After the Paris attacks: Live news should challenge narratives not desperately try to create them

After attacks such as those in Paris, there is a certain inevitability to people turning to large, mainstream TV news for information and updates. Our views about the events begin to take shape as we watch and listen.  But how reliable is the reporting and what should be the role of journalists in such moments of crisis?

This post by Christian Christensen, Professor of Journalism, Stockholm University was first posted on Thoughts on Media

As the events from Oslo on July 22, 2011 filtered through, TV news producers began to scramble. Many people had been murdered by a gunman, and they needed experts to give expert opinions. Fast. What followed was one of the the most embarrassing examples of uninformed mass punditry in news history. This “must” have been Al Qaeda, most opined. Then, even after Breivik was identified and captured, a number of experts simply refused to believe reality and spun their earlier guesswork. I remember watching CNN’s coverage of Oslo, and not once did an anchor challenge any of these experts. It was an exercise in throwing any half-baked opinion against the wall, hoping against hope that something might stick.

During horrific attacks such as the ones in Oslo and now Paris, there is a certain inevitability to people turning to large, mainstream TV news for information and updates. That’s because TV is still the dominant news source for most citizens: size, trust and pure habit lead us to the places we know. Our personal media history matters. Social media, we are told, while superficially informative and occasionally entertaining, are ultimately dangerous during crises, laden with speculation, half-truths, untruths, hot takes and political points-scoring. However, what I saw when I flicked between BBC, CNN and other large-scale channels as I followed the events in France was little more than those things. In fact, the level of speculation and death-toll pornography on my TV screen more than equaled what I saw on my computer screen.

For me, the worst of these sins (from a journalistic perspective) is the uncritical deference shown to “experts” and pundits invited to help viewers put horrific events “into context.” More often than not, these experts muddy already filthy waters by spouting guesses and half-truths. Or, they take the opportunity to forward a particular political agenda. In one of the most egregious cases right after the Paris mass murder, BBC World invited ex-CIA chief James Woolsey into the studio to offer some nuggets of wisdom. He used this platform to offer a mélange of US talking points about terrorism, compounded with the suggestion that the mass influx of refugees from Syria “set the context” for the horrific events in Paris. Instead of challenging Woolsey by asking, for example, how the influx of refugees was connected given the fact that almost all of them were fleeing the very violence seen in Paris, the presenter simply gushed how lucky the BBC were to have him on the show…and moved on.

The common excuse used for slipshod guesswork and punditry is that events are “fluid” and that these are, after all, just opinions. That’s as weak as it is disingenuous.

The assertion that there is a relationship between the influx of refugees to Europe and the events in Paris, for example, stigmatizes people who have fled their homes, their families and everything they know in order to find safety. If an expert insists on positing that relationship to millions of viewers without a shred of evidence, then they must be called on it. To not do so is professional misconduct. Being a guest on a major TV news program is not an offer to come up with on-the-spot bullshit with a guarantee of immunity from interrogation. It is a position of social and cultural power made available to very few people, and should be treated as such. When someone offers an opinion, even if it is totally wrong, it stays in our heads, filed away as a “legitimate argument” that has entered into the public domain. It’s a little known process called memory.

Essentially, what I am talking about here is a desperate desire on the part of major news organizations to create and drive the narrative of these terror attacks, when what they should be doing is questioning and interrogating narratives. This process involves a heavy emphasis on confirmed sources, restraint, and a focus on information of vital importance (telephone numbers, hospital information, requests for blood, etc.). In conjunction with these elements, the following are key:

  • recognizing and addressing that fact that all forms of media — as social, political and economic actors — are part of the story;
  • a reduction in the use of screaming, violent or sensationalist headlines and logos;
  • occasionally noting the spread of myths and half-truths, and making an active effort to refute them (when possible);
  • avoiding an over-reliance upon experts and commentators (that’s avoiding an over-reliance, not an elimination…some are excellent);
  • challenging guests and experts who forward problematic, stereotypical or unfounded theories and assertions;
  • broadening the selection of guests and experts to include a greater diversity of opinion and perspective;
  • reminding audiences that sourcing is important, and explaining why;
  • staying away from initial “unconfirmed” reports, no matter how sensational they may appear;
  • a reduction in the use of death toll numbers (until firm numbers are established).

