Category: Op-eds

For space, frugality is a harmful aspiration

Ref:

‘ISRO’s Chandrayaan-2 mission to cost lesser than Hollywood movie Interstellar – here’s how they make it cost-effective’, staff, Moneycontrol, February 20, 2018. ∞

‘Chandrayaan-2 mission cheaper than Hollywood film Interstellar’, Surendra Singh, Times of India, February 20, 2018. ∞

The following statements from the Moneycontrol and Times of India articles have no meaning:

  1. The cost of ISRO’s Mars Orbiter Mission was less than the production cost of the film Gravity.
  2. The cost of ISRO’s Chandrayaan 2 mission is expected to be less than the production cost of the film Interstellar.

It’s like saying the angular momentum of a frog is lower than the speed of light. “But of course,” you’re going to say, “we’re comparing angular momentum to speed – they have different dimensions”. Well, the production cost of a film and mission costs also have different dimensions if you cared to look beyond the ‘$’ prefix. That’s because you can’t just pick up two dollar figures, decide which one’s lower and feel good about that without any social and economic context.

For example, what explains the choice of films to compare mission costs to? Is it because Gravity and Interstellar were both set in space? Is it because both films are fairly famous? Is it also because both films were released recently? Or is it because they offered convenient numbers? It’s probably the last one because there’s no reason otherwise to have picked these two films over, say, After Earth, Elysium, The Martian, Independence Day: Resurgence or Alien: Covenant – all of which were set in space AND cost less to make than Interstellar.

So I suspect it would be equally fair to say that the cost of C’yaan 2 is more than the budget of After Earth, Elysium, The Martian, Independence Day: Resurgence or Alien: Covenant. But few are going to spin it like this because of two reasons:

  1. The cost of anything has to be a rational, positive number, so saying cost(Y) is less than cost(X) would imply that cost(X) > cost(Y) ≥ 0; however, saying cost(Y) is greater than cost(X) doesn’t give us any real sense of what cost(Y) could be because it could approach ∞ or…
  2. Make cost (Y) feel like it’s gigantic, often because your reader assumes cost(Y) should be compared to cost(X) simply because you’ve done so

Now, what comparing C’yaan 2’s cost to that of making Interstellar achieves very well is a sense of the magnitude of the number involved. It’s an excellent associative mnemonic that will likely ensure you don’t forget how much C’yaan 2 cost – except you’d also have to know how much Interstellar cost. Without this bit of the statement, you have one equation and two variables, a.k.a. an unsolvable problem.

Additionally, journalists don’t use such comparisons in other beats. For example, when the Union budget was announced on February 1 this year, nobody was comparing anything to the production costs of assets that had a high cultural cachet. Rs 12.5 crore was Rs 12.5 crore; it was not framed as “India spends less on annual scholarships for students with disabilities than it cost to make Kabali“.

This suggests that such comparisons are reserved by some journalists for matters of space, which in turn raises the possibility that those journalists, and their bosses, organisations and readers, are prompted to think of costs in the space sector as something that must always be brought down. This is where this belief becomes pernicious: it assumes a life of its own. It shouldn’t. Lowering costs becomes a priority only after scientists and engineers have checked tens, possibly hundreds, of other boxes. Using only dollar figures to represent this effort mischaracterises it as simply being an exercise in cost reduction.

So, (risking repetition:) comparing a mission cost to a movie budget tells us absolutely nothing of meaning or value. Thanks to how Moneycontrol’s phrased it, all I know now is that C’yaan 2 is going to cost less than $165 million to make. Why not just say that and walk away? (While one could compare $165 million to mission costs at other space agencies, ISRO chief K. Sivan has advised against it; if one wants to compare it to other PSUs in India, I would advise against it.) The need to bring Interstellar into this, of course, is because we’ve got to show up the West.

