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On January 26th, 2013,

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a band of al-Qaeda militants
entered the ancient city of Timbuktu

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on the southern edge of the Sahara Desert.

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There they set fire to a medieval library
of 30,000 manuscripts

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written in Arabic
and several African languages,

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and ranging in subject
from astronomy to geography,

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history to medicine,

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including one book which records

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perhaps the first treatment
for male erectile dysfunction.

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(Laughter)

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Unknown in the West,

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this was the collected wisdom
of an entire continent,

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the voice of Africa at a time when Africa
was thought not to have a voice at all.

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The Mayor of Bamako,
who witnessed the event,

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called the burning of the manuscripts
a crime against world cultural heritage.

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And he was right, or he would have been,

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if it weren't for the fact
that he was also lying.

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In fact, just before,

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African scholars had collected
a random assortment of old books

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and left them out
for the terrorists to burn.

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Today, the collection lies hidden
in Bamako, the capital of Mali,

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moldering in the high humidity.

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What was rescued by ruse
is now was once again in jeopardy,

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this time by climate.

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But Africa and the far-flung corners
of the world are not the only places,

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or even the main places,

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in which manuscripts that could change
the history of world culture

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are in jeopardy.

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Several years ago,

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I conducted a survey
of European research libraries,

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and discovered that,
at the barest minimum,

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there are 30,000,
actually 60,000 manuscripts pre-1500

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that are illegible

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because of water damage, fading,
mold, and chemical reagents.

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The real number is likely double that.

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That doesn't even count
renaissance manuscripts,

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and modern manuscripts,

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and cultural heritage objects,
such as maps.

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What if there were a technology

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that could recover
these lost and unknown works?

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Imagine worldwide how a trove

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of hundreds of thousands
of previously unknown texts

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could radically transform
our knowledge of the past.

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Imagine what unknown classics
we would discover

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which would rewrite the canons
of literature, history, philosophy, music.

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Or more provocatively, that could rewrite
our cultural identities,

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building new bridges
between people and culture.

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These are the questions
that transformed me

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from a medieval scholar,
a reader of texts,

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into a textual scientist.

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What an unsatisfying word reader is?

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For me, it conjures up
images of passivity,

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of someone sitting idly in an armchair,

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waiting for knowledge
to come to him in a neat little parcel.

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How much better is to be
a participant in the past,

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an adventurer in an undiscovered country,
searching for the hidden text?

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As an academic, I was a mere reader.

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I read and taught the same classics

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that people had been reading and teaching
for hundreds of years:

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Virgil, Ovid, Chaucer, Petrarch.

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With every scholarly article
that I published,

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I added to human knowledge
an ever-diminishing slivers of insight.

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What I wanted to be
was an archaeologist of the past,

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a discoverer of literature,

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an Indiana Jones without the whip …
or, actually, with the whip.

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(Laughter)

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And I wanted it not just for myself,
but I wanted it for my students as well.

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So six years ago, I changed
the direction of my career.

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At the time, I was working
on "The Chess of Love",

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the last important long poem
of the European Middle Ages,

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never to have been edited.

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It wasn't edited because it existed
in only one manuscript,

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which was so badly damaged

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during the firebombing of Dresden
in World War II

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that generations of scholars
had pronounced it lost.

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For five years, I had been working
with an ultraviolet lamp,

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trying to recover traces of that writing,

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and I'd gone about as far
as the technology of that time

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could actually take me.

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So I did what many people do;

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I went online, and there I learned

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about how multi-spectral imaging
had been used to recover 2 lost treatises

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of the famed Greek mathematician
Archimedes from a 13th-century palimpsest.

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A palimpsest is a manuscript
which has been erased and overwritten.

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So, out of the blue, I decided to write

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to the lead imaging scientist
on the Archimedes Palimpsest Project,

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Professor Roger Easton,
with a plan and a plea.

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To my surprise, he actually wrote back.

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With his help, I was able to win
a grant from the US government

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to build a transportable
multispectral imaging lab

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- yes, this is a dirty little secret
where all your tax money is going -

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and with this lab, I transformed
what was a charred and faded mess

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into a new medieval classic.

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So, how does multispectral imaging
actually work?

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The idea behind multispectral imaging

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is that something that anyone

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who is familiar
with an infrared night-vision goggles

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will immediately appreciate,

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that what we can see invisible light,
invisible spectrum of light,

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is only tiny fraction
of what's actually there.

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The same is true with invisible writing.

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Our system uses 12 wavelengths of light
between the ultraviolet and the infrared.

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These are shown down onto the manuscript
from above, from banks of LEDs,

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and another multispectral light source

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which comes up through
the individual leaves of the manuscript.

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Up to 35 images per sequence per leaf
are imaged this way,

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using a high-power digital camera

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equipped with a lens
which is made out of quartz.

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There are about 5 of these in the world.

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Once we captured these images,

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we feed them
through statistical algorithms

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to further enhance and clarify them,

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using software which is originally
designed for satellite images,

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and used by people
like geospatial scientists and the CIA.

