frivolity, | 0:43:28 | 0:43:30 | |
the Bell Telephone Network faced a huge problem. | 0:43:30 | 0:43:34 | |
Every day, they transmitted vast amounts of electronic | 0:43:34 | 0:43:37 | |
information all across the world. | 0:43:37 | 0:43:40 | |
But they had no real idea of how to measure this information properly, | 0:43:40 | 0:43:44 | |
or how to quantify it. | 0:43:44 | 0:43:46 | |
In short, their entire business was built on something | 0:43:49 | 0:43:52 | |
they didn't actually understand. | 0:43:52 | 0:43:54 | |
Amazingly, their superstar employee Claude Shannon | 0:43:56 | 0:44:00 | |
would give them exactly what they needed. | 0:44:00 | 0:44:03 | |
GARBLED VOICES | 0:44:03 | 0:44:07 | |
In this paper, Shannon did something absolutely incredible - | 0:44:11 | 0:44:15 | |
he took the vague and mysterious concept of information | 0:44:15 | 0:44:19 | |
and managed to pin it down. | 0:44:19 | 0:44:21 | |
Now, he didn't do this using some cleverly-worded, | 0:44:21 | 0:44:24 | |
philosophical definition. | 0:44:24 | 0:44:26 | |
He actually found a way to measure | 0:44:26 | 0:44:28 | |
the information contained in a message. | 0:44:28 | 0:44:31 | |
GARBLED VOICES | 0:44:31 | 0:44:34 | |
Amazingly, Shannon realised that the quantity of information | 0:44:36 | 0:44:39 | |
in a message had nothing to do with its meaning. | 0:44:39 | 0:44:42 | |
Instead, he showed it was related solely | 0:44:43 | 0:44:45 | |
to how unusual the message was. | 0:44:45 | 0:44:47 | |
Information is related to unexpectedness. | 0:44:51 | 0:44:54 | |
So news is news because it's unexpected | 0:44:54 | 0:44:57 | |
and the more unexpected it is, the more newsworthy it is. | 0:44:57 | 0:45:00 | |
So if today's news was the same as yesterday's news, | 0:45:00 | 0:45:02 | |
there would be no news at all. | 0:45:02 | 0:45:04 | |
And that information content would be zero. | 0:45:04 | 0:45:07 | |
So suddenly you have a relationship between... | 0:45:07 | 0:45:10 | |
unexpectedness and information. | 0:45:10 | 0:45:15 | |
GARBLED VOICES | 0:45:15 | 0:45:18 | |
But Shannon was to go further | 0:45:18 | 0:45:20 | |
and give information its very own unit of measurement. | 0:45:20 | 0:45:24 | |
GARBLED VOICES | 0:45:25 | 0:45:28 | |
So, how did he do this? | 0:45:30 | 0:45:33 | |
Well, he showed that any message you cared to send | 0:45:33 | 0:45:36 | |
could be translated into binary digits - | 0:45:36 | 0:45:39 | |
a long sequence of ones and zeros. | 0:45:39 | 0:45:42 | |
So a simple greeting like "Hello" could be written like this. | 0:45:42 | 0:45:48 | |
Or...like this. | 0:45:49 | 0:45:52 | |
Just think of this as another way of writing the same message. | 0:45:52 | 0:45:57 | |
ELECTRONIC MUSIC | 0:45:58 | 0:46:01 | |
Shannon realised that transforming information into binary digits | 0:46:03 | 0:46:08 | |
would be an immensely powerful act. | 0:46:08 | 0:46:10 | |
It would make information | 0:46:10 | 0:46:12 | |
manageable, exact, controllable and precise. | 0:46:12 | 0:46:16 | |
In his paper, Shannon showed that a single binary digit - | 0:46:20 | 0:46:24 | |
one of these ones or zeros - is a fundamental unit of information. | 0:46:24 | 0:46:30 | |
Think of it as an atom of information - | 0:46:30 | 0:46:32 | |
the smallest possible piece. | 0:46:32 | 0:46:35 | |
Then, having defined this basic unit, | 0:46:35 | 0:46:38 | |
he even gave us a name for it, one we're all familiar with today. | 0:46:38 | 0:46:42 | |
He used a shortening of the phrase, "binary digit" - | 0:46:42 | 0:46:46 | |