News is about story-telling power, and events such as the mass murders in Paris amplify that power by increasing our focus (in times of extreme emotion) upon journalistic output. Live events are indeed “fluid” and unpredictable, but that is precisely why restraint and a critical eye are needed in order to sort and critique the multiple narratives that emerge.

Photo: Beatrice Urruspil 

How the language you speak changes your view of the world

Bi-lingual people often say they feel like a different person when using their different languages and that expressing certain emotions carries different emotional resonance depending on the language they are using.  If you are bi-lingual or multi-lingual, is that true for you?

This fascinating post, by Professor Panos Athanasopoulos of Lancaster University first appeared on The Conversation website.

Bilinguals get all the perks. Better job prospects, a cognitive boost and even protection against dementia. Now new research shows that they can also view the world in different ways depending on the specific language they are operating in.

The past 15 years have witnessed an overwhelming amount of research on the bilingual mind, with the majority of the evidence pointing to the tangible advantages of using more than one language. Going back and forth between languages appears to be a kind of brain training, pushing your brain to be flexible.

Just as regular exercise gives your body some biological benefits, mentally controlling two or more languages gives your brain cognitive benefits. This mental flexibility pays big dividends especially later in life: the typical signs of cognitive ageing occur later in bilinguals – and the onset of age-related degenerative disorders such as dementia or Alzheimer’s are delayed in bilinguals by up to five years.

Germans know where they’re going

In research we recently published in Psychological Science, we studied German-English bilinguals and monolinguals to find out how different language patterns affected how they reacted in experiments.

We showed German-English bilinguals video clips of events with a motion in them, such as a woman walking towards a car or a man cycling towards the supermarket and then asked them to describe the scenes.

When you give a scene like that to a monolingual German speaker they will tend to describe the action but also the goal of the action. So they would tend to say “A woman walks towards her car” or “a man cycles towards the supermarket”. English monolingual speakers would simply describe those scenes as “A woman is walking” or “a man is cycling”, without mentioning the goal of the action.

The worldview assumed by German speakers is a holistic one – they tend to look at the event as a whole – whereas English speakers tend to zoom in on the event and focus only on the action.

The linguistic basis of this tendency appears to be rooted in the way different grammatical tool kits situated actions in time. English requires its speakers to grammatically mark events that are ongoing, by obligatorily applying the –ing morpheme: “I am playing the piano and I cannot come to the phone” or “I was playing the piano when the phone rang”. German doesn’t have this feature.

Research with second language users shows a relationship between linguistic proficiency in such grammatical constructions and the frequency with which speakers mention the goals of events.

In our study we also found that these cross-linguistic differences extend beyond language usage itself, to nonverbal categorisation of events. We asked English and German monolinguals to watch a series of video clips that showed people walking, biking, running, or driving. In each set of three videos, we asked subjects to decide whether a scene with an ambiguous goal (a woman walks down a road toward a parked car) was more similar to a clearly goal-oriented scene (a woman walks into a building) or a scene with no goal (a woman walks down a country lane).

German monolinguals matched ambiguous scenes with goal-oriented scenes more frequently than English monolinguals did. This difference mirrors the one found for language usage: German speakers are more likely to focus on possible outcomes of people’s actions, but English speakers pay more attention to the action itself.

Switch languages, change perspective

When it came to bilingual speakers, they seemed to switch between these perspectives based on the language context they were given the task in. We found that Germans fluent in English were just as goal-focused as any other native speaker when tested in German in their home country. But a similar group of German-English bilinguals tested in English in the United Kingdom were just as action-focused as native English speakers.

