Humans

What have covid-19 closures done to art galleries and museums? From virtual tours of mothballed shows to advanced tech like lidar, they are finding new, more personal ways to wow audiences

Humans 3 February 2021
By Simon Ings
Curious Alice is a VR experience created by the V&A and HTC Vive Arts
Kristjana S Williams, 2020

Exhibitions
IN NOVEMBER, the International Council of Museums estimated that 6.1 per cent of museums globally were resigned to permanent closure due to the pandemic. The figure was welcomed with enthusiasm: in May, it had reported nearly 13 per cent faced demise.
Something is changing for the better. This isn’t a story about how galleries and museums have used technology to save themselves during lockdowns (many didn’t try; many couldn’t afford to try; many tried and failed). But it is a story of how they weathered lockdowns and ongoing restrictions by using tech to future-proof themselves.

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One key tool turned out to be virtual tours. Before 2020, they were under-resourced novelties; quickly, they became one of the few ways for galleries and museums to engage with the public. The best is arguably one through the Tomb of Pharaoh Ramses VI, by the Egyptian Tourism Authority and Cairo-based studio VRTEEK.
And while interfaces remain clunky, they improved throughout the year, as exhibition-goers can see in the 360-degree virtual tour created by the Museum of Fine Arts Ghent in Belgium to draw people through its otherwise-mothballed Van Eyck exhibition.
The past year has also forced the hands of curators, pushing them into uncharted territory where the distinctions between the real and the virtual become progressively more ambiguous.
With uncanny timing, the V&A in London had chosen Lewis Carroll’s Alice books for its 2020 summer show. Forced into the virtual realm by covid-19 restrictions, the V&A, working with HTC Vive Arts, created a VR game based in Wonderland, where people can follow their own White Rabbit, solve the caterpillar’s mind-bending riddles, visit the Queen of Hearts’ croquet garden and more. Curious Alice is available through Viveport; the real-world show is slated to open on 27 March.
Will museums grow their online experiences into commercial offerings? Almost all such tours are free at the moment, or are used to build community. If this format is really going to make an impact, it will probably have to develop a consolidated subscription service – a sort of arts Netflix or Spotify.

What the price point should be is anyone’s guess. It doesn’t help for institutions to muddy the waters by calling their video tours virtual tours.
But the advantages are obvious. The crowded conditions in galleries and museums have been miserable for years – witness the Mona Lisa, imprisoned behind bulletproof glass under low-level diffuse lighting and protected by barricades. Art isn’t “available” in any real sense when you can only spend 10 seconds with a piece. I can’t be alone in having staggered out of some exhibitions with no clear idea of what I had seen or why. Imagine if that was your first experience of fine art.
Why do we go to museums and galleries expecting to see originals? The Victorians didn’t. They knew the value of copies and reproductions. In the US in particular, museums lacked “real” antiquities, and plaster casts were highly valued. The casts aren’t indistinguishable from the original, but what if we produced copies that were exact in information as well as appearance? As British art critic Jonathan Jones says: “This is not a new age of fakery. It’s a new era of knowledge.”
With lidar, photogrammetry and new printing techniques, great statues, frescoes and chapels can be recreated anywhere. This promises to spread the crowds and give local museums and galleries a new lease of life. At last, they can become places where we think about art – not merely gawp at it.
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New Scientist’s weekly round-up of the best books, films, TV series, games and more that you shouldn’t miss

Humans 3 February 2021
NASA on Unsplash

Watch
Earth, But Not As We Know It is a free online event by London’s Science Museum on 13 February, bringing James Lovelock and his peers into a conversation about his controversial idea that Earth acts like a living organism.

Zoonar GmbH/Alamy

Explore
Manchester Science Festival returns from 12 February with an online programme on our changing climate and ideas for a better future. There are photography exhibitions and talks on everything from improving air quality to eco-anxiety.