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The results can be spectacular.

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Some of you may already have heard

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of what's been done
for the Dead Sea Scrolls,

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which are slowly gelatinizing.

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Using infrared, we've been able to read

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even the darkest corners
of the Dead Sea Scrolls.

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You may not be aware, however,

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of other Biblical texts
that are in jeopardy.

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Here, for example, is a leaf
from a manuscript that we imaged,

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which is perhaps the most valuable
Christian Bible in the world.

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The Codex Vercellensis is the oldest
translation of the Gospels into Latin,

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and it dates
from the first half of 4th century.

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As you can see, this is the closest
we can come to the Bible

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at the time of the foundation
of Christendom under Emperor Constantine,

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and at the time
of also the Council of Nicaea,

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when the basic creed of Christianity
was being agreed upon.

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This manuscript, unfortunately,
has been very badly damaged.

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It's damaged because for centuries
it has been used and handled

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in swearing-in ceremonies in the church.

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In fact, that purple splotch that you see
in the upper right-hand corner

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- upper left-hand corner.
Right-hand corner? Yes. -

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... is Aspergillus,

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which is a fungus which originates
originally in the unwashed hands

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of a person with tuberculosis.

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Our imaging has enabled me

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to make the first transcription
of this manuscript in 250 years.

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Having a lab that can travel
to collections

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- so where it's needed, however -

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is only part of the solution.

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The technology is expensive and very rare,

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and the imaging
and image processing skills are esoteric.

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That means that mounting recoveries
is beyond the reach

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of most researchers
and all but the wealthiest institutions.

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That's why I founded the Lazarus Project,
an initiative, a non-for-profit initiative

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to bring multispectral imaging

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to individual researchers
and smaller institutions

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at little or no cost whatsoever.

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Over the past five years,

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our team of imaging scientists,
scholars, and students

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has traveled to seven different countries

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and have recovered

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some of the world's most valuable
damaged manuscripts,

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including the Vercelli Book,
which is the oldest book of English,

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the Black Book of Carmarthen,
the oldest book of Welsh,

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and some of the most valuable
earliest Gospels,

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located in now
what's the former Soviet Georgia.

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So spectral imaging
can recover lost texts.

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More subtly, though, it can recover
a second story behind every object,

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the story of how, when,
and by whom a text was created,

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and sometimes, what the author
was thinking at the time he wrote.

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Take, for example, a draft
of the Declaration of Independence,

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written in Thomas Jefferson's own hand,

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which some colleagues of mine
imaged a few years ago

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at the Library of Congress.

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Curators had noticed

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that one word throughout
had been scratched out and overwritten.

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The word overwritten was "citizens".

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Perhaps you can guess
what the word underneath was.

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"Subjects".

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There, ladies and gentlemen,
is American democracy

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evolving under the hand
of Thomas Jefferson.

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Or consider the 1491 Martellus Map,

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which we imaged
at Yale's Beinecke Library.

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This was the map
that Columbus likely consulted

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before he traveled to the New World,

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and which gave him his idea
of what Asia looked like

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and where Japan was located.

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The problem with this map

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is that its inks and pigments
had so degraded over time

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that this large, nearly 7-foot map
made the world look like a giant desert.

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Until now, we had very little idea,
detailed idea, that is,

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of what Columbus knew of the world
and how world cultures were represented.

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The main legend of the map
was entirely illegible under normal light.

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Ultraviolet did very little for it.

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Multispectral gave us everything.

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In Asia, we learned of monsters

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with ears so long that they could cover
the creature's entire body.

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In Africa, about the snake
who could cause the ground to smoke.

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Like starlight which can give today

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images of the way the universe
looked in the distant past,

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so multispectral light can take us back

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to the first stuttering moments
of an object's creation.

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Through this lens, we witnessed
the mistakes, the changes of mind,

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the naivetes, young censored thoughts,

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the imperfections of the human imagination

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that allowed these (…) objects
and their authors

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to become more real,
that make history closer to us.

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So what about the future?

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There's so much of the past

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and so few people
with the skills to rescue it

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before these objects disappear forever.

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That's why I've begun to teach
this new hybrid discipline

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that I call textual science,

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a mixture between
kind of Indiana Jones meets CSI.

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Textual science is a marriage

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of the traditional skills
of the literary scholar,

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the ability to read old languages
and old handwriting,

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the knowledge how texts are made

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in order to be able to place and date them

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with new techniques like imaging science,
the chemistry of inks and pigments,

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computer-aided optical
character recognition.

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Last year, a student in my class,

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a freshman with the background
in Latin and Greek

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was image-processing a palimpsest

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that we had photographed
at the famous library in Rome.

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As he worked, tiny Greek writing
began to appear from behind the text.

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Everyone gathered around,

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and he read a line from a lost work
of the Greek comic dramatist Menander.

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This was the first time
in well over a thousand years

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that those words
had been pronounced aloud.

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In that moment, he became a scholar.

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Ladies and gentlemen,
that is the future of the past.

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Thank you very much.

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(Applause)