Philippa Kaur

Feedback is our weekly column of bizarre stories, implausible advertising claims, confusing instructions and more

Humans

16 February 2022

Josie Ford
Sleep, perchance to diet
That April is the cruellest month has yet to pass peer review, but there is little doubt February is the shortest. Feedback considers this just as well. Some of our more southerly readers may be sunning themselves on the beach, but in our pre-Arctic stationery cupboard hole, we are just waiting for the winter murk to clear.
It is at this time of year, when we are thinking about getting fit for the bikini season and doing nothing about it, that we want to read, and not question too deeply, headlines such as our own “Getting enough sleep may lower the amount of calories you eat”. The study in question, from a team at the University of Chicago Sleep Research Center, found that an extra hour’s sleep at night allowed participants to cut their energy intake by 270 calories a day – “the equivalent of around three chocolate digestive biscuits”, as the Press Association helpfully put it in its story on the research.
Why stop there? A comforting graph swims into our head of a rising line of hours not consuming calories, crossing over a falling line of calories consumed. The most effective weight-loss mechanism is surely to never get out of bed at all.Advertisement
Getting up the nose
As we take some horizontal exercise, a PR puff is popped our way by a svelte, overslept-looking colleague with a straw hanging from their nose. “To inspire those who struggle to reach their recommended daily intake of water, air up is a world first in food technology that utilises retronasal smell to provide a zero-calorie, zero sugar, zero additive way to drink 100% pure water which tastes flavoured,” we read.
Flavours “from Lime and Orange-Passionfruit to Cola and Iced Coffee” are created by using a special widget to inject bubbles of scented air into the previously 100 per cent blameless water. “We’ve revolutionised the way we drink water. You still have to use your mouth, but the taste has changed!” the company’s website continues. A welcome release for those of us who had been attempting to discover flavour by snorting our water.
Smell my cheese
We note merely in passing a press conference held on 7 February by New York City’s new mayor, Eric Adams, in which he claimed that people wouldn’t be able to tell the difference between “someone hooked on heroin” and “someone hooked on cheese”.
Entirely our experience too. Meanwhile, Adams’s own claim that he eats a vegan diet has been called into question after he was seen eating fish. Given that phylogenetically there is no such thing as a fish, we can’t rule out a plant-based variety. As to the cheese thing, as Twitter user Tyler Conway remarked, “let he who has not snorted grated parmesan off the countertop cast the first stone”.
Sperm waving
If not cheese, SpermTree – “a species-level database of sperm morphology spanning the animal tree of life”, recently described in the journal Scientific Data-promises some real, hard science.
What researchers get up to with descriptions of more than 4700 types of sperm, we hardly need to know. We are busy following an atavistic impulse by downloading the spreadsheet and reordering in descending order of sperm length.
Top of the list by some margin is the fruit fly Drosophila bifurca, with sperm over 5.8 centimetres in length when fully unfurled. This strikes us as a mite exhausting for an insect just a few millimetres long. We aren’t surprised to learn elsewhere that this limits its output to a few hundred cells in its lifetime, an apparent limitation on its reproductive chances that has been dubbed the “big sperm paradox”. This is clearly a sticky problem. Still, we are pleased to learn via a graph in the SpermTree paper that publications on sperm morphology are on the up and up.
Toast’s flip side
“Dear Professor Feedback,” Jonty Rix writes, warming the cockles of our heart. “As a social scientist,” he continues, chilling our blood again, “I am perplexed (and a little disappointed) by the failure of your discussions about the landing outcomes of ‘toast’ to fully consider socio-cultural or post-materialist understandings of the possibilities.”
We are beginning to regret reopening correspondence on the fate of falling buttered toast (8 January). But pray continue. “For example, the nature of upness seems a fundamental problem, as does a lack of a rich consideration of the numerous spaces in which toast is experienced, and of course our underlying definitions of toast and butter and the power relations inherent in their production and usage.”