And once we’re done showing up the West, we still have to keep. Showing up. The West. Because we’re obsessed with what white people do in first-world countries. If we didn’t have them to show up, who knows, we’d have framed ISRO news differently already because we’d have been able to see $165 million for what it is: a dimensionless number beyond the ‘$’ prefix. Without any other details about C’yaan 2 itself, it’s pretty fucking meaningless.

Please don’t celebrate frugality. It’s an unbecoming tag for any space programme. ISRO may have been successful in keeping costs down but, in the long run, the numbers will definitely go up. Frugality is a harmful aspiration vis-à-vis a sector banking on reliability and redundancy. And for fuck’s sake, never compare: the act of it creates just the wrong ideas about what space agencies are doing, what they’re supposed to be doing and how they’re doing it. For example, consider Sivan’s answer when asked by a Times of India reporter as to how ISRO kept its costs down:

Simplifying the system, miniaturising the complex big system, strict quality control and maximising output from a product, make the missions of Indian space agency cost-effective. We keep strict vigil on each and every stage of development of a spacecraft or a rocket and, therefore, we are able to avoid wastage of products, which helps us minimise the mission cost.

If I didn’t know Sivan was saying this, I’d have thought it was techno-managerial babble from Dilbert (maybe with the exception of QC). More importantly, Sivan doesn’t say here what ISRO is doing differently from other space agencies (such as, say, accessing cheaper labour), which is what would matter when you’re rearing to go “neener neener” at NASA/ESA, but sticks to talking about what everyone already does. Do you think NASA and ESA waste products? Do they not remain vigilant during each and every stage of development? Do they not have robust QC standards and enforcement regimes?

Notice here that Sivan isn’t saying “we’re doing it cheaper than others”, only that doing these things keeps the space agency “cost-effective”. Cost-effective is not the same as frugal.

Featured image: The Moon impact probe that went up on the PSLV C11 mission along with Chandrayaan 1. Credit: ISRO.

On that Poynter debate about stock images and ethical visual journalism

Response to Mark Johnson, Article about free images ‘contradicts everything I hold true about journalism’, Poynter, February 9, 2018. ∞

Let’s get the caveats out of the way:

  • The article to which Johnson is responding did get some of its messaging wrong. As Johnson wrote, it suggested the following: “We don’t think about visuals BUT visuals are critically important. The solutions offered amount to scouring the web for royalty-free and (hopefully) copyright-released stock images.”
  • In doing so, the original article may have further diminished prospects for visual journalists in newsrooms around the country (whether the US or India), especially since Poynter is such a well-regarded publisher among editors and since there already aren’t enough jobs available on the visual journalism front.
  • I think visual journalists are important in any newsroom that includes a visual presentation component because they’re particularly qualified to interrogate how journalism can be adapted to multimedia forms and in what circumstances such adaptations can strain or liberate its participants’ moral and ethical positions.

That said, IMO Johnson himself may have missed a bit of the nuances of this issue. Before we go ahead: I’m going to shorten “royalty-free and/or copyright-released” to CC0, which is short for the Creative Commons ‘No Rights Reserved’ license. It allows “scientists, educators, artists and other creators and owners of copyright- or database-protected content to waive those interests in their works and thereby place them as completely as possible in the public domain, so that others may freely build upon, enhance and reuse the works for any purposes without restriction under copyright or database law.” However, what I’m going to say should be true for most other CC licenses (including BY, BY-SA, BY-SA-NC, BY-SA-ND and BY-SA-NC-ND).

By providing an option for publishers to look for CC0 images, the authors of the original piece may have missed an important nuance: publishers come in varying sizes; the bigger the publisher is, the less excusable it is for it to not have a visual journalism department in-house. For smaller (and the smallest) publishers, however, having access to CC0 images is important because (a) producing original images and videos can invoke prohibitive costs and (b) distribution channels of choice such as Facebook and Twitter penalise the absence of images on links shared on these platforms.