In another group of German-English bilinguals, we kept one language in the forefront of their minds during the video-matching task by making participants repeat strings of numbers out loud in either English or German. Distracting one language seemed to automatically bring the influence of the other language to the fore.

When we “blocked” English, the bilinguals acted like typical Germans and saw ambiguous videos as more goal-oriented. With German blocked, bilingual subjects acted like English speakers and matched ambiguous and open-ended scenes. When we surprised subjects by switching the language of the distracting numbers halfway through the experiment, the subjects’ focus on goals versus process switched right along with it.

These findings are in line with other research showing distinct behaviour in bilinguals depending on the language of operation. Israeli Arabs are more likely to associate Arab names such as Ahmed and Samir with positive words in an Arabic language context than in a Hebrew one, for example.

People self-report that they feel like a different person when using their different languages and that expressing certain emotions carries different emotional resonance depending on the language they are using.

When judging risk, bilinguals also tend to make more rational economic decisions in a second language. In contrast to one’s first language, it tends to lack the deep-seated, misleading affective biases that unduly influence how risks and benefits are perceived. So the language you speak in really can affect the way you think.

Photo of Candadian stop sign by MPD01605 

Thinking: a free introduction. Free university level course

Author David Eggars says ‘For many years, watching the cost of traditional higher education spiral ever higher, I have thought there should be some alternative.  Coudn’t there be a free university , some communal effort to share knowledge whereby no one would have to be overly in debt but all could benefit?  A few days ago I met one of the IF Project co-founders who is already trying to get something like this off the ground in London…..”

The IF project is an experiment in no-fee collaborative higher education.  And if you live in London you might be interested in attending their upcoming 10 week part time course in university level arts and humanities, called ‘Thinking – a free introduction’. It is a free university level course.  It starts in January and will enable you to explore philosophy, art and music.  It will introduce how writers, historians and philosophers think – and how these ways of thinking enable us to interpret the world.

The IF Project is particularly keen to attract young people who may believe that university is just too expensive, or too high-brow – but everyone is welcome to apply.

As Will Hutton, Principal of Hertford College, Oxford University, and former editor of The Observer newspaper says, .

“SOON THE ONLY STUDENTS OF THE LIBERAL ARTS WILL BE THE SONS AND DAUGHTERS OF THE VERY RICH OR POORER STUDENTS WHO CAN SECURE ONE OF THE INADEQUATE NUMBER OF BURSARIES, SCHOLARSHIPS AND GRANTS. I WELCOME THIS INITIATIVE TO INVOLVE YOUNG LONDONERS IN SECURING A BASIC HUMANITIES EDUCATION.”

Why not go to the IF Project website and be a part of a brave new experiment!

Managing bipolar disorder without medication

Bipolar disorder is a diagnosis given to people who experience periods of intense low mood but also periods of elation and increased energy which can lead to impaired judgement and risky behaviour. The Royal College of Psychiatrists estimates that around 1% of the adult population experience bipolar symptoms at some point in their life.  Medication is often unsatisfactory and many people with a bipolar diagnosis decide to manage their disorder without it.

This piece by Dr Ian Smith, lecturer in the Health and Medicine Faculty at Lancaster University, was first posted on The Conversation website.  Picture:  Bipolar by Marina Pardo

UK guidance for the treatment of bipolar disorder has an emphasis on medication. However, more than 60% of people with the diagnosis stop taking their medication at some point. This is often because of the common and severe and unpleasant side effects that drugs such as lithium and olanzapine can produce. These include dizziness, diarrhoea, slowed movement and substantial weight gain.

A recent review also suggested that medication only helps a small proportion of those it is prescribed to. The review looked at 12 different medication regimes used under several different circumstances and found the highest success rate was just 33%. And lithium, a drug that NICE recommends as the “first-line, long-term pharmacological treatment for bipolar disorder” was found to benefit only about one in seven patients. It is also a very toxic drug. Recent research has found that around one in three of those taking lithium over many years will go on to suffer from chronic renal failure.