We nod uneasily, wary of saying the wrong thing. We hope some opening into this whole new metalevel of debate is given by Toby Bateson. He disagrees with our assertion, backed up with references, that toast will always land butter-side down in any universe that supports intelligent bipeds (29 January). “By simply making the toast twice as long it will rotate at half the speed and so will land butter side up,” he writes. “The problem arises due to a fundamental flaw in the proportions of toast which can be adapted to solve the problem in any universe, regardless of table height and the intelligence of the bipeds who made the toast.”
We’re off to have a lie-down and burn some calories.
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Petrov’s Flu is an ode to Russian sci-fi and absurdist artSergey Ponomarev/Sovereign Films
Petrov’s Flu
Kirill Serebrennikov
In UK cinemas nowAdvertisement
PETROV (Semyon Serzin) is riding a trolleybus home across the snowbound city of Yekaterinburg when a fellow passenger mutters that the rich deserve to be shot. Seconds later, the bus stops, Petrov is pulled onto the street and a rifle is pressed into his hands. Street executions follow. Then, he is back on the bus and it is unclear how much of that actually happened.
Petrov’s Flu is an ambitious, mischievous film, one that is rich in allusions to Russian history, literature and cinema. It is also a painfully precise, gut-wrenching depiction of what it is like to run a high fever. Seeing everything from Petrov’s sick, disjointed point of view, we find the real world sliding away again and again, often into violent absurdity.
Petrov’s fever gradually breaks over the course of the film, but it is a while before we can be confident about what is real and what isn’t: whether his friend, the drunken mischief-maker Igor (Yuri Kolokolnikov), is real and whether Sergey (Ivan Dorn), the struggling writer who browbeats poor Petrov on every point, is a figment of Petrov’s febrile imagination.
At the start, Petrov’s Flu is very much a sci-fi movie. The city is languishing under an epidemic that arrived accompanied by lights in the sky; Petrova (Chulpan Khamatova), Petrov’s estranged wife, is possessed by a demonic alien force during a library poetry reading; UFO-themed street graffiti comes to life and wiggles across the screen.
As reality and hallucination part company, however, it becomes something different: a film about parents and children; about creative work, pretension and ambition; and also, strongly, about Russia’s love of science fiction.
“Petrov’s fever gradually breaks, but it is a while before we can be confident about what is real and what isn’t”
At its birth, Western science fiction, and especially US science fiction, celebrated adventure and exploration. Russian sci-fi has always been more about finding and building homes in a hostile environment. It is also strongly religious in spirit, and was indeed for many years one of Russia’s very few outlets for spiritual expression.
The aliens in Russian science fiction invariably offer some form of redemption to a struggling humanity, and Petrov’s Flu is no exception. One of the most affecting scenes in the film is when Petrov, overcome with fear, dashes with his son to a local hospital, only for the pair to be intercepted by a kindly UFO.
Such are Petrov’s fever dreams, coloured by his space-loving childhood and his adult career drawing comic books. At one point, he remembers his mum and dad decorating a Christmas tree with festive plastic astronauts; at another, Petrova goes on a murderous rampage among the climbing-frame rockets and spaceships of a dilapidated playground.
Fans of Andrei Tarkovsky, director of 1970s science-fiction classics Solaris and Stalker, will enjoy the nods to key moments in those films. But it would be a mistake, I think, to watch this film for the sci-fi in-jokes. True, Petrov’s Flu is a shocking and funny contribution to Russia’s centuries-old tradition of absurdist art. But it is also a film about people, not to mention an extraordinary evocation of febrile delirium and its assault on the mind.
In the end, as fantasy and reality separate, what might have seemed to be a disconnected bag of bits (some tender, some shocking, all horribly entertaining) turns out to be a puzzle that, once complete, leaves us exhausted but satisfied. More

