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You can make a movie about World War II in which the opening scene is German troops storming into Poland, and the last scene is the nuclear mushroom cloud over Hiroshima. You must decide what is the movie’s opening scene, and what is the last scene. Similarly, in a movie you must have a clear beginning and a clear end. Is that reality? You can also make a movie that focuses on just one Chinese village, in which nobody appears except a handful of villagers. You can choose to make a movie in which Churchill is the hero, Hitler and Stalin are sideline characters, and the millions of Chinese who died in the war never appear at all. Reality has no focus and no obvious heroes. The hero is in focus, other characters are on the sidelines, and most people don’t appear at all. In a movie, you always have a frame, right? The camera is pointing at a particular place. That always demands a lot of imagination. So the job of all historians is to take the messy reality, and turn it into a clear story. But reality never presents itself as a story. There have always been different ways of telling history, and it has always involved a lot of imagination. It is still history, told in a different way. What should we call this new genre? Illustrated, fictionalised, scientific-historical essay? Maybe it was a young black girl? So you have to go back to the scientific literature and research these questions. And you cannot just assume that the first person who discovered fire must have been an older white dude.
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Is that human a man or a woman? Young or old? White or black? It is not possible to draw a “general human” without gender, age or skin color. But when you draw an image of an ancient human using fire, you need to make many difficult decisions.
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When you write in a text “humans discovered how to ignite fire”, you can just leave it like that. Actually, switching from text to image required us to answer a lot of new and difficult questions. Just because there are many jokes and more images than words doesn’t mean that the content is simple. I don’t think that the book lowers the level of complexity. That is important to convey the message that science is a collaborative effort, and that scientists often hold different views. There are a number of other scientists there – some real, others fictional. I too appear in the book as a character, but I insisted that it won’t be only me.
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The extinction of the mammoths and other large animals is told in the genre of a detective “whodunit” movie, complete with a gritty cop on the trail of the planet’s worst-ever ecological serial killers. The invention of religion follows the conventions of superhero action blockbusters.
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Some critical stages in human evolution are reimagined as a reality TV show. The invention of fire, in contrast, is presented through a silly commercial. We depict the encounter between Sapiens and Neanderthals by referencing masterpieces of modern art. In the graphic novel we experiment and play with different ways of telling stories. It is an innovative exploration of what history means – and what it means to recount history. This book isn’t an illustrated version of the old Sapiens.
To achieve this, I teamed up with two very gifted artists – Daniel and David – and together we decided to break with academic conventions and take a trip on the wild side of history. Our aim has been to reach people who don’t usually read science books. It was the most fun project I ever worked on.
This pandemic will pass, and in 100 years whoever rules our planet will hardly remember itĭid you enjoy working on the graphic history version of Sapiens, with you featuring as one of the characters? Were you slightly bothered by having to lower the book’s degree of complexity? I think the big existential threats humanity faces today are not the virus, but rather the same threats that we faced when I wrote Sapiens: nuclear war, ecological collapse and the rise of disruptive technologies like AI. We have the scientific knowledge to overcome it. The virus itself doesn’t really threaten our existence. The Black Death was much worse – it killed between a quarter and a half of all people in Asia and Europe. We have already seen much worse things than Covid-19. In 100 years, whoever rules our planet will hardly remember this pandemic (just as we barely remember the Influenza pandemic of 1918). But this pandemic will pass, and with hindsight, it will look like just another event in the long history of our species. In the midst of this pandemic, it seems like it is the biggest historical event ever. If you had written Sapiens now, during the pandemic, would you have given it a more dramatic ending?