"bit". | 0:46:46 | 0:46:48 | |
The humble bit turned out to be an enormously powerful idea. | 0:46:48 | 0:46:53 | |
The bit is the smallest quantity of information. | 0:46:56 | 0:46:59 | |
It is highly significant because it's the fundamental atom. | 0:46:59 | 0:47:03 | |
It is the smallest unit of information in which | 0:47:03 | 0:47:05 | |
there's sufficient discrimination to communicate anything at all. | 0:47:05 | 0:47:09 | |
The power of the bit lay in its universality. | 0:47:14 | 0:47:18 | |
Any system that has two states, | 0:47:20 | 0:47:22 | |
like a coin with heads or tails, | 0:47:22 | 0:47:25 | |
can carry one bit of information. | 0:47:25 | 0:47:28 | |
One or zero. | 0:47:30 | 0:47:31 | |
Punched or not punched. | 0:47:31 | 0:47:34 | |
On or off. | 0:47:34 | 0:47:35 | |
Stop or go. | 0:47:35 | 0:47:37 | |
All of these systems can store one bit of information. | 0:47:37 | 0:47:42 | |
Thanks to Shannon, | 0:47:45 | 0:47:46 | |
the bit became the common language of all information. | 0:47:46 | 0:47:51 | |
Anything - sounds, pictures, text - can be turned into bits | 0:47:51 | 0:47:56 | |
and transmitted by any system capable of being in just two states. | 0:47:56 | 0:48:02 | |
Shannon had founded a new, far-reaching theory. | 0:48:10 | 0:48:14 | |
The ideas he began to explore would form the cornerstone | 0:48:14 | 0:48:18 | |
of what we now call, "information theory". | 0:48:18 | 0:48:20 | |
He'd taken an abstract concept - information - | 0:48:20 | 0:48:24 | |
and turned it into something tangible. | 0:48:24 | 0:48:27 | |
What had been just a vague notion | 0:48:27 | 0:48:30 | |
was now measurable - something real. | 0:48:30 | 0:48:34 | |
The idea of converting into bits, into making things digital, | 0:48:39 | 0:48:43 | |
would fundamentally transform many aspects of human society. | 0:48:43 | 0:48:47 | |
GARBLED VOICES | 0:48:49 | 0:48:52 | |
But information isn't just something humans create. | 0:48:56 | 0:49:00 | |
We're beginning to understand that this concept lies at the heart, | 0:49:00 | 0:49:03 | |
not only of 21st-century human society, | 0:49:03 | 0:49:07 | |
but also at the heart of the physical world itself. | 0:49:07 | 0:49:10 | |
Every "bit" of information we've ever created, every book, | 0:49:10 | 0:49:16 | |
every film, the entire contents of the internet, | 0:49:16 | 0:49:21 | |
amounts to pretty much nothing | 0:49:21 | 0:49:22 | |
when compared with the information content of nature. | 0:49:22 | 0:49:26 | |
And that's because even the most insignificant event | 0:49:26 | 0:49:30 | |
contains a spectacular amount of information. | 0:49:30 | 0:49:33 | |
Let me show you. | 0:49:33 | 0:49:35 | |
Imagine how many bits of information you would need to describe this. | 0:49:49 | 0:49:54 | |
The beautiful and intricate interplay of physical laws | 0:50:01 | 0:50:05 | |
taking place at scales and timeframes | 0:50:05 | 0:50:07 | |
that are normally imperceptible to us. | 0:50:07 | 0:50:10 | |
But here you're still only seeing a fraction | 0:50:16 | 0:50:19 | |
of the complexity of nature. | 0:50:19 | 0:50:21 | |
Imagine the interplay between the trillions upon trillions of atoms. | 0:50:40 | 0:50:46 | |
The amount of bits you would need to describe this | 0:50:48 | 0:50:51 | |
is almost unimaginable. | 0:50:51 | 0:50:53 | |
But what's amazing is that now, | 0:50:57 | 0:50:59 | |
thanks to the ideas of Turing and Shannon, we're able to describe, | 0:50:59 | 0:51:04 | |
model and simulate nature in ever greater detail. | 0:51:04 | 0:51:08 | |