By Sam Wong
StockFood
WHEN cooking food, we need heat to diffuse from the outside to its centre. If we want food to be evenly cooked throughout, this can be a problem: by the time heat reaches the centre, the outside may be overcooked. But in some cases, we can use the slow diffusion of heat to our advantage, to create foods with a surprise in the middle.
One example is a molten chocolate cake, aka a chocolate fondant. Essentially, this is an undercooked cake. The key is to bake it just long enough so that the outside is firm while the centre … More

As sea levels rise due to climate change, heritage sites all around the African coast will come under increasing risk of flood damage – including Carthage and sites linked to the Ancient Egyptian civilisation

Humans

10 February 2022

By Michael Marshall
Sabratha, an ancient Roman town in what is now LibyaSklifas Steven/Alamy Stock Photo
Rising seas will more than triple the number of African heritage sites exposed to the risk of dangerous coastal floods.
By 2050, over 190 of these locations could be in peril. They include the ancient remains of Carthage in Tunisia – which was the capital of the powerful Carthaginian civilisation in the first millennium BC – and a region of the Egyptian Mediterranean coast rich in archaeological sites connected to the Ancient Egyptian civilisation as well as to the Greeks and Romans.
“Understanding climate risk to heritage is critical,” says Nicholas Simpson at the University of Cape Town in South Africa.Advertisement
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Simpson and his colleagues mapped 213 natural sites and 71 cultural sites on the African coast, which were recognised by the UNESCO World Heritage Centre or the Ramsar Convention on Wetlands of International Importance. “We didn’t know the spatial extent, the actual boundaries of most African heritage sites, believe it or not,” he says.
The team then combined this with a state-of-the-art model of sea level rise, which is one of the main consequences of climate change as warming seawater expands and ice sheets melt. Higher seas mean that major coastal floods, when they come, go higher and reach further inland.

At the moment, 56 of the 284 coastal heritage sites the team mapped would be in danger if a once-in-a-century flood struck. However, by 2050 that number will rise dramatically. Under a moderate emissions scenario, 191 will be at risk, and higher emissions will put 198 in danger.
The threatened sites also include Sabratha, a former Roman town in Libya with a spectacular open-air theatre that the Beatles considered as a venue for their final concert, and Kunta Kinteh Island in the Gambia, which has the remains of a fort used by British slave traders.
Elsewhere, up to 44 per cent of the area of the Curral Velho wetland in Cape Verde could be exposed by 2100, under a high-emissions scenario.
The obvious solution is “hard protection strategies” like concrete sea walls, but these may not be the best approach, says Simpson. In some cases, a better tactic would be “hybrid protections” that rely on wildlife, “so just restoring the broader ecology of the area, restoring salt marshes, seagrasses, mangroves”. Buffer zones around the heritage sites are also an option, he says, as is “recognising the local and indigenous knowledge systems that are there”.
It may not be possible to protect everything, says Simpson, but it is essential to try. “I believe there are solutions to climate change if we think hard enough and work hard enough.”
Journal reference: Nature Climate Change, DOI: 10.1038/s41558-022-01280-1

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About 10,000 years before modern humans colonised Europe, a small group of them moved into a cave in southern France that had just been abandoned by Neanderthals – but they only stayed there for about 40 years

Humans

9 February 2022

By Michael Marshall
Excavations at the entrance of Grotte Mandrin Slimak-Metz
A small group of modern humans moved into what is now France about 54,000 years ago – which is 10,000 years before our species began spreading across Europe in earnest. The pioneering group only managed to survive in the area for about 40 years, before disappearing.
“It’s not just one wave of modern humans arriving and colonising all Europe, there are probably several attempts,” says Clément Zanolli at the University of Bordeaux in France. “What we have found… is probably one of those attempts, and there are probably other attempts that we did not find yet.”
It isn’t clear why this incursion into Europe was unsuccessful. “Did they go back to where they came from?” asks Zanolli. “Or did they just die there and not survive more than a few decades? It’s impossible to say.”Advertisement
Zanolli is part of a team that has been excavating at Grotte Mandrin in southern France since 1990. It is a small cave on a hill, overlooking the Rhône valley. Over the years, the team has found nearly 60,000 stone artefacts and more than 70,000 animal remains. Crucially, there are also nine hominin teeth, from at least seven individuals.
The team has used these artefacts, along with dating techniques, to reconstruct which hominins lived at Mandrin. The earliest known inhabitants were Neanderthals, who lived throughout Europe for hundreds of thousands of years until their extinction about 40,000 years ago. Neanderthals lived at Mandrin from more than 80,000 years ago until about 54,000 years ago.
However, one of the teeth belonged to a modern human. It was a baby or “deciduous” tooth, so it belonged to a child. The layer of sediment in which it was found was dated to between 56,800 and 51,700 years ago – probably about 54,000 years ago. The stone artefacts found in this layer were different from those associated with the Neanderthals, and resembled those made by modern humans elsewhere.