Read
The Genes That Make Us by Edwin Kirk combines his experiences from lab work and clinical practice to present stories from a revolution in medicine — one that may ultimately change what it means to be human.
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State-of-the-art special effects combined with a compelling story makes Star Wars spin-off The Mandalorian viewing to be savoured on Disney+

Humans 3 February 2021
By Bethan Ackerley

The Mandalorian
Created by Jon Favreau
Disney+

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WHEN George Lucas set out to create Star Wars, he wanted to use special effects that had never been seen before. Over the course of the franchise’s history, that dream has been pursued relentlessly with mixed results.
The original Star Wars trilogy was brought to life by Lucas’s visual effects company Industrial Light & Magic (ILM) through a groundbreaking combination of blue screens, miniatures, puppets and camera trickery. The prequel films (released between 1999 and 2005) were ambitious too, pioneering the use of digital film and fully computer-generated characters, but relied heavily on digital effects that didn’t always stand up to scrutiny. Since 2015, the latest Star Wars films have showcased some stunning effects, but it is now in TV show The Mandalorian that the series’ most exciting technological developments are taking place.
Set five years after Return of the Jedi, The Mandalorian follows a bounty hunter tasked with finding The Child (a pointy-eared alien better known to fans as Baby Yoda). Unable to surrender the infant to his nefarious client, the Mandalorian is forced to traverse the galaxy to protect his charge from remnants of the Empire.
So far, so Star Wars. Yet what makes The Mandalorian so special is how it builds on the successes and failures of every story in the franchise, especially when it comes to technology. Though you wouldn’t know it, the many alien worlds it features aren’t filmed in deserts and tundras around the world, but are instead realised by ILM on just one stage in Los Angeles, nicknamed “the Volume”.

“The many alien worlds of The Mandalorian are realised on a single stage in Los Angeles called ‘the Volume’”
This cavernous set is encircled by LED panels on its 6-metre walls and ceiling. Instead of shooting actors against green screens and adding a virtual background later, environments – Tattooine’s desert plains, say – are projected onto the walls during filming, blending seamlessly with practical props.
The advantages of this approach are manifold. While shooting with green screens means lighting and reflections have to be tweaked in post-production – a difficult task and part of why the prequel trilogy was so maligned – the Volume accurately lights a scene while it is being filmed, so every world our hero steps onto (in his gleaming beskar armour, no less) feels like a real location.
Those alien planets can be edited on set, so the crew can quite literally move mountains. ILM also uses Unreal Engine from Epic Games, the firm behind Fortnite, to create 3D environments in real time in the Volume. The screens respond to positional data from a camera, so as it moves, the setting shifts to provide realistic changes in perspective.
Beyond the Volume, the show builds on the techniques of its predecessors, using puppetry and animatronics alongside actors to create believable aliens. You only have to look at fans’ reactions to The Child and to “Frog Lady”, season two’s amphibious breakout star, to see how successfully they have been realised. Even old-school miniatures are used.
The Mandalorian represents the next generation of technology in Star Wars, which is fitting for a brand so obsessed with lineage. That doesn’t mean it should be judged on this alone. It is also a compelling story about fatherhood and duty, albeit one with meandering side quests that sometimes divide viewers. Yet with a universe this beautifully realised, who wouldn’t stop to take in the view from time to time?

Bethan also recommends…
TV
Disney Gallery: The Mandalorian
Disney+
This fascinating series explores key elements of The Mandalorian. A highlight is the episode looking into how composer Ludwig Göransson built the cool soundtrack around giant recorders.
Film
Empire of Dreams: The story of the Star Wars trilogy (2004)
Ken Burns
The original Star Wars films were taken from the brink of disaster and made into a global phenomenon. This documentary tells the tale.

