Showing posts with label Piltdown Man. Show all posts
Showing posts with label Piltdown Man. Show all posts

Monday 23 November 2020

Self-destructive STEM: how scientists can devalue science

Following on from last month's exploration of external factors inhibiting the scientific enterprise, I thought it would be equally interesting to examine issues within the sector that can negatively influence STEM research. There is a range of factors that vary from the sublime to the ridiculous, showing that science and its practitioners are as prey to the whims of humanity as any other discipline. 

1) Conservatism

The German physicist Max Planck once said that a "new scientific truth does not triumph by convincing its opponents and making them see the light, but rather because its opponents eventually die, and a new generation grows up that is familiar with it." With peer review of submitted articles, it's theoretically possible that a new hypothesis could be prevented from seeing the light of day due to being in the wrong place at the wrong time; or more precisely, because the reviewers personally object to the ideas presented.

Another description of this view is that there are three stages before the old guard accept the theories of the young turks, with an avant garde idea eventually being taken as orthodoxy. One key challenge is the dislike shown by established researchers to outsiders who promote a new hypothesis in a specialisation they have no formal training in. 

A prominent example of this is the short shrift given to meteorologist Alfred Wegener when he described continental drift to the geological establishment; it took over thirty years and a plethora of evidence before plate tectonics was found to correlate with Wegener's seemingly madcap ideas. More recently, some prominent palaeontologists wrote vitriolic reviews of the geologist-led account of the Chicxulub impact as the main cause of the K-T extinction event. 

This also shows the effect impatience may have; if progress in a field is slow or seemingly negative, it may be prematurely abandoned by most if not all researchers as a dead end.

2) Putting personal preferences before evidence 

Although science is frequently sold to the public as having a purely objective attitude towards natural phenomena, disagreements at the cutting edge are common enough to become cheap ammunition for opponents of STEM research. When senior figures within a field disagree with younger colleagues, it's easy to see why there might be a catch-22 situation in which public funding is only available when there is consensus and yet consensus can only be reached when sufficient research has as placed an hypothesis on a fairly firm footing.

It is well known that Einstein wasted the last thirty or so years of his life trying to find a unified field theory without including quantum mechanics. To his tidy mind, the uncertainty principle and entanglement didn't seem to be suitable as foundation-level elements of creation, hence his famous quote usually truncated as "God doesn't play dice". In other words, just about the most important scientific theory ever didn't fit into his world picture - and yet the public's perception of Einstein during this period was that he was the world's greatest physicist.

Well-known scientists in other fields have negatively impacted their reputation late in their career. Two well-known examples are the astronomer Fred Hoyle and microbiologist Lynn Margulis. Hoyle appears to have initiated increasingly fruity ideas as he got older, including the claim that the archaeopteryx fossil at London's Natural History Museum was a fake. Margulis for her part stayed within her area of expertise, endosymbiotic theory for eukaryotic cells, to claim her discoveries could account for an extremely wide range of biological functions, including the cause of AIDS. It doesn't take much to realise that if two such highly esteemed scientists can publish nonsense, then uninformed sections of the public might want to question the validity of a much wider variety of established scientific truths.

3) Cronyism and the academic establishment

While nepotism might not appear often in the annals of science history, there have still been plenty of instances in which favoured individuals gain a position at the expense of others. This is of course a phenomenon as old as natural philosophy, although thankfully the rigid social hierarchy that affected the careers of nineteenth century luminaries such as physicist Michael Faraday and dinosaur pioneer Gideon Mantell is no longer much of an issue. 

Today, competition for a limited number of places in university research faculties can lead to results as unfair as in any humanities department.  A congenial personality and an ability to self-publicise may tip the balance on gaining tenure as a faculty junior; scientists with poor interpersonal skills can fare badly. As a result, their reputation can be denigrated even after their death, as happened with DNA pioneer Rosalind Franklin in James Watson's memoirs. 

As opponents of string theory are keen to point out, graduates are often forced to get on bandwagons in order to gain vital grants or academic tenure. This suggests that playing safe by studying contemporary ‘hot' areas of research is preferred to investigating a wider range of new ones. Nobel Laureate and former Stephen Hawking collaborator Roger Penrose describes this as being particularly common in theoretical physics, whereby the new kids on the block have to join the entourage of an establishment figure rather than strike out with their own ideas.

Even once a graduate student has gained a research grant, it doesn't mean that their work will be fairly recognised. Perhaps the most infamous example of this occurred with the 1974 Nobel Prize in Physics. One of the two recipients was Antony Hewish, who gained the prize for his "decisive role in the discovery of pulsars”. Yet it was his student Jocelyn Bell who promoted the hypothesis while Hewish was claiming the signal to be man-made interference. 