Bigger publishers have an option and should, to the extent possible, exercise that option to hire illustrators, designers, video producers and reporters, podcasters, etc. To not do so would be to abdicate professional responsibilities. However, in the interest of leveraging the possibilities afforded by the internet as well as of keeping our news professional but also democratic, it’s not fair to assume that it’s okay to penalise smaller publishers simply because they’re resorting to using CC0 images. A penalty it will be if they don’t: Facebook, for example, will deprioritise their content on people’s feeds. So the message that needs to be broadcast is that it’s okay for smaller publishers to use CC0 images but also that it’s important for them to break away from the practice as they grow.

Second: Johnson writes,

Choosing stock images for news stories is an ethically questionable choice — you don’t know the provenance of the image, you don’t know the conditions under which it was created and you don’t know where else it has been used. It degrades the journalistic integrity of the site. Flip it around — what if there were generic quotes inserted into a story? They wouldn’t advance the narrative at all, they would just act as filler.

He’s absolutely right to equate text and images: they both help tell a story and they should both be treated with equal respect and consequence. (Later in his article, Johnson goes on to suggest visuals may in fact be more consequential because people tend to remember them better.) However, characterising stock images as the journalistic equivalent of blood diamonds is unfair.

For example, it’s not clear what Johnson means by “generic quotes”. Sometimes, some quotes are statements that need to be printed to reflect its author’s official position (or lack thereof). For another, stock images may not be completely specific to a story but they could fit its broader theme, for example, in a quasi-specific way (after all, there are millions of CC0 images to pick from).

But most importantly, the allegations drub the possibilities of the Open Access (OA) movement in the realms of digital knowledge-production and publishing. By saying, “Choosing stock images for news stories is an ethically questionable choice”, Johnson risks offending those who create visual assets and share it with a CC0 license expressly to inject it into the public domain – a process by which those who are starved of resources in one part of the world are not also starved of information produced in another. Journalism shouldn’t – can’t – be free because it includes some well-defined value-adds that need to be paid for. But information (and sometimes knowledge) can be free, especially if those generating them are willing to waive being paid for them.

My go-to example has been The Conversation. Its articles are written by experts with PhDs in the subjects they’re writing about (and are affiliated with reputable institutions). The website is funded by contributions from universities and labs. The affiliations of its contributors and their conflicts of interest, if any, are acknowledged with every article. Best of all, its articles are all available to republish for free under at least a CC BY license. Their content is not of the ‘stock’ variety; their sentences and ideas are not generic. Reusing their articles may not advance the narrative inherent in them but would I say it hurts journalists? No.

Royalty-free and copyright-released images and videos free visual journalists from being involved every step of the way. This is sadly but definitely necessary in circumstances where they might not get paid, where there might not be the room, inclination or expertise necessary to manage and/or work with them, where an audience might not exist that values their work and time.

This is where having, using and contributing to a digital commons can help. Engaging with it is a choice, not a burden. Ignoring those who make this choice to argue that every editor must carefully consider the visual elements of a story together with experts and technicians hired just for this purpose is akin to suggesting that proponents of OA/CC0 content are jeopardising opportunities for visual journalists to leave their mark. This is silly, mostly because it leaves the central agent out of the picture: the publisher.

It’s a publisher’s call to tell a story through just text, just visuals or both. Not stopping to chide those who can hire visual journalists but don’t while insisting “it’s a big part of what we do” doesn’t make sense. Not stopping to help those who opt for text-only because that’s what they can afford doesn’t make sense either.

Featured image credit: StockSnap/pixabay.

ISRO v. SpaceX doesn’t make sense

Though I’ve never met the guy, I don’t hold Pallava Bagla in very high regard because his stories – particularly of the Indian space programme – for NDTV have often reeked of simplistic concerns, pettiness and, increasingly of late, a nationalistic pride. The most recent instance all these characteristics were put on display was February 12, when NDTV published a 20-minute video of Bagla interviewing K. Sivan, ISRO’s new chairman.