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Ralph Fiennes and Carey Mulligan star in Netflix’s film The Dig, which reimagines the excavation at Sutton Hoo, where a 27-metre burial ship was uncovered

Humans 3 February 2021
By Francesca Steele
Flawless: Carey Mulligan as Edith Pretty and Ralph Fiennes as Basil Brown
Larry Horricks/Netflix

The Dig
Simon Stone
Available on Netflix

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BASIL BROWN, played in The Dig by Ralph Fiennes, was the principal archaeologist behind the 1939 excavation of Sutton Hoo in Suffolk, England. It is now considered one of the most important finds in Britain, the majesty of its 27-metre burial ship and 7th-century Anglo-Saxon treasures reframing historians’ view of the so-called Dark Ages.
However, it was very nearly missed – and Brown wasn’t always acknowledged for his efforts. He was a self-educated archaeologist and astronomer, who spent much of his income as a tenant farmer and insurance agent on that education. Being an independent scholar without an academic post was an irregularity that led to the omission of his name at the British Museum’s display of the Sutton Hoo treasures for decades.
The Dig, based on the novel of the same name by John Preston, rights that wrong. It is directed by Simon Stone with a distinctly British tone of restraint worthy of film producer Ismail Merchant and director James Ivory, who made the 1990s hits Howards End and The Remains of the Day.
The film approaches English passions cautiously, shining a light on Brown’s incredible contribution, as well as that of Edith Pretty (Carey Mulligan), the landowner who hired Brown to dig under the mounds on her estate because she had a “feeling” they would find something of note.
Fiennes and Mulligan are flawless as the excavators that the professionals underestimate, imbuing their characters with an intelligent zeal for the field that isn’t dampened by their places in society: he’s a lowly contractor for the Ipswich Museum, she’s a wealthy widowed landowner who went to finishing school. They share a quiet determination and mutual respect, initially arguing over which of the 18 mounds to tackle first, but finding common ground in the soil and its secrets. “That’s life what’s revealed,” Brown says in a thick Suffolk accent. “And that’s why we dig.”

Brown forms a friendship with Pretty’s young son Robert, a keen amateur archaeologist. It is all the more affecting as we learn that Pretty is dying so Robert will soon be an orphan (Pretty died in 1942).
“The Dig is obsessed with class boundaries. It fizzes with curbed passions amid honey-coloured fields”
This is a film of two halves, the first about archaeology, the second concerned with the personal lives of the people behind the dig. The first half is more successful, illustrating the patience necessary for excavation, especially in England where it is always raining, exposing fragile finds to the elements. It also reveals the dangers. In one of their earliest conversations, Pretty rescues Brown when the earth falls in on him and he claws desperately at the dirt. It is a good illustration of the risks an ordinary man took to exhume historical artefacts, only to be cast aside later.
Like Howards End and The Remains of the Day, The Dig is obsessed with class boundaries. It fizzes with curbed passions amid the honey-coloured English fields, the indomitable march of time making each ordinary moment both horribly transient, as the second world war calls up young men to die in the background, and simultaneously everlasting.
History is made of such things, and forgotten items – like Anglo-Saxon gold and Brown himself – can be retrieved.
In the second half, we learn more about other characters on the dig, including supercilious chauvinist Charles Phillips (Ken Stott) who arrives from the British Museum to oversee things. Then there are archaeologists Stuart Piggott (Ben Chaplin) and his wife Peggy Piggott (Lily James), whose strained marriage disintegrates before our eyes as Peggy forms an attachment with good-looking photographer Rory (Johnny Flynn).
The acting is impeccable, particularly from James, but the romance and domestic crises feel a little heavy-handed in a film that is otherwise so self-possessed. The Dig doesn’t need such frills. Like Sutton Hoo, the treasures aren’t showily arranged but lie quietly, in the silences between people, and in simple shared hopes that stretch across generations.
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As the coronavirus crisis goes on, an increasing number of us are feeling worn out and unable to cope. Here’s how you can tell if this is burnout, and what you can do to protect yourself