4) Jealousy and competitiveness

Although being personable and a team player can be important, anyone deemed to be too keen on self-aggrandising may attract the contempt of the scientific establishment. Carl Sagan was perhaps the most prominent science communicator of his generation but was blackballed from the US National Academy of Sciences due to being seen as too popular! This is despite some serious planetary astronomy in his earlier career, including work on various Jet Propulsion Laboratory probes. 

Thankfully, attitudes towards sci-comm have started to improve. The Royal Society has advocated the notion that prominent scientists should become involved in promoting their field, as public engagement has been commonly judged by STEM practitioners as the remit of those at the lower end of scientific ability. Even so, there remains the perception that those engaged in communicating science to the general public are not proficient enough for a career in research. Conversely, research scientists should be able to concentrate on their work rather than having to spend large amounts of their time of seeking grants or undertaking administration - but such ideals are not likely to come to in the near future!

5) Frauds, hoaxes and general misdemeanours 

Scientists are as human as everyone else and given the temptation have been known to resort to underhand behaviour in order to obtain positions, grants and renown. Such behaviour has been occurring since the Enlightenment and varies from deliberate use of selective evidence through to full-blown fraud that has major repercussions for a field of research. 

One well-known example is the Piltdown Man hoax, which wasn't uncovered for forty years. This is rather more due to the material fitting in with contemporary social attitudes rather than the quality - or lack thereof - of the finds. However, other than generating public attention of how scientists can be fooled, it didn't damage science in the long run. 

A far more insidious instance is that of Cyril Burt's research into the heritability of intelligence. After his death, others tried to track down Burt's assistants, only to find they didn't exist. This of course placed serious doubt on the reliability of both his data and conclusions, but even worse his work was used by several governments in the late twentieth century as the basis for social engineering. 

Scandals are not unknown in recent years, providing ammunition for those wanting to deny recognition of fundamental scientific theories (rarely the practical application). In this age of social media, it can take only one person's mistake - deliberate or otherwise - to set in motion a global campaign that rejects the findings of science, regardless of the evidence in its favour. As the anti-vaccination lobby have proven, science communication still has long way to go if we are to combine the best of both worlds: a healthy scepticism with an acceptance of how the weird and wonderful universe really works, and not how we would like it to.

Friday 1 April 2016

Hollywood's natural history hobbit hoax: did Peter Jackson create Homo floresiensis for publicity purposes?

Judging by the limited ingredients of contemporary blockbusters, cinema audiences are fairly easy to please. Or are they? Peter Jackson's magnum opus The Lord of the Rings trilogy made an absolute mint at the box office and garnered seventeen Oscar wins besides critical acclaim. In contrast, The Hobbit trilogy received but a single Oscar accompanying some rather lukewarm reviews.

The reason for the critical indifference and lack of awards has been put down to franchise fatigue, although to be fair stretching a children's book over three long movies whilst partly improvising the script at a late stage couldn't have helped. So if you are a world-renowned film maker well aware that you are judged by many of your fans and much of your peer group on the success - and possibly the quality - of your latest film, it wouldn't be surprising if you go to great lengths to maximise that success. Just how far Peter Jackson went for The Hobbit trilogy is astounding...so read on...

It's been some years since I visited Weta Cave in Wellington, where close-up views of various costumes and props from movies including the LOTR trilogy leaves you in no doubt about the superb workmanship the effects house is capable of. Some of the exhibits and merchandise included non-human characters from Middle Earth and District 9, the quality of which got me thinking. Peter Jackson is known to have visited the Natural History Museum when in London recording the soundtrack for The Lord of the Rings. This in itself is not suspect, except that the museum was at the time hosting an exhibition about the infamous Piltdown Man.

For anyone who knows anything about science scandals, Piltdown Man has to be among the most notorious. The 1908 discovery in southern England of a hominin skull of unknown species was rapidly followed by numerous associated finds, all touted as genuine by professional scientists. In fact, by 1913 some palaeontologists had already suggested what was finally confirmed forty years later: the entire assemblage was a fraud, the skull itself including an orang utan jawbone with filed-down teeth! The fact that so many specialists authenticated the remains is bizarre, although it may be that patriotic wishful thinking (to confirm prehistoric hominins had lived in Britain) overrode any semblance of impartiality.