Despite this, patient decisions to stop taking medication are typically regarded by mental health professionals as being due to “lack of insight” or “inaccurate concerns” about a drug’s safety or efficacy. Many are also concerned about what might happen to people not taking medication if they fail to recognise when their mood is causing them difficulties. As some researchers have suggested that as many as half of patients with a bipolar diagnosis can suffer from a lack of awareness of their mental health difficulties, a common fear is that someone who is off their medication will lose the ability to identify when they aren’t well.

Personal strategies

To find out how people who stop taking medication manage, we conducted in-depth interviews with ten people with a bipolar diagnosis who had chosen to stop taking their medication for a period.

They told us that the first step they took was to conduct a cost/benefit analysis of the pros and cons of taking medication, and they described keeping this decision under regular review. They then asked themselves if their mood was actually causing them problems or concerns (some people do see positive aspects to experiencing their bipolar moods). Next they used their past experience to identify practical things they could do to help keep their mood at the level they wanted, or to adjust it if they felt it wasn’t “right”.

People use a wide range of strategies to manage their mood; the people we interviewed talked about more than 50 different approaches ranging from simple things like doing exercise, pampering themselves, talking to (or avoiding) specific friends or family members, to taking time off work, using techniques they had learned from psychological therapy, or even going on holiday or (in one case) moving temporarily abroad.

The important thing for the people we talked to, however, was that the strategies they used had to fit their understanding of themselves, their identity and their goals in life. This was different for each person and each individual needed to identify what worked for them. For some people financial constraints also stopped them using all the strategies they would have liked to.

An alternative for some people experiencing a “high” mood was to take the extra energy it gave them and consciously channel it into something positive, such as their work or a hobby or project. However, some people we talked to suggested that just “going with” a high mood could make things worse. They worked to manage high moods by identifying people close to them who could provide them with an objective view of how they were behaving – someone around to “check in with”. These people could also help those with bipolar work out whether the strategies they were using were working.

These frequent evaluations were another important factor for those managing without medication. If the strategies they had been using were not working, people initially tried to find better ways to adjust their mood. However, if things were getting bad, then they might instead stop trying to change their mood and just withdraw from their normal daily activities (and perhaps take time off work) until their mood settled. Some also turned to friends or family for practical support and advice, and some would also consider a temporary return to using medication.

The conversations with our participants highlighted two key things. The first was that far from showing a “lack of insight”, the people who talked to us described careful, well-reasoned and considered decision making around stopping their medication. The approach to managing moods they all described was also in stark contrast to the usual approach taken by mental health services to people with a bipolar diagnosis.

Services tend to focus heavily on medication prescription, and while some psychological therapies are available to help people manage low mood, it has been suggested that talking therapies should targetimproving people’s compliance with taking medication.

Research, such as the recent review, seems to be pointing to the ineffectiveness of medication for most people with a bipolar diagnosis, we would argue that services could better use their resources by working with patients in a collaborative way, helping them identify and supporting them in implementing whichever strategies (which might include or exclude medication) work best for them personally in managing their moods and helping them live fulfilling lives.

 

Jellyfish: aliens, assassins or adventurers?

Did you know that jellyfish can sink boats, compromise fisheries by destroying captive breeding pens, and enter industrial sites that use seawater intake for cooling – including desalination plants, nuclear plants and nuclear aircraft carriers.

Yes, they have all fallen victim to jellyfish.

A poorly understood member of “the other 99%” as the invertebrates are known, jellyfish are simple creatures, floating, stinging, eating, and breeding en masse, in immense ‘blooms’, that can be 1,000km in length. Blooms occur worldwide and to some it seems they are becoming more prevalent, or perhaps they are now being monitored more closely.

Jellyfish bloom

A ‘Bloom’

So….how big, how bad and why? Take a listen to this podcast to find out.

Michael Schubert talks with Lisa Gershwin.

