Science

The acid test

When Peregrine Worsthorne was on Desert Island Discs in 1992, he chose as his luxury item a lifetime supply of LSD. He may, according to the American journalist Michael Pollan’s fiercely interesting new book, have been on to something. Acid has a bad name these days: either a threat to the sanity of your children, or a naff 1960s throwback favoured by the sort of people who sell you healing crystals at markets in Totnes. Yet in LSD-25, psilocybin, DMT, mescaline and others we have a family of molecules with startlingly powerful effects on the human mind. They are not addictive, carry little or no physiological risk, and their association

The power of words | 3 May 2018

‘For me rhyming was normal,’ said Benjamin Zephaniah, reading from his autobiography on Radio 4. Back in the 1960s, on Saturday afternoons in their house in Hockley, Birmingham, where Zephaniah grew up with his seven siblings, the drinks trolley would come out and the record player be plugged in — Desmond Dekker, Millie Small and Prince Buster — ‘the lyrics of Caribbean life’. The church, too, gave him a love of words and vocal performance, Zephaniah delivering his first gig by reciting a list of the books of the Bible both ways, forwards and in reverse order. The music and the poetry were part of everyday life, ‘it was how

Why it’s time to stop fetishising experts

Something extraordinary and largely unreported has just happened in a court in San Francisco. A federal judge has said that there is no Big Oil conspiracy to conceal the truth about climate change. In fact, Judge William Alsup — a Clinton appointment, so he can hardly be accused of right-wing bias — was really quite snarky with the plaintiffs who claimed there was such a conspiracy. The case was brought by the cities of San Francisco and Oakland, which have taken it upon themselves to sue the five big western oil majors — Chevron, ExxonMobil, Conoco-Phillips, BP and Royal Dutch Shell — for allegedly engaging in a Big Tobacco-style cover-up

Why the arts are needed to put the ‘A’ into ‘STEAM’

Amongst the good places to be in Britain, the National Theatre and the RSC in Stratford-upon-Avon are up there. What I see or do when in these places is almost secondary to being there.  Soaking it up in the National Gallery is a close second. Knowing that this country once had the courage to provide the necessary subsidy to create a national theatre; it is daily fillip to see what a beacon our two great theatres are for work that makes us think about how we live. This feeling is compromised by knowing what is going on in maintained schools at the moment. Writing in The Guardian, the Director of

Talking heads | 16 November 2017

Under the central dome of UCL — an indoor crossroads where hordes of students come and go on their way to lectures and lunch — there’s an intriguing exhibition on at the moment about death. ‘Human remains are displayed in this exhibition’, it says in white lettering on the floor atall four entrances, to warn any passing snowflakes. The real head of Jeremy Bentham, who died in 1832, glass eyes staring out at you from behind a vitrine, is indeed a bit queasy-making. This is the central object of the exhibition. Bentham still has his long dark-grey hair at the back and sides of his bald pate, and his whole

Darkness visible | 16 November 2017

All photography requires light, but the light used in flash photography is unique — shocking, intrusive and abrupt. It’s quite unlike the light that comes from the sun, or even from ambient illumination. It explodes, suddenly, into darkness. The history of flash goes right back to the challenges faced by early photographers who wanted to use their cameras in places where there was insufficient light — indoors, at night, in caves. The first flash photograph was probably a daguerreotype of a fossil, taken in 1839 by burning limelight. For the next 50 years, photographers experimented with limelight, which was familiar from theatre illumination, with portable battery-driven lights — which Nadar

Perception vs objective reality

I hate to tell you this, but every time you watch television you are being duped. In fact there are only three accurate things you will ever see on television. These are the colours red, green and blue. Each pixel on a screen can transmit three colours only. If blue alone is illuminated, the screen is blue. And it really is blue. But TV yellow is a big fat lie. It looks yellow. But it isn’t really yellow. It’s a mixture of red and green light which hacks our optical perception so we think we are seeing yellow. That’s because humans, indeed all higher apes, are mostly trichromats. We have

Frills and furbelows

Over the winter of 1859–60, a handsome young man could be seen patrolling the shores of the Gulf of Messina in a rowing boat, skimming the water’s surface with a net. The net’s fine mesh was not designed for fishing, and the young man was not a Sicilian fisherman. He was the 25-year-old German biologist Ernst Haeckel from Potsdam searching for minute plankton known as Radiolaria. In February he wrote excitedly to his fiancée, Anna Sethe, that he had caught 12 new species in a single day — ‘among them the most charming little creatures’ — and hoped to make it a full century before leaving. Haeckel had a degree

Oh brave new gender-fluid world…

Later this year, the Advertising Standards Authority will reveal to the world their list of rules designed to wipe out ‘gender stereotyping’ in TV ads. I’m already looking forward to it because the ASA’s first thoughts on the matter, published in July, were fascinating. An ad for baby milk which showed a girl growing up to be a ballerina was deemed quite unacceptable; KFC got flack for featuring one man teasing another for not being manly enough. Stereotypes on TV contribute to ‘unequal outcomes’ in reality, explained ASA’s chief exec. Of course no one wants boys and girls to feel forced to conform — some boys are feminine, some girls

Frater, ave atque vale

As his obituaries pointed out, my brother David made a name for himself with his unrideable bicycle; his ‘perpetual motion’ machine — a bicycle wheel still rotating in a frame on our mantelpiece (it attracted 1.1 million hits on a German website); and his theory that the arsenic found in Napoleon’s hair and fingernails was down to his wallpaper. The papers naturally got all this wrong (‘Napoleon killed by wallpaper’ they intoned, as did Andrew Roberts), and the image of the potty prof emerged. In fact, his purpose was serious. He was equally serious about our children — after a failed marriage, he had none of his own, to his