Back to Peter Jackson and his hobbit conundrum. Although LOTR trilogy did the bums-on-seats business (that's an industry term, in case you were wondering), Jackson's next film was the 2005 King Kong remake. Included in the record-breaking US$207 million production costs was a $32 million overspend which the director himself was personally responsible for. Having already been put into turnaround (that's cold feet in Hollywoodese) in the previous decade, Jackson was determined to complete the film to his own exacting standards, thus resulting in the financial woes surrounding the production.

So just how do you get the massive budget to make a prequel trilogy that's got a less involved storyline (sound vaguely familiar, Star Wars fans?) directly after you've made the most expensive film in history, which is not even a remake but a second remake? How about generating tie-in publicity to transfer from the real world to Middle Earth?

Around the time that Peter Jackson's production company Three Foot Six was being renamed (or if you prefer, upgraded) to Three Foot Seven, worldwide headlines announced the discovery of a small stature hominin of just this height. The first of the initial nine specimens found on the island of Flores, labelled LB1, would have been a mere 1.06 metres tall when alive, which is three feet six inches give or take a few millimetres.

Coincidence? When in doubt, adherents of scientific methods should follow the principle of parsimony, A.K.A. Occam's razor. Which in this case has led to me putting my conspiracy hat on.

Consider this: the new species rapidly became far better known by its nickname the 'hobbit people' than as Homo floresiensis. Which was handy for anyone about to spend US$225 million on three films involving hobbits. In addition, it was discovered at the perfect time for Jackson to get maximum publicity (admittedly not the release of the first hobbit film, but for purposes of convincing his American backers of the audience anticipation).

The smoking gun evidence for me is the almost comical resemblance the remains bear to Tolkien's creations. For example, the feet are said to be far longer and flatter than any other known hominin species. Remind you of anything you've seen at the movies? It's just a shame that hair doesn't survive as long as the alleged age of the specimens - which based on the stratigraphy has been estimated from 94,000 to 13,000 years ago.

In addition, how could such creatures have built the bamboo rafts or dug-out boats necessary to reach the island in the first place? When sea levels dropped during glaciation periods Flores was still convincingly isolated from the mainland. Braincase analysis shows that Homo floresiensis had an orange-sized brain. Since the tools found with the semi-petrified organic remains were simple stone implements, the idea of real-life hobbits sailing the high seas appears absurd in the extreme.

Several teams have attempted to extract DNA from the water-logged and delicate material but after a decade's effort none have been successful. This seems surprising, considering the quality of contemporary genetic replication techniques, but perhaps not if the material consists of skilfully crafted fakes courtesy of Weta Workshop. Some of the fragments appear similar to chimpanzee anatomy, but then Peter Jackson has always tried to make his creatures as realistic as possible. Indeed, he even hired a zoologist to ensure that his King Kong was anatomically correct (I recall hearing that some of his over-sized gorilla's behind needed reworking to gain accuracy. Now that's dedication!)

There has also been some rather unscientific behaviour concerning the Homo floresiensis remains which appears counter to the great care usually associated with such precious relics. At one point, the majority of material was hidden for three months by one of the Indonesian paleoanthropologists, only for what was returned to include damaged material missing several pieces. All in all, there is much about the finds to fuel speculation as to their origin.

In summary, if you wanted to promote worldwide interest in anything hobbit-wise what could be better yet not too obvious? Just how the much the joint Australian-Indonesian archaeology and palaeontology team were in the know is perhaps the largest mystery still remaining. I've little doubt that one day the entire venture will be exposed, perhaps in a documentary made by Peter Jackson himself. Now that would definitely be worth watching!

Thursday 28 May 2015

Presenting the universe: 3 landmark science documentary series

They say you carry tastes from your formative years with you for the rest of your life, so perhaps this explains why there are three science documentary television series that still have the power to enchant some decades after first viewing. Whilst there has been no shortage of good television science programming since - Planet Earth and the Walking with... series amongst them - there are three that remain the standard by which I judge all others:
  1. The Ascent of Man (1972) - an account of how humanity has evolved culturally and technology via biological and man-made tools. Presented by mathematician and renaissance man Jacob Bronowski.
  2. Cosmos (1980) - the history of astronomy and planetary exploration, interwoven with the origins of life. Presented by Carl Sagan (as if you didn't know).
  3. The Day the Universe Changed (1985) - a study of how scientific and technological breakthroughs in Western society generate paradigm shifts. Presented by the historian of science James Burke.