This is our first podcast from Sound Minds a brand new podcast platform set up by three academic broadcasters from Australia, who met during a digital content diploma programme and were teamed up serendipitously for a project, which has now turned into a podcast series.  We will certainly be featuring more of their great podcasts – watch this space!

FEATURED
Current Oriented Swimming by Jellyfish
Dr Lisa Gershwin

MUSIC
Koop – Jellyfishes
Deya Dova – Jellyfish

PICTURES

 

The Art of Puppetry

Puppetry3

 

 

 

 

The inaugural Tunbridge Wells Puppetry Festival is to be held next Saturday, 10 October 2015.

One of the features is a specially commissioned piece, funded by the Arts Council, called An Account Of The State Of That Place (or How to Drink a Glass of Water).

Tonbridge Wells has long been a spa town, of course, so dramaturg Jennie Buckman has taken that as her starting point to recount the history, characters and cultural back ground of the town in the late Georgian period.

The piece draws direct inspiration from the language present in British Folk Art; sound, literature and images., and is particularly inspired by the 18th century works of local printer and bookseller Jasper Sprange (particularly “The Tunbridge-Wells guide, or an account of the ancient and present state of that place”) and ‘the tailor of Frant’, George Smart.

Puppets have been created specially for the production.

The show is free but hurry, tickets are disappearing fast.  The company hopes to transfer the show to London later in the year.

Other highlights of the festival are

  • An opportunity to meet Joey from the National Theatre’s award-winning WAR HORSE
  • Trinity Theatre’s Fen Boy
  • Unexpected Places Workshop

 

An Account Of The State Of That Place (or How to Drink a Glass of Water).

Creator & Director: Pedro Ribeiro www.stagedirector.net
Dramaturg: Jennie Buckman www.jenniebuckman.com
Designer: Rui Rodrigues www.rodriguesruister.wix.com
Composer: Tom Hartley-Booth www.tomhartleybooth.com
Singer & Actress: Tania Azevedo www.taniazevedo.com
Puppeteer: Sara Henriques www.sarahenriques.pt.to

Freight train, freight train…..

The European Union has a target to shift 30% of road freight over 300km to other modes of transport such as rail or water.  The University of Huddersfield’s Institute of Railway Research (IRR) is one of the partners in SUSTRAIL a pan-European project looking at ways to reach that target.

One of the key objectives of the SUSTRAIL project has been to develop a prototype freight train of the future. The work started by identifying the key areas where recent and imminent developments could lead to improved performance of railway vehicles resulting in: reduced system maintenance and operating costs for vehicle and track, reduced environmental impact, greater sustainability and efficiency.

The SUSTRAIL Freight Bogie

The University of Huddersfield led the development of a freight vehicle bogie designed to allow higher running speed and lower track forces. Working with 12 other international industry and academic partners the SUSTRAIL freight bogie was designed to include a number of significant innovations in the running gear, wheelsets, braking system, bogie structure and the adoption of condition monitoring.

Most of the innovations selected are based on proven technology which reduces the commercial and operational risks and increases the potential reliability and overall chances of success.

Following extensive market research and analysis an outline performance specification was set for the vehicle. As a result of initial computer simulations it was decided that additional inter-axle linkages would be needed so further work was carried out which demonstrated that lateral stiffness between the wheelsets was required to provide stable running at the required design speed.

In order to meet the higher speed requirements the SUSTRAIL vehicle has an advanced electronic braking system which provides brake control and wheel-slide protection. This includes an independent and reliable power supply for the controller with axle generators and battery packs.

A new axle coating has also been used on the SUSTRAIL wheelsets. The coating provides improved corrosion resistance compared with traditional coatings and resists impact at a wide range of temperatures (-40°C to 150°C).

Innovative design

The SUSTRAIL vehicle is capable of running at up to 140km per hour with reduced track forces compared with conventional freight bogies. The main innovations are:

  • Novel running gear using components based on the widely used Y25 suspension which means that it can be maintained using established techniques, equipment and staff
  • Disk brakes and an electronic braking system to ensure safe operation at the higher operating speeds
  • Wheelsets with impact resistant coatings which will reduce inspection costs
  • On-board condition monitoring to allow longer maintenance intervals
  • Noise reduction elements to meet anticipated legislation
  • Modern lightweight structural design.