The video is headlined ‘New ISRO Chief Rocket Man Sivan K, A Farmer’s Son, Takes On SpaceX’. What a great story, innit? A farmer’s son taking on SpaceX chief Elon Musk! But if you’re able to stop there and ask a few questions, you’re going to realise that the headline is a load of tosh. First off, the statement that Sivan is a “farmer’s son” is a glancing reference, if not more, to that New York Times cartoon – the implicit jingoism of which we really must get past soon. The national government has been building false narratives around supporting farmers but here we are, valorising the son of one.

Also, referring to Sivan as a “farmer’s son” IMO reduces the man to that one factoid (particularly to serve a narrative Sivan himself may not wish to pursue), as if that’s all we’re going to choose to see about his origins, neglecting what else could have enabled him to succeed the way he has.

Second: ISRO “takes on SpaceX” is a dumb statement. ISRO is a public sector organisation; SpaceX is a private corporation. Their goals are so markedly different that I’m not entirely sure why whoever crafted the headline (not necessarily Bagla) feels ISRO might be threatened by SpaceX’s Falcon Heavy launch (on February 4); I’m less sure why Bagla himself went on to spin his story thus. Case in point: SpaceX is going bigger to be able to take humans to Mars within 10 years; ISRO’s going smaller to help Antrix capitalise on the demand for launching micro and nanosats as well as bigger to launch heavier telecom satellites. Additionally, I know for a fact that ISRO has been cognisant of modularised launch vehicles for at least three years, and this isn’t something Sivan or anyone else has suddenly stopped to consider following the Falcon Heavy launch. The idea’s been around for a bit longer.

All of this is put on show in an exchange about five minutes into the video, as Bagla goes hard at the idea of ISRO possibly lagging behind SpaceX whereas Sivan says (twice) that the PSLV and the Falcon 9 can’t be compared. Transcript:

KS: We can’t compare how much the launch vehicles cost. It depends on the environment in which the manufacturing is realised. I can assure you that our costs are very low because of the way we are manufacturing, the materials we’ve chosen to work with – this way, our costs are always low. But I don’t want to compare because this is always subjective.

PB: But at the same time, we are known for our very low cost missions. For a Falcon 9, they charge about $70 million per launch (ballpark figures) while India did a mission to Mars for roughly the same price. This included the rocket and the satellite, going all the way to Mars. Does that make us feel like we’re very, very competitive in pricing, which is why so many foreign customers are also coming to India?

(ISRO’s Mars Orbiter Mission was a technology demonstrator. The endeavour’s primary mission was to provide a proof of concept of an Indian orbiter at Mars. Second, the satellite’s size and capabilities were both limited by the PSLV’s payload capacity; to wit, MOM’s scientific payload weighed a measly 15 kg whereas the NASA MAVEN, which launched in the same window as MOM, had instruments weighing 65 kg. Third, not many scientific papers have been published on the back of MOM-specific findings. When Bagla says “India did a mission to Mars for roughly the same price” as a single Falcon 9 launch, I also invite him to consider that ISRO has access to cheaper labour than is available in the West and that the MOM launch was noncommercial whereas the Falcon 9 is a rocket developed – and priced – for commerce and profit.)

KS: Foreign customers are coming to India for two reasons. One is, as you said, we’re cost effective – mainly by way of manufacturing and selection of materials. We also make simple rockets. The second reason customers prefer us is the robustness. The reliability of our PSLV is large. When a customer comes to us, they want to make sure there’s a 100% chance their satellite reaches its orbital slot.

PB: So are we cheaper than SpaceX or not?

🤦🏾

KS: Again, I don’t want to compare because it is not correct to compare. If the two rockets were made in the same timeframe, in the same place with equivalent amounts of effort, we can compare. But the rockets have been made in different parts of the world, according to different needs. What I can say is that we have a low-cost vehicle.