Health 3 February 2021
By Caroline Williams

Nathalie Lees

“I AM not just busy, I am being overwhelmed by an onslaught of requests like yours…”
There is a certain irony to the email I have just received: the pioneer of burnout research is feeling utterly swamped by work. Christina Maslach, a psychologist at the University of California, Berkeley, spearheaded the study of burnout back in the 1970s and has been working on ways to tackle the problem ever since. Her expertise was already highly sought after even before the coronavirus pandemic. Now she can barely move under the weight of her inbox.
It is hardly surprising. In the year since the word lockdown became ubiquitous, it seems as if almost everyone has hit the wall at least once. But amid the emotional roller coaster of work stress, homeschooling, social isolation and the not inconsiderable fact that there is still a pandemic raging outside, how can you tell when you have reached the end of your tether? When does feeling understandably stressed in difficult times turn into an irretrievable case of burnout? And what can you do to protect yourself?
Thankfully, five decades of research means we have a fairly good idea of what burnout is and what causes it. According to Maslach’s Burnout Inventory, an assessment tool she co-developed, burnout arises when three factors coincide: an overwhelming feeling of emotional exhaustion, feelings of cynicism and detachment and a feeling of lack of accomplishment. For those experiencing burnout, these criteria might manifest in feelings like being exhausted even after plenty of sleep, being emotionally distant from loved ones or no longer caring about jobs that need doing. … More

By Krista Charles
A diagram showing the difference between human and chimpanzee thumb muscles
Katerina Harvati, Alexandros Karakostis and Daniel Haeufle

Our thumbs allow us to use a variety of tools, from hammers to smartphones, and a new analysis suggests they have a long history. Researchers have found that some hominins started developing more dexterous thumbs about 2 million years ago, which could have allowed them to exploit more resources, eventually leading to the emergence of human culture.
Katerina Harvati at the University of Tübingen in Germany and her colleagues looked at thumb efficiency across different fossil human species. The researchers looked at the shape of thumb bones and soft tissue, which is occasionally preserved. They also created 3D meshes of thumb samples and calculated their torque.
“Levels of dexterity very similar to what we see in modern humans were already present 2 million years ago,” says Harvati.

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Previous research has suggested that Australopithecus, an earlier genus of hominin, may have been the earliest toolmakers, but the researchers found these fossils lacked the same dexterity found in Neanderthals and Homo naledi.

The researchers suggest that Australopithecus might have been capable of using tools without being adapted for it, whereas the Homo genus developed dexterous thumbs and became adapted for more efficient tool making.
“Regardless of whether stone tool use started before the genus Homo, it’s only after 2 million years ago that stone tool use might have been more efficient,” says team member Fotios Alexandros Karakostis, also at the University of Tübingen. “Therefore, this increased efficiency is likely the factor that led to the gradual emergence of human culture rather than stone tool use itself.”
“All Homo share a common morphology that allows for more dexterity than what came before. And that is brought into light and well supported by this multidisciplinary approach,” says Sandra Martelli at University College London.
Journal reference: Current Biology, DOI: 10.1016/j.cub.2020.12.041
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From the right ratio of green and brown waste to regular aeration, here are some top tips for making compost, writes Clare Wilson

Humans 27 January 2021
By Clare Wilson

Annie Otzen/Getty Images

What you need
A compost bin
Kitchen waste
Plenty of waste low in nitrogen, such as cardboard or sawdust
WE ALL like to get something for nothing, and one way to do that in gardening is to make your own compost from kitchen and garden waste. If all goes well, you end up with an earthy, fine brown crumb within a couple of years, which adds nutrients and structure to your soil. But get things wrong, and it turns into a slimy, stinking mess. So what are the dos and don’ts of composting?
The process is all … More

By Matthew Sparkes
Conspiracy theory groups like QAnon find followerson social media sites
REUTERS/Patrick Fallon

CLAMPING down on conspiracy theories may not help tackle extremist views online, instead it might cause them to proliferate.
Shruti Phadke at the University of Washington in Seattle and her colleagues analysed 6 million posts from 60,000 people on social news aggregation site Reddit, as well as their memberships of user-created communities called subreddits, in an attempt to identify the roots of online radicalisation. All the people’s profiles were roughly similar, but half of them were members of at least one subreddit focused on discussing political and scientific … More