The design of the SUSTRAIL freight bogie has been patented and a prototype has been manufactured and is currently being tested.

Photo of an old freight train:  Train Photos

Food glorious Food – but not at A-Level

We don’t just eat food, we talk about it – a lot!  We are all concerned about obesity and eating disorders, some of our biggest celebrities are chefs, and there is a great deal of discussion about the role of supermarkets and their stranglehold on both the nation’s weekly shop and farmers remuneration,  You’d think the government would be doing all it could to promote knowledge and understanding of food.  Not so!

Food A-level is likely to be abolished.  It is a qualification that spans science, politics, business, technology and design, and can lead to all manner of careers.  Students are likely to travel down such varied routes as becoming dieticians, food product developers, midwives, biologists, teachers  and doctors.

As Judith Baker, the Chief Examiner for A-Level Food says, “The frustration is that there seems to be mis-conception of the subject discipline. This A-Level is primarily an academic study of food science, nutrition and issues related to food production and manufacture”.

Consultation Cake - yes it really is a cake!

Consultation Cake – yes it really is a cake!

 

 

 

 

 

 

 

 

 

Delivering the consultation cake to the government as part of the campaign to keep the Food A-Level.

Delivering the consultation cake to the government as part of the campaign to keep the Food A-Level.

 

 

 

 

 

 

 

 

 

Teachers of the subject say that students see the value of this subject not just as a means of accruing UCAS points for universtiy, but because it offers knowledge, understanding and skills for life.  The new GCSE in Food Preparation and Nutrition is seen as a positive development and is proving to be a highly popular subject option for students. Teachers had expected and indeed looked forward to a new A-Level in Food, Nutrition and Food Science to allow progression from the GCSE course. But this is looking unlikely.

A-Level Food appears to have fallen foul of a view that some subjects are ‘Mickey Mouse subjects’ (media studies is the most often derided, of course), subjects that are not suitable for the imprimatur of the ‘Gold Standard’ of A level.  Surely it is the relevance and rigour of the study rather than the subject that should be decisive – otherwise we will have an education and qualification system fit of the 1950s rather than the 21st century.

The government consultation period is nearly over – so if you want to put in your views on this you will need to be quick.  Go to the relevant government web page.

There is more information on the Save Food Tech website.

Photo: Kelly Hunter

Choose life, choose a job, choose a sequel … do we need Trainspotting 2?

Danny Boyle has announced that his next project will be a sequel to the breakout hit Trainspotting. Planned to be released next year to coincide with the 20-year anniversary of the original, what can we expect from the follow-up and what implications does this move have for a film industry increasingly dependent on delayed sequels and reboots?

Based on the novel by Irvine Welsh and set in Edinburgh, Trainspotting famously centred on Renton (Ewan McGregor), a heroin addict whose very existence seemed determined by his quest to get his next fix and the effects on his family and wayward friends: Sick Boy (Jonny Lee Miller), Spud (Ewen Bremner), Begbie (Robert Carlyle), Tommy (Kevin McKidd) and Diane (Kelly Macdonald).

It was a visceral and kinetic depiction of 1990s drug culture, aesthetically somewhere between A Clockwork Orange and Pulp Fiction. Together with an innovative advertising campaign and popular soundtrack (“lager, lager, lager …”), what resulted was a global critical and commercial hit. And this was surprising, considering the harrowing subject matter: the sequence showing Renton’s withdrawal and that toilet scene are two memorably disturbing moments.

So how will the sequel compare? Its working title, Porno, comes from Welsh’s own book sequel, although the rumours are that the film’s plot will differ from the novel. After many years of speculation, Boyle is set to return to direct, John Hodge will again adapt the screenplay and the four leads (McGregor, Bremner, Miller and Carlyle) will reprise their roles.