Almost exactly a year ago, I’d argued the same thing for The Wire, in an article that didn’t go down well with most readers (across the political spectrum). The thrust of it was that the PSLV had been designed from 1977 onwards to launch Indian remote-sensing satellites and that ISRO receives all its funding from the Department of Space. OTOH, SpaceX designed the Falcon 9 to fit prevailing market needs and, though the company receives a lot of money through NASA contracts, its raison d’être as a private entity is to make money by commercialising launch services. Excerpt:

Casting the GSLV, presumably the Mk-III, as a super-soldier in the space-war arena could be misguided. Unlike SpaceX or Arianespace, but much like Roscosmos, ISRO is a state-backed space agency. It has a mandate from the Department of Space to be India’s primary launch-services provider and fulfil the needs of both private entities as well as the government, but government first, at least since that is how policies are currently oriented. This means the GSLV Mk-III has been developed keeping in mind the satellites India currently needs, or at least needs to launch without ISRO having to depend on foreign rockets. …

On the other hand, Arianespace and SpaceX are both almost exclusively market-driven, SpaceX less so because it was set up with the ostensible goal of colonising Mars. Nonetheless, en route to building the Falcon Heavy, the company has built a workhorse of its own in the Falcon 9. And either way, together with Arianespace, it has carved out a sizeable chunk of the satellite-launching market. …

Thus, though Antrix is tasked with maximising profits, ISRO shouldn’t bank on the commercial satellites market because its mix of priorities is more diverse than those of SpaceX or Arianespace. In other words, the point isn’t to belittle ISRO’s launchers but to state that such comparisons might just be pointless because it is a case of apples and oranges.

Sadly for Bagla – and many others like him looking the fools for pushing such a silly idea – our own space programme assumes value only when compared to someone else’s agenda, irrespective of whether the comparison even makes sense. I also wonder if Sivan thinks such are the questions the consumers of NDTV’s journalism want answered – an idea not so farfetched if you consider that not many journalists get access to ISRO’s top brass in the first place – as well as what fraction of the Indian citizenry consumes the success of the Indian space programme simply relative to the successes of others and not as an enterprise established to serve India’s needs first.

To watch ‘The Post’

I read a few reviews of The Post. Based on what the critics are saying, it seems the film has at least the potential to raise the spirits of many journalists today who could use a leg up. That said, I do resent that some of my friends and peers think I should be more excited about the film. This is how my conversations with them have generally gone.

§

Have you watched The Post?

No.

OMG, why not?!

You mean you’d like me to be excited about watching a film about a story based in the industry I work day in, day out but about which you don’t give a damn unless it’s brought to life by a pair of pompous (not to mention white) Hollywood actors while also blissfully ignorant of the fact that dangerous and consequential choices of the kind the journalists probably make in the film are made on a daily basis by journalists in many parts of the world?

… yeah.

Or do you mean have I watched the film about a story based in the industry I work day in, day out and I’m quite likely to know about but you wouldn’t acknowledge that until I joined the rest of you, went to the movies and finally walked away feeling its makers had mangled both the spirit of what had actually happened and reduced it down to the valour of a few people, when in fact a lot more hearts and minds went into achieving what they had, just so a small group of well-established actors could draw all the attention – while you walk away feeling the film was how things had actually happened and that I’m the cynic whose cynicism won’t switch off?

I’m going to walk away from you now.

Featured image credit: DieElchin/pixabay.

Eroding the dignity of Jayalalithaa’s memories

On December 20, P. Vetrivel, a former MLA and member of the AIADMK party, convened a press meet and released a 20-second video clip purportedly showing former Tamil Nadu chief minister J. Jayalalithaa lying on a hospital bed shortly before she died on December 5, 2016. Since that day, the affairs of the AIADMK have been in tatters – an inconvenience they’ve been forced to confront twice over, both when Jayalalithaa’s constituency, R.K. Nagar, had by-polls to elect their next representative.

