LITMIR.BIZ

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put this manifesto in oracular monosyllables: “It from Bit.” Information gives rise to “every it—every particle, every field of force, even the spacetime continuum itself.” This is another way of fathoming the paradox of the observer: that the outcome of an experiment is affected, or even determined, when it is observed. Not only is the observer observing, she is asking questions and making statements that must ultimately be expressed in discrete bits. “What we call reality,” Wheeler wrote coyly, “arises in the last analysis from the posing of yes-no questions.” He added: “All things physical are information-theoretic in origin, and this is a participatory universe.” The whole universe is thus seen as a computer—a cosmic information-processing machine.

      A key to the enigma is a type of relationship that had no place in classical physics: the phenomenon known as entanglement. When particles or quantum systems are entangled, their properties remain correlated across vast distances and vast times. Light-years apart, they share something that is physical, yet not only physical. Spooky paradoxes arise, unresolvable until one understands how entanglement encodes information, measured in bits or their drolly named quantum counterpart, qubits. When photons and electrons and other particles interact, what are they really doing? Exchanging bits, transmitting quantum states, processing information. The laws of physics are the algorithms. Every burning star, every silent nebula, every particle leaving its ghostly trace in a cloud chamber is an information processor. The universe computes its own destiny.

      How much does it compute? How fast? How big is its total information capacity, its memory space? What is the link between energy and information; what is the energy cost of flipping a bit? These are hard questions, but they are not as mystical or metaphorical as they sound. Physicists and quantum information theorists, a new breed, struggle with them together. They do the math and produce tentative answers. (“The bit count of the cosmos, however it is figured, is ten raised to a very large power,” according to Wheeler. According to Seth Lloyd: “No more than 10¹²⁰ ops on 10⁹⁰ bits.”) They look anew at the mysteries of thermodynamic entropy and at those notorious information swallowers, black holes. “Tomorrow,” Wheeler declares, “we will have learned to understand and express all of physics in the language of information.”

      As the role of information grows beyond anyone’s reckoning, it grows to be too much. “TMI,” people now say. We have information fatigue, anxiety, and glut. We have met the Devil of Information Overload and his impish underlings, the computer virus, the busy signal, the dead link, and the PowerPoint presentation. All this, too, is due in its roundabout way to Shannon. Everything changed so quickly. John Robinson Pierce (the Bell Labs engineer who had come up with the word transistor) mused afterward: “It is hard to picture the world before Shannon as it seemed to those who lived in it. It is difficult to recover innocence, ignorance, and lack of understanding.”

      Yet the past does come back into focus. In the beginning was the word, according to John. We are the species that named itself Homo sapiens, the one who knows—and then, after reflection, amended that to Homo sapiens sapiens. The greatest gift of Prometheus to humanity was not fire after all: “Numbers, too, chiefest of sciences, I invented for them, and the combining of letters, creative mother of the Muses’ arts, with which to hold all things in memory.” The alphabet was a founding technology of information. The telephone, the fax machine, the calculator, and, ultimately, the computer are only the latest innovations devised for saving, manipulating, and communicating knowledge. Our culture has absorbed a working vocabulary for these useful inventions. We speak of compressing data, aware that this is quite different from compressing a gas. We know about streaming information, parsing it, sorting it, matching it, and filtering it. Our furniture includes iPods and plasma displays, our skills include texting and Googling, we are endowed, we are expert, so we see information in the foreground. But it has always been there. It pervaded our ancestors’ world, too, taking forms from solid to ethereal, granite gravestones and the whispers of courtiers. The punched card, the cash register, the nineteenth-century Difference Engine, the wires of telegraphy all played their parts in weaving the spiderweb of information to which we cling. Each new information technology, in its own time, set off blooms in storage and transmission. From the printing press came new species of information organizers: dictionaries, cyclopaedias, almanacs—compendiums of words, classifiers of facts, trees of knowledge. Hardly any information technology goes obsolete. Each new one throws its predecessors into relief. Thus Thomas Hobbes, in the seventeenth century, resisted his era’s new-media hype: “The invention of printing, though ingenious, compared with the invention of letters is no great matter.” Up to a point, he was right. Every new medium transforms the nature of human thought. In the long run, history is the story of information becoming aware of itself.

      Some information technologies were appreciated in their own time, but others were not. One that was sorely misunderstood was the African talking drum.

¹And added drily: “In this role, electronic man is no less a nomad than his Paleolithic ancestors.”

      Chapter One

      Drums That Talk (When a Code Is Not a Code)

       Across the Dark Continent sound the never-silent drums:the base of all the music, the focus of every dance;the talking drums, the wireless of the unmapped jungle.

      —Irma Wassall (1943)

      NO ONE SPOKE SIMPLY ON THE DRUMS. Drummers would not say, “Come back home,” but rather,

      Make your feet come back the way they went,

      make your legs come back the way they went, plant your feet and your legs below, in the village which belongs to us.

      They could not just say “corpse” but would elaborate: “which lies on its back on clods of earth.” Instead of “don’t be afraid,” they would say, “Bring your heart back down out of your mouth, your heart out of your mouth, get it back down from there.” The drums generated fountains of oratory. This seemed inefficient. Was it grandiloquence or bombast? Or something else?

      For a long time Europeans in sub-Saharan Africa had no idea. In fact they had no idea that the drums conveyed information at all. In their own cultures, in special cases a drum could be an instrument of signaling, along with the bugle and the bell, used to transmit a small set of messages: attack; retreat; come to church. But they could not conceive of talking drums. In 1730 Francis Moore sailed eastward up the Gambia River, finding it navigable for six hundred miles, all the way admiring the beauty of the country and such curious wonders as “oysters that grew upon trees” (mangroves). He was not much of a naturalist. He was reconnoitering as an agent for English slavers in kingdoms inhabited, as he saw it, by different races of people of black or tawny colors, “as Mundingoes, Jolloiffs, Pholeys, Floops, and Portuguese.” When he came upon men and women carrying drums, carved wood as much as a yard long, tapered from top to bottom, he noted that women danced briskly to their music, and sometimes that the drums were “beat on the approach of an enemy,” and finally, “on some very extraordinary occasions,” that the drums summoned help from neighboring towns. But that was all he noticed.

A century later, Captain William Allen, on an expedition to the Niger River,¹ made a further discovery, by virtue of paying attention to his Cameroon pilot, whom he called Glasgow. They were in the cabin of the iron paddle ship when, as Allen recalled:

      Suddenly he became totally abstracted, and remained for a while in the attitude of listening. On being taxed with inattention, he said, “You no hear my son speak?” As we had heard no voice, he was asked how he knew it. He said, “Drum speak me, tell me come up deck.” This seemed to be very singular.

      The captain’s skepticism gave way to amazement, as Glasgow convinced him that every village had this “facility of musical correspondence.” Hard though it was to believe, the captain finally accepted that detailed messages of many sentences could be conveyed across miles. “We are often surprised,” he wrote, “to find the sound of the trumpet so well understood in our military evolutions; but how far short that falls

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