Twenty years is a long interval, however, and part of Trainspotting’s success was surely the way it captured the public’s imagination at a specific cultural moment. It was part of the era of 1990s/early 2000s club culture in the UK that went on to spawn the likes of Human Traffic(1999), 24 Hour Party People (2002) and It’s All Gone Pete Tong (2004). Moments from the film have meanwhile become iconic, such as the rhythmic, frenetic “choose life” opening sequence accompanied by Iggy Pop’s Lust for Life. Moments such as these might create a sense of nostalgia for spectators when the sequel is released, but they might equally prove unrepeatable.

Life after Trainspotting has also changed dramatically for some of its key personnel. Boyle has become an Oscar-winning director with Slumdog Millionaire (2008) and a critical darling thanks in no small part to tackling a diverse range of subject matter and genres. Horror (28 Days Later [2002]), science fiction (Sunshine [2007]) and biopic (Steve Jobs[2015]) have all received the Danny Boyle treatment, not to mention his role as artistic director for the London 2012 Olympic Games. Going back to the same subject matter could prove a professional risk.

Ewan McGregor’s performance as Renton turned him into a Hollywood leading man with roles in Baz Lurhman’s version of Moulin Rouge(2001) and as Obi-Wan Kenobi in the three Star Wars prequels. As such, McGregor has developed a star persona that is at odds with his role in Trainspotting, when he was still relatively unknown to audiences. It will be a testament to his skills as an actor if he is able to seamlessly step back into that role.

Choose dollar signs

Sequels and reboots are hardly a new phenomenon, but they seem to be everywhere in mainstream Hollywood. A glance at films playing in UK cinemas this week reveals the extent of production companies’ dependency on tried and tested formulas to ensure healthy box-office returns. Mission Impossible: Rogue Nation is the fifth iteration of Tom Cruise’s all-action Ethan Hunt, itself a remake/reboot of the 1960s television series.

Other examples include Terminator: Genisys and Marvel superhero film sequels Avengers: Age of Ultron and Ant-Man, which form part of a “multi-verse” of film and TV crossovers to cultivate a distinctive brand. Then there is The Transporter Refueled, where the film’s reboot status even seems to be referenced in the title.

What is perhaps less common is the delayed sequel/reboot, but that may be changing. The extraordinary financial success of Jurassic Worlddemonstrated this year how a successful product, several decades old, can be re-packaged and sold to a new audience as well as those who look fondly on the original.

Forthcoming releases include Zoolander 2 and an all-female update of Ghostbusters. It is tempting to decry this trend as nothing more than balance-sheet filmmaking. Jurassic World, especially, bares a remarkable resemblance to its 1993 predecessor in terms of plot and characters.

In some cases, the film spectator might have more of a part to play than they realise. Joss Whedon’s 2005 space western Serenity and last year’s Anchorman 2: The Legend Continues were both examples of films that came about from strong fan demand – outcry from fans of Whedon’s science fiction series Firefly in the case of Serenity and howls for the further adventures of Will Ferrell’s anarchic character in the case of Anchorman. Clearly the reduced economic risks of familiarity and spectator demand are both powerful forces, often working together of course.

No doubt they are both playing at least some part in the decision for “Trainspotting 2” to go ahead. That and timing. Hodge had finalised a draft script two years ago, but it seems Boyle and co are now all in a position to commit to the project. Either way, we shall have to see whether it can be a hit with fans and at the box office. For those wary of the result, there is at least one definite note of reassurance: it is being made by those who created a landmark British film the first time around.

This post, by Adam Vaughan,  Postgraduate Researcher at The University of Southampton was first published on The Conversation.