A major rift within the party itself meant that there were those within and without who suspected Jayalalithaa may not have died a natural death, as the currently dominant AIADMK faction – to which Vetrivel belongs – has insisted. The same faction is led by T.T.V. Dinakaran, who is former Jayalalithaa aide V.K. Sasikala’s nephew. Vetrivel’s new video, which he said was made by Sasikala with Jayalalithaa’s consent, tries to allay these fears by showing that the former leader was really at a hospital being treated for diabetes and kidney problems. This happened even as voting began in R.K. Nagar in the morning on December 21.

No Tamil news channel seems to have heeded the Election Commission’s directive to not air the video clip, which itself arrived only four+ hours after Vetrivel’s press meet concluded. While some people have tried to poke holes in the video, especially focusing on how palm trees are visible outside Jayalalithaa’s room in the hospital when her treatment was widely publicised to have happened on the seventh floor, news channels aired it all day yesterday.

The clip shows Jayalalithaa on a large bed, unmoving, in a gown. Her facial features aren’t apparent. Her left leg is visible outstretched but her right leg isn’t. In her left hand, there’s a cup of some liquid that she brings to her mouth once and drinks through a straw. It’s quite a sad sight to behold.

When Jayalalithaa died, the pall of sorrow that hung over Chennai was palpable. Even functionaries of the DMK, which has been the AIADMK’s principal opponent for decades, were shaken and paid heartfelt tributes to a woman they called a ‘worthy opponent’. Although she’d run an opaque, pro-business government and centralised a majority of its decision-making, her rule was marked by many popular social development schemes. There’s no bigger testimony to her leadership than the blind, self-serving hutch the AIADMK has devolved to become without her.

To see a woman considered to have been tactful, shrewd and graceful when she lived depicted after her death in a way that minimised her agency and highlighted an implicit sense of distress and decay is nauseating1. Jayalalithaa was known to have actively constructed and maintained her appearances in public and on TV as characterising a certain persona. With Sasikala’s and Vetrivel’s choices, this personality has been broken – which makes Vetrivel’s claim that Jayalalithaa consented to being filmed, and for that video to be released to TV channels, triply suspect.

Jayalalithaa, when alive, took great care to make herself appear a certain way – including going all the way to issuing statements only to select members of the press, those whose words she could control. What would she have said now with the image of a weakened, unsustaining Jayalalithaa being flashed everywhere?

There’s little doubt that Dinakaran and Vetrivel wanted to manipulate R.K. Nagar’s voters by releasing the clip barely a day before voting was to begin. Most people recognise that their faction within the AIADMK shouldn’t have released the video now but much earlier and with proof of the footage’s legitimacy to the Commission of Inquiry, which has been investigating her death.

Then again, considering what has been caught on camera, consuming it has been nothing short of engaging in voyeurism. So the video shouldn’t have been shot in the first place, especially since there’s no proof of Jayalalithaa’s having consented to being filmed as well as to being shown thus on TV beyond what Vetrivel told the press about what Sasikala had told him.

For this alone, I hope the people of R.K. Nagar reject Dinakaran’s faction and its exploitative politics. But more importantly, I hope journalists recognise how seriously they’ve erred in showing Jayalalithaa the way they did – and helped Dinakaran achieve what he’d wanted to in the first place.

1. This also happened with Eman Ahmed.

Featured image credit: Nandhinikandhasamy/Wikimedia Commons, CC BY-SA 3.0.

Friends no more

Growing up, watching Friends was a source of much amusement and happiness. Now, as a grownup, I can’t watch a single episode without deeply resenting how the show caricatures all science as avoidable and all scientists as boring. The way Monica, Rachael, Phoebe, Chandler and Joey respond to Ross’s attempts to tell them something interesting from his work or passions always provokes strong consternation and an impulse to move away from him. In one episode, Monica condemns comet-watching to be a “stupid” exercise. When Ross starts to talk about its (fictitious) discoverer, Joey muffles his ears, screams “No, no, no!” and begins banging on a door pleading to be let out. Pathetic.