But this isn't the end of the story. | 0:51:10 | 0:51:14 | |
Information, it seems, isn't just a way of describing reality. | 0:51:14 | 0:51:19 | |
In the last few years, we've discovered that information | 0:51:21 | 0:51:25 | |
is actually an inseparable part of the physical world. | 0:51:25 | 0:51:28 | |
It's a really difficult idea to get to grips with but information, | 0:51:42 | 0:51:48 | |
everything from a Beethoven symphony to the contents of a dictionary, | 0:51:48 | 0:51:52 | |
even a fleeting thought, | 0:51:52 | 0:51:54 | |
all information needs to be embodied in some form of physical system. | 0:51:54 | 0:51:59 | |
Amazingly, the reason we understand the true connection | 0:52:02 | 0:52:06 | |
between information and reality is because of Maxwell's demon. | 0:52:06 | 0:52:11 | |
Remember, it seemed like the demon could use information | 0:52:14 | 0:52:18 | |
to create order in a box of air that started out completely disordered. | 0:52:18 | 0:52:23 | |
Moreover, it could do this without expending any effort. | 0:52:23 | 0:52:27 | |
Information seemed to be able to break the laws of physics. | 0:52:29 | 0:52:32 | |
Well, that's not true - it can't. | 0:52:34 | 0:52:37 | |
The reason why Maxwell's demon can't get energy for free lies here - | 0:52:43 | 0:52:48 | |
in his head. | 0:52:48 | 0:52:50 | |
What was discovered was this - | 0:52:56 | 0:52:58 | |
the demon really is using nothing more than information | 0:52:58 | 0:53:01 | |
to create useful energy. | 0:53:01 | 0:53:03 | |
But this doesn't mean that he's getting something for nothing. | 0:53:03 | 0:53:07 | |
Remember how the demon works? | 0:53:07 | 0:53:09 | |
He spots a fast-moving molecule on one side of the box, | 0:53:09 | 0:53:13 | |
opens a partition and lets it through to the other side. | 0:53:13 | 0:53:16 | |
But each time he does that, he has to store information | 0:53:16 | 0:53:21 | |
about that molecule's speed in his memory. | 0:53:21 | 0:53:24 | |
Soon his memory will fill up and then he can only continue | 0:53:25 | 0:53:30 | |
if he starts deleting information. | 0:53:30 | 0:53:33 | |
Crucially this deletion would require him to expend energy. | 0:53:33 | 0:53:37 | |
The demon needs to keep a record of which molecules are moving where | 0:53:39 | 0:53:44 | |
and if the record-keeping device is only finite size, | 0:53:44 | 0:53:48 | |
at some point the demon is going to have to erase it. | 0:53:48 | 0:53:50 | |
That's an irreversible process | 0:53:50 | 0:53:52 | |
that increases the entropy of the universe. | 0:53:52 | 0:53:54 | |
Its the erasure of information | 0:53:54 | 0:53:57 | |
that increases entropy once and for all. | 0:53:57 | 0:53:59 | |
What was discovered | 0:54:02 | 0:54:03 | |
is that there's a certain, specific minimum amount of energy, | 0:54:03 | 0:54:07 | |
known as the Landauer limit, | 0:54:07 | 0:54:09 | |
that's required to delete one bit of information. | 0:54:09 | 0:54:13 | |
It's tiny, less than a trillion trillionth of the amount of energy | 0:54:15 | 0:54:19 | |
in a gram of sugar, but it's real. | 0:54:19 | 0:54:23 | |
It's a part of the fundamental fabric of the universe. | 0:54:23 | 0:54:26 | |
Amazingly, we can now do real experiments | 0:54:34 | 0:54:37 | |
that test aspects of Maxwell's idea. | 0:54:37 | 0:54:40 | |
By using lasers and tiny particles of dust, | 0:54:41 | 0:54:45 | |
scientists around the world have explored the relationship | 0:54:45 | 0:54:47 | |
between information and energy with incredible accuracy. | 0:54:47 | 0:54:52 | |