All three series have been proclaimed 'landmark' shows so it is interesting to compare their themes, viewpoints and production techniques, discovering just how similar they are in many ways. For a start, their excellent production values allowed for a wide range of international locations and historical recreations. They each have a charismatic presenter who admits to espousing a personal viewpoint, although it's quite easy to note that they get progressively more casual: if Jacob Bronowski has the appearance of a warm elder statesman then Carl Sagan is the father figure for a subsequent generation of scientists; James Burke's on-screen persona is more akin to the cheeky uncle, with a regular supply of puns, some good, some less so.

To some extent it is easy to see that the earliest series begat the second that in turn influenced the third. In fact, there is a direct link in that Carl Sagan hired several of the producers from The Ascent of Man for his own series, clearly seeing the earlier show as a template for Cosmos. What all three have is something extremely rare in other science documentaries: a passion for the arts that promotes a holistic interpretation of humanity's development; science does not exist in isolation. As such, the programmes are supported by superbly-illustrated tie-in books that extend the broadcast material from the latter two series whilst Bronowski's book is primarily a transcript of his semi-improvised monologue.

In addition to considering some of the standard examples of key developments in Western civilisation such as Ancient Greece and Galileo, the series include the occasional examination of Eastern cultures. The programmes also contain discussions of religions, both West and East. In fact, between them the series cover a vast amount of what has made the world the way it is. So not small potatoes, then!

The series themselves:

The Ascent of Man

To some extent, Jacob Bronowski was inspired by the earlier series Civilisation, which examined the history of Western arts. Both series were commissioned by David Attenborough, himself a natural sciences graduate who went on to present ground-breaking series in his own discipline as well as commissioning these landmark programmes. (As an aside, if there are any presenters around today who appears to embody the antithesis of C.P. Snow's 'the two cultures' then Sir David is surely in the top ten).

Bronowski's presentation is an astonishingly erudite (for all its improvisation) analysis of the development of our species and its technological society. Although primarily focused on the West, there is some consideration of other regions, from the advanced steel-making technology of medieval Japan to Meso-American astronomy or the relatively static culture of Easter Island. Time and again, the narrative predates the encumbrance of political correctness: that it was the West that almost solely generated our modern technological society - the 'rage for knowledge' for once outshining dogma and inertia.

Of course, it would be interesting to see how Bronowski might have written it today, in light of Jared Diamond's ground-breaking (in my humble opinion) Guns, Germs and Steel. Although he works hard to present science, the plastic arts, literature and myth as emerging from the same basic elements of our nature, it is clear that Bronowski considers the former to be much rarer - and therefore the more precious - discipline. Having said that, Bronowski makes a large number of Biblical references, primarily from the Old Testament. In light of the current issues with fundamentalism in the USA and elsewhere, it is doubtful that any science documentary today would so easily incorporate the breadth of religious allusions.

If there is a thesis underlying the series it is that considering how natural selection has provided humanity with a unique combination of mental gifts, we should use them to exploit the opportunities thus presented. By having foresight and imagination, our species is the only one capable of great heights - and, as he makes no pretence of - terrible depths. As he considers the latter, Bronowski admits that we should remain humble as to the state of contemporary knowledge and technology, which five hundred years hence will no doubt appear childlike. In addition, he states that belief in absolute knowledge can lead to arrogance; if we aspire to be gods, it can only end in the likes of Auschwitz. But his final speeches contain the wonderful notion that the path to annihilation can be avoided if science is communicated to all of society with the same vigour and zest as given to the humanities.

Cosmos

I was already an astronomy and astronautics fan when I saw this series. Its first UK broadcast slot was somewhat later than my usual bedtime, so it seemed a treat to be allowed to stay up after the rest of the family had gone to bed. Like Star Wars a few years before, it appeared to me to be an audio-visual tour-de-force; not surprisingly, both the tie-in hardback and soundtrack album arrived on my birthday that year.

Nostalgia aside, another key reason for the series' success was the charisma of the presenter himself. Much has been written of Sagan's abilities as a self-publicist, and the programmes do suffer from rather too many staring-beatifically-into-the-distance shots (as to some extent replicated more recently by Brian Cox in his various Wonders Of... series). Of course, it must have taken considerable effort to get the series made in the first place, especially in gaining a budget of over $6 million. After all, another great science populariser, the evolutionary biologist Stephen Jay Gould, never managed to gain anything beyond the occasional one-off documentary.

What is most apparent is Sagan's deep commitment to presenting science to the widest possible audience without distorting the material through over-simplification. However, in retrospect it is also obvious that he was using ideas from several scientific disciplines, such as the Miller-Urey experiment, to bolster his opinions on the likelihood of extra-terrestrial life. To some extent his co-writers reined him in, the final episode given over not to SETI but to plea for environmental stewardship.