Picture: Benedikte Vanderweeën, CC BY-SA

Penguin Pool, London Zoo: A Modernist Parable

From his arrival in Britain in 1931 the Georgian-born architect Berthold Lubetkin brought his experience of the Soviet revolution in 1917 and the turbulent debates about art and politics in Paris in the 1920s to generate ideas about architecture and social commitment. His work developed the most significant Constructivist architecture in Britain for the next two decades. His theoretically informed modernist design aspired to be an agent for human betterment; conceiving of architecture as “a potent weapon, a committed driving force on the side of enlightenment, aiming, however indirectly, at the transformation of our present make-believe society where images outstrip reality and rewards outpace achievement”.

This article by Professor Rod Stoneman, Director of the Huston School of Film and Digital Media, NUI Galway  was first published on The Column website as part of their Struggle + Space series.

Establishing the company Tecton with a group of like-minded architects, his philosophy and practice sought to sustain a dynamic tension between formal design and usage. It refused a purist version of functionalism which subordinated all projects to utilitarian ends – buildings as instruments for an economic purpose. Today it stands against the formalist trends of unrestrained exhibitionism which focus on image, decoration and surface – characteristic of the contemporary currents of ‘starchitecture’.

In addition to a circus club and flats in the Avenue de Versailles, Paris he built a TB clinic and housing in London and several inventive projects in zoos including Whipsnade and Dudley. The opening of a new Penguin Pool in London Zoo in Regent’s Park in 1934 had considerable impact. Originally labelled the ‘Penguin Pond’, it constructed graceful pathways for the penguins to descend from their nesting boxes to the pool. Reinforced concrete is suspended in the air and the oval curves of interlocking ramps curve downwards gently.

Lubetkin felt that the strong formal play proclaimed the certainty of order over the forces of chaos: “The bare eloquence of geometric regularities affirm Man’s ability to explain and predict […] and asserts itself against subjectivity, equivocation and arbitrariness.” These aims are part of a politicised aesthetic for architecture which connected with a recharged mood of determination to change the fabric of society.

In The Soul of Man under Socialism (1891) Oscar Wilde had written “A map of the world that does not include Utopia is not worth even glancing at…” and modernity was integral to realising a better future. At the time some of the responses to the Penguin Pool connected the design with its social potential; a magazine article from Mother and Child asked “How many citizens of London have brooded over the railings of that pool, envying the penguins as they streak through the blue water or plod up the exquisite incline of the ramp – and have wondered sadly why human beings cannot be provided, like the penguins, with an environment so well adapted to their needs?”

Lubetkin designed public housing, a health centre, and a large scale bomb shelter in the Finsbury area. During the long siege of Leningrad during World War II the Foreign Office proposed a monument to Lenin in Holford Square, Finsbury, where he had lived from 1902-03. The square had been damaged by heavy bombing during the Blitz but Lubetkin designed a bust of Lenin and plaque opened by the Foreign Secretary and the Russian Ambassador in May 1942. It was attacked and defaced and had to be protected with a 24 hour police guard. Lubetkin had the memorial buried under the central core of the staircase in the nearby social housing scheme he designed; originally to be named Lenin Court but changed to Bevin Court after the Labour politician who became a determinedly anti-communist Foreign Secretary at the start of the Cold War. To this day it underpins the social heart of the building, perhaps waiting for a more promising future.

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The prevarication, blockage and compromise Lubetkin encountered with a succession of projects led to his premature retirement from architectural practice in 1950, he bought a pig farm near Bristol.

However, back in London Zoo, apparently, the suspended slopes never really worked for the penguins, who began to develop arthritis in their feet. It seems that they took a strong liking to the duck pond they were temporarily taken to in 2004 and since 2011 have been relocated in the Zoo’s new Penguin Beach, a large scale ₤2 million spectacular environment where they may be observed from all angles above and below water. Protected as a listed building by the Department of the Environment, the Lubetkin Penguin Pool has been re-designated a water feature.

In this penguin-sized tale is the wider story of the failure of modernism as a social project, linked to the wider historical defeat of the Left. But the water feature remains, detached from its social function, serving to remind us of the aesthetic and political ambitions of modernism.

Photo of Penguin Pool: Kat Sommers