This sort of reaction is at the heart of my (im)mortal enemy: the Invisible Barrier that has erupted between many people and science/mathematics. These people, all adults, passively – and sometimes actively – keep away from numbers and equations of any kind. The moment any symbols are invoked in an article or introduced in a conversation, they want to put as much distance as possible between them and what they perceive to be a monster that will make them think. This is why I doubly resent that Friends continues to be popular, that it continues to celebrate the deliberate mediocrity of its characters and the profound lack of inspiration that comes with it.

David Hopkins wrote a nice piece on Medium a year ago about this:

I want to discuss a popular TV show my wife and I have been binge-watching on Netflix. It’s the story of a family man, a man of science, a genius who fell in with the wrong crowd. He slowly descends into madness and desperation, lead by his own egotism. With one mishap after another, he becomes a monster. I’m talking, of course, about Friends and its tragic hero, Ross Geller. …

Eventually, the Friends audience — roughly 52.5 million people — turned on Ross. But the characters of the show were pitted against him from the beginning (consider episode 1, when Joey says of Ross: “This guy says hello, I wanna kill myself.”) In fact, any time Ross would say anything about his interests, his studies, his ideas, whenever he was mid-sentence, one of his “friends” was sure to groan and say how boring Ross was, how stupid it is to be smart, and that nobody cares. Cue the laughter of the live studio audience. This gag went on, pretty much every episode, for 10 seasons. Can you blame Ross for going crazy?

He goes on to say that Friends in fact portended a bad time for America in general and that the show may have even precipitated it – a period of remarkable anti-intellectualism and consumerism. But towards the end, Hopkins says we must not bully the nerds, we must protect them, because “they make the world a better place” – a curious call given that nerds are also building things like Facebook, Twitter, Airbnb, Uber, etc., services that, by and large, have negatively disrupted the quality of life for those not in the top 1%. These are nerds that first come to mind when we say they’re shaping the world, doing great things for it – but they’re not. Instead, these are really smart people either bereft of social consciousness or trapped in corporate assemblages that have little commitment to social responsibilities outside of their token CSR programmes. And together, they have only made the world a worse place.

But I don’t blame the nerd, if only because I can’t blame anyone for being smart. I blame the Invisible Barrier, which is slowly but surely making it harder for people embrace technical knowledge before it has been processed, refined, flavoured and served on a platter. The Barrier takes many shapes, too, making it harder to hunt down. Sometimes, it’s a scientist who refuses to engage with an audience that’s interested in listening to what she has to say. Sometimes, it’s a member of the audience who doesn’t believe science can do anything to improve one’s quality of life. But mostly, rather most problematically, the Barrier is a scientist who thinks she’s engaging with an enthusiast but is really not, and a self-proclaimed enthusiast who thinks she’s doing her bit to promote science but is really not.

This is why we have people who will undertake a ‘March for Science’ once a year but not otherwise pressure the government to make scientific outreach activities count more towards their career advancement or demand an astrology workshop at a research centre be cancelled and withdraw into their bubbles unmindful of such workshops being held everywhere all the time. This is why we have people who will mindlessly mortgage invaluable opportunities to build research stations against a chance to score political points or refuse to fund fundamental research programmes because they won’t yield any short-term benefits.

Unfortunately, these are all the people who matter – the people with the power and ability to effect change on a scale that is meaningful to the rest of us but won’t in order to protect their interests. The Monicas, Rachaels, Phoebes, Chandlers and Joeys of the world, all entertainers who thought they were doing good and being good, enjoying life as it should be, without stopping to think about the foundations of their lives and the worms that were eating into them. The fantasy that their combined performance had constructed asked, and still asks, its followers to give up, go home and watch TV.

Fucking clowns.

Featured image: A poster of the TV show ‘Friends’: (L-R) Chandler, Rachael, Ross, Monica, Joey and Phoebe. Source: Warner Bros.