Whilst the series is primarily concerned with a global history of astronomy and astrophysics, supplemented with first-hand accounts of planetary exploration, Sagan like Bronowski is equally at home with other scientific disciplines. He discusses the evolution of intelligence and incorporates elements of the humanities with equal aplomb. Another key element is the discussion of the role superstition and dead ends have played in the hindrance or even advancement of scientific progress, from Pythagorean mysticism, via Kepler's conflation of planetary orbits with the five Platonic solids, to Percival Lowell's imaginary Martian canals. Although Sagan repeats his earlier debunking of astrology, UFO sightings and the like, he doesn't rule out the role of emotions in the advancement of science and technology, citing for example the rocket pioneer Robert Goddard's Mars-centred epiphany.

Perhaps the primary reason that the series - despite the obvious dating of some of the knowledge - is still so engaging and why Sagan's narration is so widely quoted, is that he was a prose poet par excellence. Even when discussing purely scientific issues, his tone was such that the information could be effortlessly absorbed whilst allowing the viewer to retain a sense of wonder. Of course, Sagan had ample assistance from his two co-writers Ann Druyan and Steven Soter, as clearly proven by their scripts for the Neil deGrasse Tyson-hosted remake Cosmos: A Spacetime Odyssey. Nonetheless, it is hard to think of another presenter who could have made the original series the success it was on so many levels.

The Day the Universe Changed

Although James Burke had already made a large-scale history of science and technology series called Connections in 1978, it contained a rather different take on some of the same material. By focussing on interactive webs, the earlier series was somewhat glib, in that some of the connections could probably be replaced by equally valid alternatives.

In contrast, The Day the Universe Changed uses a more conventional approach that clearly shares some of the same perspectives as the earlier programmes. Like The Ascent of Man and the Cosmos remake, mediaeval Islamic science is praised for its inquisitiveness as well as the preservation of Classical knowledge. Burke was clearly influenced by his predecessors, even subtitling the series 'A Personal View by James Burke'. Perhaps inevitably he covers some of the same material too, although it would be difficult to create a brief history without reference to Newton or Ancient Greece.

As with Bronowski, Burke integrates scientific advances within wider society, a notable example being the rediscovery of perspective and its profound effect on contemporary art. He also supports the notion that rather than a gradual series of changes, paradigm shifts are fundamental to major scientific breakthroughs. In effect, he claims that new versions of the truth - as understood by a scientific consensus - may rely on abandonment of previous theories due to their irreconcilable differences. Having recently read Rachel Carson's 1950 The Sea Around Us I can offer some agreement: although Carson's geophysical analysis quietly screams in favour of plate tectonics, the contemporary lack of evidence lead her to state the no doubt establishment mantra of the period concerning static land masses.

What Burke constantly emphasises even more than his predecessors is that time and place has a fundamental influence on the scientific enquiry of each period. Being immersed in the preconceived notions of their culture, scientists can find it as difficult as anyone else to gain an objective attitude. In actuality, it is all but impossible, leading to such farcical dead-ends as Piltdown Man, a hoax that lasted for decades because it fulfilled the jingoistic expectations of British scientists. Burke's definition of genius is someone who can escape the givens of their background and thus achieve mental insights that no amount of methodical plodding can equal. Well, perhaps, on occasion.

The series also goes further than its predecessors in defining religion as anti-scientific on two grounds: its demand for absolute obedience in the face of logic and evidence, with reference to Galileo; or the lack of interest in progress, as with the cyclical yet static Buddhist view, content for the universe to endlessly repeat itself. Burke also shows how scientific ideas can be perverted for political ends, as with social Darwinism. But then he goes on to note that as the world gets ever more complex, and changes at an ever faster rate, non-specialists are unable to test new theories in any degree and so are having to rely on authority just as much as before the Enlightenment. How ironic!

All in all, these common threads are to my mind among the most important elements of the three series:
  1. Science and the humanities rely on the same basic processes of the human brain and so are not all that different;
  2. Scientific thinking can be as creative an endeavour as the arts;
  3. Scientists don't live in a cultural vacuum but are part and parcel of their world and time;
  4. Religion is the most change-resistant of human activities and therefore rarely appears sympathetic to science's aims and goals.

As Carl Sagan put it, "we make our world significant by the courage of our questions and the depth of our answers." For me, these three series are significant for their appraisal of some of those courageous explorers who have given us the knowledge and tools we call science.