In younger layers of sediments, the team again found Neanderthal remains. Signs that the cave was being used by modern humans reappeared after 44,100 years ago. That is about when modern humans entered Europe in a big way.
The first switch from Neanderthals to modern humans happened quickly, says co-author Ludovic Slimak of the University of Toulouse-Jean Jaurès in France.
“Between the last fire in the cave by Neanderthals and the first fire in the cave by Homo sapiens, it’s something like a year maximum time.” The team could tell because they studied pieces of soot from fires, on which layers of calcite had formed that could be precisely dated. The soot and calcite evidence also helped to pin down the length of time the cave was occupied by modern humans to roughly 40 years.
The results are “convincing”, says Katerina Harvati of the University of Tübingen in Germany. “Although the fossil evidence for modern humans consists of a single isolated deciduous tooth, dental remains, including deciduous teeth, have been shown to be highly diagnostic.”
In 2019, Harvati’s team presented evidence of modern humans living in Greece 210,000 years ago. This remains the earliest reported instance of Homo sapiens in Europe, far earlier than the Mandrin population.
Such studies show “the complexity of the process of dispersal and contact”, says Harvati. Instead of a simple story of modern humans entering Europe in one wave and replacing Neanderthals, there were “alternating occupations of geographical regions, occasional  contact and periods of isolation”.
Zanolli’s team found no evidence of cultural exchange between the groups – the later Neanderthals didn’t start making human-style artefacts, for example. Yet given that the two groups were in Mandrin in successive years, “it’s very likely that they met”, says Zanolli.

Harvati agrees. “The co-existence of the two groups could have taken many forms and would not necessarily result in interbreeding or cultural exchange,” she says.
While we don’t know what happened to the modern human group, one possibility is that they were too few to survive on their own. Small groups moving into new areas often don’t survive. “Generally, you need to have social and genetic exchanges with the local population,” says Slimak. “If you don’t have genetic exchanges, you just disappear.”
Journal reference: Science Advances, DOI: 10.1126/sciadv.abj9496
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In Edward Ashton’s novel Mickey7, Mickey gets a shot at immortality by uploading his consciousness, but at what cost, asks Sally Adee

Humans

9 February 2022

By Sally Adee
Died at work? Just load your mind into a new body and finish the jobShutterstock / Photobank.kiev.ua

Mickey7
Edward Ashton
St Martin’s Press (out in the US on 15 February and in the UK on 17 February)Advertisement

IT WASN’T that long ago that sci-fi creators were more starry-eyed and optimistic about the prospects of tech companies keeping our best interests at heart. In 2016, Black Mirror, the TV series whose dark speculations defined the late 2010s, released an unusually upbeat vision of digital immortality in which a dying woman uploads her mind to a global megacorp’s server farm and lives her best life online in perpetuity.
The idea of uploaded consciousness has long been an object of fascination in science fiction. Neal Stephenson spent several hundred pages of his 2019 triumph Fall; or, Dodge in Hell on a gonzo hallucinatory riff recounting his protagonist’s transition into life in silico. Yet, Stephenson’s artistically muscular depiction failed to answer a central question: is it a goal that’s worth pursuing, even in theory? Edward Ashton’s Mickey7 is the first novel I have come across that properly explores the philosophy behind that question.
In the book, titular Mickey escapes a grim life on his home planet by signing on to a mission to terraform a new one. He has no skills to offer, so he applies to be the ship’s “Expendable”, a disposable employee who specialises in dangerous tasks that often prove deadly. The only perk of the job is that no matter how often he is killed, he is uploaded into a new body to carry on his work. “The way they sell you on becoming an Expendable is that they don’t call it becoming an Expendable,” Mickey muses. “They call it becoming an Immortal.”
The ideal version of immortality is as a seamless continuation of the self. But will Mickey2 – or Mickey7, the incarnation we meet in the story – be the original Mickey or just an accurate copy? The hiring manager for the terraforming mission is deliberately ambiguous on this point. As the plot unfolds, Ashton artfully illustrates how this conceptual fuzziness benefits the corporations that make digital immortality their business.
When Mickey’s eighth instance is mistakenly decanted while Mickey7 is still alive, he wakes up to the fact that he has had the wool pulled over his eyes. It is the best illustration of the problem of digital immortality I have read: simple, fast and fun, laying out complicated concepts in an accessible way. Yet beneath the breezy tone lies a vision with harrowing implications.
“It is easy to envision the business case for digital immortality that is anything but customer-centric”
Black Mirror’s megacorp was seemingly able to monetise giving its customers a pleasant digital ever after, but it is easy to envision the business case for digital immortality that is anything but customer-centric. For the full bleak take on this, I refer you to Lena, a short story by Sam Hughes under the nom de plume “qntm”, which was published online in 2021 and is already on its way to being upload canon. After a neuroscience grad student agrees to have his consciousness copied by his university research lab, the initial techno-optimism fades into dystopian despair in ways that feel laceratingly plausible.
Given the prevailing direction of our society, the Black Mirror episode looks almost quaint in its optimism. But whether a life in the digitised beyond feels like heaven for the minds that inhabit it or like a corporate-branded version of hell, Mickey7 makes a good case that any human who decides to upload themselves will be just as dead as anyone else who has ever lived and died.