Maxwell's thought experiment, dreamt up in the age of steam, | 0:54:54 | 0:54:58 | |
still remains at the cutting edge of scientific research today. | 0:54:58 | 0:55:02 | |
Maxwell's demon links together two of the most important concepts | 0:55:07 | 0:55:12 | |
in science - the study of energy and the study of information | 0:55:12 | 0:55:16 | |
and shows that the two are profoundly linked. | 0:55:16 | 0:55:20 | |
What we now know is that information, | 0:55:20 | 0:55:23 | |
far from being some abstract concept, | 0:55:23 | 0:55:25 | |
obeys the same laws of physics as everything else in the universe. | 0:55:25 | 0:55:30 | |
Information is not just an abstraction, | 0:55:38 | 0:55:41 | |
just a mathematical thing or formula that you write on the paper. | 0:55:41 | 0:55:45 | |
Information is actually carried by something. | 0:55:45 | 0:55:48 | |
So it is encoded onto something - | 0:55:48 | 0:55:50 | |
a stone, a book, a CD. | 0:55:50 | 0:55:54 | |
Whatever it is, there is a carrier where the information is on. | 0:55:54 | 0:55:57 | |
That means that information behaves according to those laws of physics. | 0:55:57 | 0:56:01 | |
So it cannot break the laws of physics. | 0:56:01 | 0:56:04 | |
What humanity has learnt over the last few millennia | 0:56:10 | 0:56:14 | |
is that information can never be divorced from the physical world. | 0:56:14 | 0:56:18 | |
But this is not a hindrance. | 0:56:24 | 0:56:26 | |
What makes information so powerful is the fact it can be stored | 0:56:26 | 0:56:31 | |
in any physical system we choose. | 0:56:31 | 0:56:34 | |
From using stone and clay to allow information | 0:56:36 | 0:56:39 | |
to be preserved over eons | 0:56:39 | 0:56:41 | |
to using electricity and light so it can be sent quickly, | 0:56:41 | 0:56:45 | |
the medium that stores information gives it unique properties. | 0:56:45 | 0:56:50 | |
Today, scientists are exploring new ways of manipulating information, | 0:56:55 | 0:56:59 | |
using everything from DNA to quantum particles. | 0:56:59 | 0:57:03 | |
They hope that this work will usher in a new information age, | 0:57:03 | 0:57:08 | |
every bit as transformative as the last. | 0:57:08 | 0:57:11 | |
What we now know is that we are just at the beginning of our journey | 0:57:14 | 0:57:18 | |
to unlock the power of information. | 0:57:18 | 0:57:21 | |
It's always been clear that creating physical order - | 0:57:37 | 0:57:40 | |
the structures we see around us - has a cost. | 0:57:40 | 0:57:44 | |
We need to do work to expend energy to build them. | 0:57:44 | 0:57:48 | |
But in the last few years, we've learnt that ordering information, | 0:57:48 | 0:57:52 | |
creating the invisible, digital structures of the modern world, | 0:57:52 | 0:57:56 | |
also has an inescapable cost. | 0:57:56 | 0:57:58 | |
As abstract and ethereal as information seems, | 0:57:58 | 0:58:02 | |
we now know it must always be embodied in a physical system. | 0:58:02 | 0:58:06 | |
I find this an incredibly exciting idea. | 0:58:06 | 0:58:10 | |
Think about it this way - a lump of clay can be used to write a poem on. | 0:58:10 | 0:58:15 | |
Molecules of air can carry the sound of a symphony. | 0:58:15 | 0:58:19 | |
And a single photon is like a paint brush. | 0:58:19 | 0:58:23 | |
Every aspect of the physical universe | 0:58:23 | 0:58:25 | |
can be thought of as a blank canvas, | 0:58:25 | 0:58:28 | |
which we can use to build beauty, structure and order. | 0:58:28 | 0:58:33 | |
Subtitles By Red Bee Media Ltd | 0:58:46 | 0:58:52 |