Tag Archives: biology

Urban Evolution

Moving on from from the psychological in Emotional Evolution last Sunday, we now have the physical (well, kinda – the fashionable!). Here, the fashion focuses on organic themes evolving into a urban emphasis (London, of course). Inspired by the urban, there’s more streets brands involved (in fact, this outfit is entirely my own wardrobe, unlike most of the previous looks, with the exception of Imperial Geek Chic which was also all me). It draws on both the natural, with earthy tones, but painting them in a new light, with modern styles and city skylines. 

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My first thought for this outfit was something exceedingly natural – all earthy tones, and I’d shoot in a park and all that. I even went as far to put pieces of the outfit together before I realised it wasn’t right. The outfit was fine, but it didn’t fit. This was about evolution, not simply ‘nature’.

With this in mind I changed the shoot and outfit almost entirely. I kept the earthy tones, but offset them with splashes of colour and modern patterns; the stripey D&G bra, the embroidery and gold belt on the Punkyfish combats, and the print on the Iron Fist shirt. I moved away from natural flowing shapes to ones more edgy and urban, and brought in some ferocity with my distressed denim Ash heels, which was also added to via my Una Burke leather cuff and Bamford leather bracelet. The set changed from a purely organic nature setting to that of an urban garden.

All in all, the final look was one I’m very proud of. It had the organic and natural edge, but evolved into an urban setting. I’m very much looking forward to finding an occasion to wear it!


I’m so happy with how this look turned out, especially given how unsure I was about the outfit and setting (I was making changes right up till the very last moment, and had hardly planned the makeup and hair at all). The pictures were taken by my awesome sis Tiffany, who resides on twitter and Instagram, and the set was my home (the front ‘garden’ and roof ‘garden’ although there’s no actual grass anywhere).

I also want to give a quick shout out to Rebel State (also on twitter and Instagram!), as that’s where I got the Iron Fist t-shirt, which I love to bits, and it’s also where I get the majority of the awesome stuff I wear day-to-day. I love them because they stock lots of different brands, but all in line with the type of stuff I like – street style with a dark edge. I’m sure you’ll see more stuff I got from them on here over time, as it’s pretty much where I go whenever I’m in Camden. 

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Emotional Evolution

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Many would argue that it is our emotions that make us human – that the complex and entangled nature of our internal lives is what separates us from other animals. True, other animals seem to have some emotions – your pet greets you happily when you get home, dogs get excited about going on walks, animals seem to get angry, and can love their young. But so far, most animals don’t seem to display the complex internal struggles that we humans experience. And it is easy to see how this emotional nature separates us from the rest of the animal kingdom. Our emotions allow us to make art, not just for purely decorative purposes, or as some type of mating call (as seen in the lavishly decorated nests of bowerbirds for example), but as a way to try and express ourselves, a vehicle of passion. And passion is very important here, as that is definitely not usually seen in other species. This is especially clear when we look at some emotions that haven’t been recognised in other species.

One of these? Spite. Spite is a purely human emotion, a form of hatred which is hatred for hatred’s sake, where we derive pleasure from seeing other man is pain. It is not a practical emotion, and we gain no evolutionary advantage from it – it is not revenge to gain something new, like land or riches, but a way of seeing our fellow man suffer. And spite can create some of the greatest art, and drama of all time. Look at Shakespeare’s Othello, with the horrifically spiteful Iago. His destruction of Othello’s marriage, causing him to kill Desdemona, was as a form of revenge (for not being promoted when Cassio was), but it is not a revenge which brings him anything apart from pleasure at another man’s suffering. There were no real or practical rewards, only the resolution of his own jealousy. We see in Iago something that at once feels horrific and evil, and yet is at the same time all too familiar and human.

Humanity may be redeemed, however. Spite is not the only unique human emotion – gratitude is as well. Not the selfish gratitude, where you know someone has done something for you in return for something else (which we do observe in the animal kingdom), but gratitude that truly fulfils the old “it’s not the gift itself, but the feeling behind it” adage. Whilst we may be spiteful, we can also be kind for kindnesses sake – these are emotions whose only purpose is emotion itself, bringing us back to passion, for is that not in a sense what passion is? Large outpourings of emotion, without any real practical use, but that inspire creativity, and love, and our humanity.

These emotions are what make us human – they are both what make us fallible and strong. It is hard to imagine a world without them, and you would not want to – whilst some may argue we would be better off without spite, it would be a cruel world if we lost gratitude too. These emotions are the ones that can cause some of the worst conflicts in our lives, but also create some of the happiest moment. They are what make our lives real and human, and what make us, us.


This blog post was inspired by an amazing discussion panel/talk I went to at the Natural History Museum called ‘Emotional Evolution’ (where I stole the name from, funnily enough!). There were three speakers, who were all fantastic and very interesting – Dr Geoff Bird, Alastair Gill, and Dr Penny Spikins who I must pay special thanks to as she’s the one who talked about spite and gratitude being uniquely human (but they all said so many interesting things that I could probably write ten blog posts about all the different things they looked into!). The event was linked in with the ‘Britain: One million years of the human story’ exhibition, which I desperately need to go see myself, but recommend purely on the basis of the glimpse into it that the talk gave me, and was also part of the ‘After hours‘ late nights at the NHM, which (like the ones at the Science Museum) are so much fun, and I also recommend.  Thanks so much also to all the hosts of the ‘Emotional Evolution’ panel talk – I had so much fun, and learnt so much! 