Lena
qntm
A well-meaning neuroscience grad student donates his digital consciousness to science, a decision he may find he “lives” to regret.

Fall; or, Dodge in Hell
Neal Stephenson
William Morrow Speculative science fiction looking into the near future of the US. Like a more emotionally healthy, post-cyberpunk Succession.

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When a wealthy technology entrepreneur invents an AI-driven system capable of predicting how human fear affects the world’s financial markets, nothing turns out quite as he planned

Humans

9 February 2022

By Linda Marric
Alex Hoffman (Josh Hartnett) creates an AI-based system to monetise fear in The Fear IndexSky
The Fear Index
David Caffrey
Sky Atlantic/NOW TVAdvertisement

IN RECENT years, big corporations have made it their business to keep a close eye on developments in artificial intelligence. From predicting trends in markets to planning risk-mitigation strategies, companies are constantly on the lookout for new ways to capitalise on AI to stay ahead of the game.
The Fear Index, a four-part psychological thriller based on Robert Harris’s 2011 bestselling novel of the same name, explores the ethical and moral issues wrapped up in applying AI to business, and asks some pertinent questions about the morality of using scientific advances for the sole purpose of making money.
Josh Hartnett (Pearl Harbor, The Black Dahlia) stars as Alex Hoffman, a wealthy technology entrepreneur who invents an AI-driven system capable of predicting how human fear affects behaviour and how that, in turn, affects fluctuations of the world’s financial markets. This knowledge promises not only power, but also considerable returns for Alex’s multibillionaire clients.
Directed by David Caffrey (Peaky Blinders, The Alienist), the series also stars Line of Duty alum Arsher Ali as Alex’s best friend and business partner Hugo, alongside Leila Farzad (I Hate Suzie) as Alex’s wife Gabby.
The action covers an intense 24-hour period in which Alex, a former scientist at the CERN particle physics laboratory, prepares to launch his morally questionable money-spinner. “Humans act in very predictable ways when they are frightened,” he assures his wealthy investors.
Yet, having promised billions in profit to his already rich clients, Alex’s plans are thrown into chaos when he is attacked by an unknown assailant at the home he shares with Gabby the night before the launch, leaving him disoriented and confused.
The next day, acting increasingly erratically and struggling to keep on top of things, Alex and Hugo don’t quite get the launch day they had in mind. It doesn’t help that an unexpected tragedy prompts some of their employees to start to question the morality of the whole endeavour.
Meanwhile, Alex becomes convinced that mysterious forces are conspiring to frame him for a series of acts he has no memory of having carried out. Questioned by the police and deserted by his wife, Alex finds himself in free fall, no longer sure what is real and what is happening only in the darkest corners of his imagination.
The Fear Index takes us not only into the mind of a man in a mental health crisis, but also provides a glimpse into a world where billions are made and spent in seconds, and where whole economies can be derailed by the timely use of a mathematical equation.
Caffrey adds a faint air of sci-fi and mystery to the proceedings, and ultimately delivers a gripping and robust thriller in which nothing is quite what it seems. A series of red herrings are peppered throughout the story to keep viewers on their toes. These add a note of suspense to the narrative but, to my mind, the series works best when viewed as a psychological drama about a man struggling to cope with psychosis as his life falls apart.
Although clearly made with fans of Line of Duty – the BBC’s long-running cop show – in mind, The Fear Index sadly lacks its punchiness and accessibility. With a screenplay filled with overly melodramatic exchanges and jarring technical jargon, the series often feels confusing and needlessly meandering. Still, Hartnett delivers a phenomenal turn and is the best thing about this flawed, yet highly watchable, mystery.

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