Starting block

Conor McPherson’s new play is set in dust-bowl Minnesota in 1934. We’re in a fly-blown boarding house owned by skint, kindly Nick who has designs on a sexy widow with a big inheritance coming. Good opening. Roll the story. But there’s more. Nick’s useless son is a depressed novelist entangled with a beautiful governess betrothed to a rich man she doesn’t love. An even better opening. Roll the story. But wait. Nick has a black maid called Marianne whom he rescued as a baby and raised as one of the family. An interesting complication. Roll the story. No wait. Marianne claims to be pregnant but declines to reveal whether the

Playing Stalin for laughs

Christopher Wilson’s new novel is much easier to enjoy than to categorise. And ‘enjoy’ is definitely the right word, even though The Zoo tackles subject matter that should, by rights, make for a punishingly bleak read. The narrator is 12-year-old Yuri, whose misfortunes start with the fact that he’s growing up in Moscow in 1953 — and that a road accident when he was six damaged his brain, leaving him with a curious set of symptoms that couldn’t be worse suited to life under Stalin: a total lack of guile, a tendency to ask awkward questions and a face so angelically trustworthy that everybody tells him their deepest secrets. Given

Size matters | 29 June 2017

Trust scientists to ruin all our fun. The spectacularly beautiful 2014 film reboot of Godzilla, it turns out, is anatomically misleading. At 350ft tall, such a beast would simply collapse under its own weight, because an animal’s mass cubes with a doubling of its size, while the strength of its supporting limbs only squares. The basic principle was known to Galileo, and it turns out that the simple observation that things do not scale linearly can tell us much else besides, as this quite dazzling book amply demonstrates. Geoffrey West is a theoretical physicist who became interested in biology and then in cities, and (with colleagues at the Santa Fe

Sado-erotic review

The Olivier describes Salomé by Yaël Farber as a ‘new’ play. Not quite. It premièred in Washington a couple of years ago. And I bet Farber was thrilled at the chance to direct this revival at the National’s biggest and best equipped stage. She approaches the Olivier’s effects department like a pyromaniac in a firework factory. She wants everything to go off at once. And it does. Goatherds yodel. Bells bong. Flutes warble. Birds parp. A revolving conveyor belt twirls spare actors around the stage in dizzy circles. Chord surges swell and fade on the soundtrack. Kneeling shepherdesses sift mounds of soap powder into mahogany salad bowls. Overhead, the prog-rock

Dreaming of wide open spaces

On the website of the Australian National University in Canberra, emeritus professor of history Barry Higman lists his research interests as food sciences, cultural studies and historical studies, with a particular interest in The world history of food over the last 5,000 years; the global history of domestic servants in the modern world; the history of the Jamaican landscape; the history of Australia as a flat place; and the history of islands and insularity. This rather unusual breadth of interests suggests either that Professor Higman is a very curious man indeed or a complete academic fraud. Fortunately, for the sake of the future of higher education in south-eastern Australia, it’s

What will you do in the gene-editing revolution?

The only time I ever saw a wolf in the wild, a small one, I was so frightened that I closed my eyes. It was a useful insight into the depths of my own cowardice. Every day, with each new story about the exciting breakthroughs we’re making in genetic engineering, I feel that same shameful urge to shut my eyes. Far faster than anybody thought, we’re working out the genes responsible for all manner of traits in all creatures great and small. Far more easily than anyone expected, we’ve moved from standard gene therapies to figuring out how to actually edit our own DNA, to ferret around inside living cells,

Snap, crackle and pop

As you go into the new Wellcome Collection exhibition, Electricity: The Spark of Life, you might have in mind a sentence from Mary Shelley’s original electrifying novel Frankenstein; Or, the Modern Prometheus: ‘I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet.’ A copy of the 1831 edition of her book, with its startling anatomical frontispiece, awaits you, among many other wonders. The exhibition, a collaboration between the Wellcome, the Teylers Museum of Haarlem and the Museum of Science and Industry, Manchester, is packed with electrical instruments, together with models, artefacts, books, film loops and

Cheating death

2016 was probably the year even the most optimistic of us — those who can genuinely square the new populist politics with a bright future for truth-seekers, scientists and rational thinkers — gave up on the possibility of time travel. Surely, on every rally stage there should have been at least one white man from the future (it’s generally a white man for the simple statistical reason that if you’re a woman or a non-white man and go travelling in time, there’s only about 0.2 per cent of recorded history where you won’t materialise to immediate shouts of, ‘Quick, Paw, fetch the best whupping switch — and a cage’), wild-eyed,

Thoughts on the human condition

This past autumn has felt more uncomfortable than usual to be a woman looking at men looking at women. From Hillary Clinton’s ‘overheating’ episode (‘Does she have Parkinson’s? Is she wearing a catheter?!’) to Donald Trump’s assessment of female limbs as if they were building materials, election season finished with the male members of our new first family peering over the voting booth to check on their wives. Siri Hustvedt has long been interested in how the way we look at the world privileges certain political, gendered, artistic and scientific agendas, while excluding others. These dynamics are at play between a reader and a writer, a doctor and a patient,

Don’t ask the experts

Michael Gove never intended to make his most famous remark. In an interview during the EU referen-dum campaign, the then justice secretary was told that the leaders of the IFS, CBI, NHS and TUC all disagreed with him about Brexit. He had tried to reply that people have ‘had enough of experts from organisations with acronyms saying that they know what is best and getting it consistently wrong’. But he was picked up mid-sentence by his appalled interviewer. ‘Had enough of experts? Had enough of experts?’ Gove’s partial quote was held up to ridicule, as if it embodied Trump-style populist rage; the battle of emotion against reason. As it turned