Empirically Curated Art

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Imagine the scene. You’ve had a long day at work: maybe your boss was being especially cruel today, or your boyfriend broke up with you at lunch over the extra special anniversary picnic you had planned. Maybe you’ve been nominated to organise the surprise birthday party of that one person in your friend group who is just never satisfied. Whatever it is, now you’re home you just need to take a break from it all. You turn on your TV (A.I. controlled of course – everyone has one now darling), and the biosensor around your wrist bleeps once. Almost immediately, Mulan is playing on the screen in front of you, and before you know it your troubles begin to melt away as you join in singing ‘I’ll Make a Man Out of You’ (with choreographed dance and martial arts routines, of course).

It’s actually a scenario which isn’t that improbable; one where A.I.s can gauge your mood through biosensors and respond accordingly – in this case, choosing just the right film to allow you to let out the stress of a hectic day. Of course, we’re not quite there, but a performance at the V&A last Friday – ‘Conducting Shakespeare’ – went someway towards opening the door to let us have a peek at what it might be like.

The set-up at the V&A involved four volunteers all hooked into biosensors. There was a muscle tension gauge, a heart rate monitor, a brain wave monitor (which measures electrical signals from neural activity, giving a measure of ‘emotional arousal’), and a galvanic skin monitor (measures the conductivity of the skin, which increases when we sweat). All of this data was then combined together in a linear weighted sum and interpreted by our “A.I.” in this scenario to curate the arts that would be seen and performed. However, our A.I. here has a not-so-artificial intelligence, being Alexis Kirke from Plymouth University. He was to act as conductor, orchestrating and guiding the emotions of the performance. Performance of what, you ask (although you may have guessed, given the subtitle)? Well, performances that have captured the hearts and minds of audiences for centuries – the words of the bard!

This was no ordinary performance of Shakespeare – this was to be a Shakespeare remix, with successive scenes being chosen based on the emotion reaction of the audience (as measured by the biosensors hooked up to the volunteers), the whole thing being curated by Alexis the conductor, who could then direct the path of our emotions as he liked.

We started out with a bit of light comedy, with Benedict and Beatrice’s quick-witted sparring duologue from the opening scene of Much Ado about Nothing. Romance then began to spark in the air with Juliet’s ‘Gallop apace, you fiery-footed steeds’ monologue, before the tone begins to turn altogether more sombre with an appearance of Hamlet in his tortured ‘Frailty, thy name is woman!’ speech. Staying sad (although with a distinct change of tone) we move to Hermione’s ‘Tell me what blessings I have here alive that I should fear to die?’ monologue from A Winter’s Tale, before back to Hamlet, although this time he is chastising Ophelia and demanding she ‘get thee to a nunnery’, ramping up the anger and bitterness.

Finally we get a reprise from all the sorrow (although anyone with knowledge of the play will find it bittersweet), as Romeo and Juliet enter and talk of love – ‘how silver-sweet sound lovers’ tongues by night’ – before straight back to the sorrow with Queen Gertrude’s dead Ophelia monologue from Hamlet. Then we’re back to anger and annoyance with Richard II, and ‘no matter where, of comfort no man speaks’, before tricksy ambition enters the room as we see Lady Macbeth reading the letter describing Macbeth’s encounter with the three witches. Staying in the same play, the power begins to build as we see the Macbeths planning the murder of Duncan, with Lady Macbeth chastising Macbeth and telling him to ‘screw your courage to the sticking-place’, before we come full circle, and return to humour with Katharina and Petruchio duelling with words, a nice bit of comedy with allows us all to let off the tension that was building in the room – sexual innuendos will make anyone laugh, especially those of Shakespeare’s finesse – ‘my tongue in your tail’ indeed!

The performance was extremely effective – my heart was in my throat the whole time – and the eternal iambic pentameter of Shakespeare (and the brevity of the scenes) meant that even with the differing plotlines and characters, the whole thing flowed together smoothly. However, whilst the scenes were in part chosen from the data provided by the volunteers’ biosensors, a certain amount of human intuition was needed to make the whole thing run perfectly, as demonstrated by the final scene, an artistic decision on the part of the director that worked perfectly to let everyone let off some steam.

The need for this human component (instead of simply letting the conductor be an A.I.) comes down to many reasons – not least because this set-up had only been calibrated once before so the output data itself needed to be taken with a pinch of scientific salt. More so, however, the biosensors themselves can only detect the (fallible and fickle) physical symptoms of emotions, not the emotions themselves. In fact, with our limited biological understand of emotions, it’s hard to see how we could use biosensors to perfectly measure emotions (although some could argue this is the role of a combination of biosensors and fMRIs), and therefore whilst this problem still exists, the role of human understanding and intuition is crucial in this scenario.

Whilst perhaps we’re not quite at the stage to implement handy empathetic TVs, the use of measured emotional and physical responses to guide and curate performance (and other kinds of) art opens up some very interesting avenues, as demonstrated by ‘Conducting Shakespeare’ at the V&A. Imagine exhibitions where you wear headsets, and your emotional arousal if monitored as you wander through the gallery, and you get directly to things that you’d probably like based on it! The ability to empirically measure the body’s response to art is extremely interesting, and opens up the possibility of looking into things like how art affects your short-term and long-term mental health and emotional state. It’s an area that holds much potential and interest, both for the scientific and artistic communities, and as a personal interest for myself!

‘Conducting Shakespeare’ was part of a series of events held at the V&A to celebrate Shakespeare’s 450th birthday. It was produced by Alexis Kirke and Peter Hinds from Plymouth University in collaboration with the Guildhall School of Music and Drama, with actors Melanie Heslop and James Mack playing the female and male roles respectively. 


 

And, well, there’s my first ever blog post done! The image used in the header is part of a tie-in little shoot I did inspired by Shakespeare (it kinda turned into a femme Puck look by the end) which will be published this Wednesday. I hope you enjoyed the piece, and please comment below (I’d really appreciate concrit and suggestions)!