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< Back to Issue 7 Pointing the Way: A Triangular View of the World by Ingrid Sefton 22 October 2024 edited by Hendrick Lin illustrated by Aisyah Mohammad Sulhanuddin You, my friend, are living in a world created by triangles. Since the dawn of time, this humble three-sided polygon has quietly shaped the evolution of human civilisation. As you gaze around, you can likely spot a triangle or two tucked within your surroundings. This may be of no surprise to you. Externally, the triangle governs the material construction of our world, underpinning the foundations of countless engineering and architectural designs. Yet these more obvious physical constructions are just one contribution of this pointy, three-sided shape to modern society. Indeed, it is where the role of the triangle remains invisible that it harnesses the most power. Triangles have played an integral role in sailing and modern navigation systems, having enabled us to explore all corners of the Earth. Beyond this, let us not forget the massive contributions this shape has made to the development of 3D modelling, used everywhere from graphic design and animation to CGI. All thanks to the simple, unassuming triangle. The physical, the navigational and the digital. Three key sides of the triangle’s influence in shaping the modern world. The Physical The triangle's importance in the physical world stems from its inner strength. Unbeknownst to many, it is the strongest two-dimensional shape that exists, with its power amplified in three-dimensional polyhedrons derived from triangles. How can this unique strength be explained? Consider applying force to one corner, or apex, of a triangle. This force is distributed down either side of the triangle and as these sides are compressed, the base is stretched outwards. Weight can therefore be evenly dispersed across the shape, preventing it from bending and breaking (Saint Louis Science Center, 2020). It is for good reason that the triangular shape underpins many fundamental principles of architecture and design. Perhaps the most iconic of the structures that utilise this shape are the Pyramids of Giza, one of the Seven Wonders of the Ancient World. Constructed in the early 25th Century BCE, they housed the tombs of ancient Egyptian pharaohs and are the last remaining Wonder that exists today. The tallest of the Pyramids, known as the Great Pyramid, originally soared as high as 147 metres above the ground, though today erosion has reduced it to 138 metres (Encylopedia Britannica, 2024a). This architectural feat was monumental for its time, and to this day, how exactly the Pyramids were constructed remains a hotly contested debate amongst archeologists and engineers. One proposition is that large ramps were used in conjunction with a complex system of ropes, sledges and levers to haul stone blocks up (Handwerk, 2023). Whatever the method of construction may have been, these ancient wonders have stood the test of time for over 4500 years - a remnant of one of humanity's first advanced civilisations that exemplifies the scale, strength and resilience of construction made possible by triangles. Triangles also play a crucial role in the construction of seemingly dissimilar shapes. This is highlighted in the case of geodesic structures - spheres constructed from a network of triangles approximating a rounded shape, like a soccer ball. First developed in the 20th Century by architect Richard Buckminster Fuller, these domes are lightweight and able to distribute stress across large, arching structures (Encylopedia Britannica, 2024b). Since Fuller’s earliest constructions, these domes have been widely utilised in the construction of stadiums, planetariums and even "glamping" accommodations. One notable example is the Eden Project - the world's largest biodome botanical garden in the United Kingdom, housing thousands of plant species over 5.5 acres of land (Eden Project, 2024). The interconnectedness of the triangles allows for maximum sunlight exposure across wide spaces, creating an ideal environment for plant photosynthesis and cultivation. Intriguingly, Fuller's use of triangles in this innovative manner led to a breakthrough in the far-away field of synthetic chemistry. Scientists Robert Curl, Harold Kroto and Richard Smalley discovered the nanomaterial Buckminsterfullerene, or “the Buckyball”, after the scientists realised the structure's similarity to Fuller's geodesic spheres (The Stanford Libraries, 2024). This led to the discovery of a new class of materials known as fullerenes. The scientists were subsequently awarded the 1996 Nobel Prize in Chemistry for elucidating this molecule’s structure (The Stanford Libraries, 2024). Balancing power with versatility, triangles form the crux of our built environments at both an atomic and architectural level. The Navigational Remember those sine and cosine formulas your maths teacher insisted had important real world applications? Turns out they weren’t kidding. Triangulation is the process of finding an unknown location of an object by forming a triangle between this object and two other reference points. Sine, cosine and tangent, the main trigonometric ratios, are used to relate the sides and angles formed within a right triangle and hence, determine the position of an unknown point. For centuries, humans have turned to triangles as a means to find their ways. Sailors, in particular, have long used landmarks and celestial objects like the stars to orient themselves at sea. By observing the angle between known locations (or stars) and using basic trigonometry, navigators could calculate distances and determine their precise location. Moving to a more global scale of navigation becomes a bit more complicated, as the Earth is a sphere and not a flat surface (although some may beg to differ…). A more advanced form of triangulation known as trilateration underpins the Global Positioning System (GPS) in order to determine three-dimensional coordinates of a receiver. Instead of angles, GPS utilises the time taken for radio signals sent from satellites to reach a receiving device on Earth. A connected system of navigation satellites circles the Earth, each sending out signals with the location and time it was sent by that satellite. By measuring the delay between the time of signal reception and the broadcast time, the distance from the receiver to each satellite can be computed (Federal Aviation Administration, 2024). Once distances to at least three satellites are known, the receiving device can determine its own three-dimensional position, employing similar techniques to triangulation. GPS data is not only used to guide your Google Map directions. Analysing the positions of satellite stations and their movements is a crucial tool for monitoring volcanic and seismic activity (Murray & Svarc, 2017). Recent breakthroughs have even suggested that there may be a future for utilising the GPS to detect earthquakes before they happen (Rao, 2023). From the seas to the skies, triangles allow us to push the boundaries of exploration while always guiding us home to safety. The Digital What does connect-the-dots have to do with triangles or 3D modelling? A connect-the-dots drawing begins with nothing but some labelled dots. Yet as each dot is joined by a straight line, a complex and curved picture emerges. The more dots you use, the smoother the picture looks. Consider now trying to design a three-dimensional surface. Just as you might use dots to approximate a curve, triangles serve as building blocks for constructing complex surfaces. By taking enough triangles and joining them at their edges, we too can approximate intricate and multidimensional structures. In 3D modelling, objects are represented as meshes - models consisting of vertices (points in 3D space) connected by edges to form polygons and thus, the surface of an object (Stanton, 2023). To define a flat surface oriented in a plane, a minimum of three distinct points are needed. Triangles are the simplest shape for constructing these planes as they are coplanar, meaning any three points in space will always form a flat surface (Licata & Licata, 2015). This makes them perfect for modelling complex 3D shapes out of interconnected triangles. Animation, gaming, graphic design and computer generated imagery (CGI) in movies are just some of the many varied applications that utilise these mesh modelling techniques to create intricate 3D models, with curved and highly detailed surfaces. Additionally, there exist efficient computer algorithms that are optimised to dissect objects into hundreds of thousands of flat triangles. A complex, digital representation of any object can therefore be easily portrayed as a simple collection of points and triangles. Combined with their simple geometric properties, triangles can then be processed quickly by modern Graphics Processing Units (GPUs), optimising their performance in real-time applications. Add in lighting, shading and smooth deformation, and you will find yourself with an intricate, three-dimensional model. Pointing the Way Forward For too long, the triangle has been overshadowed by its more popular cousin, the square. Yet, what is a square? Two triangles put together. The simplicity of this three-sided shape allows it to integrate within our society, with its contributions often invisible to the naked eye. From the physical, to the navigational and the digital, modern human society is built on the triangle. Maybe that trigonometry class wasn’t so pointless after all. References Eden Project (2024). Eden Project's Mission . https://www.edenproject.com/mission/origins Encylopedia Britannica (2024a). Great Pyramid of Giza . https://www.britannica.com/place/Great-Pyramid-of-Giza Encylopedia Britannica (2024b). Geodesic Dome. https://www.britannica.com/technology/geodesic-dome Federal Aviation Administration (2024). Satellite Navigation - GPS - How It Works . United States Department of Transportation. https://www.faa.gov/about/office_org/headquarters_offices/ato/service_units/techops/navservices/gnss/gps/howitworks Handwerk, B. (2023). The Pyramids at Giza were built to endure an eternity—but how? National Geographic. https://www.nationalgeographic.com/history/article/giza-pyramids Licata, J., & Licata, A. (2015). From triangles to computer graphics . ABC Science. https://www.abc.net.au/science/articles/2015/06/10/4251713.htm Murray, J. R., & Svarc, J. (2017). Global Positioning System Data Collection, Processing, and Analysis Conducted by the U.S. Geological Survey Earthquake Hazards Program. Seismological Research Letters , 88 (3), 916-925. https://doi.org/10.1785/0220160204 Rao, R. (2023). GPS satellites may be able to detect earthquakes before they happen . Space. https://www.space.com/earthquake-prediction-gps-satellite-data Saint Louis Science Center (2020). The Secret Strength of Triangles . https://www.slsc.org/the-secret-strength-of-triangles/ Stanton, A. (2023). Exploring the World of 3D Modeling: Solid vs. Mesh Modeling . Cadmore. https://cadmore.com/blog/solid-vs-mesh-modeling-differences The Stanford Libraries (2024). What is a geodesic dome? Stanford University. https://exhibits.stanford.edu/bucky/feature/what-is-a-geodesic-dome Previous article Next article apex back to

Issue 7: Apex 22 October 2024 This issue surveys our world from above. So come along, and revel in the expansive view - have a read below! Editorial Peaks and Perspectives: A Word from the Editors-in-Chief by the Editors-in-Chief A word from our Editors-in-Chief. Corals A Coral’s Story: From thriving reef to desolation by Nicola Zuzek-Mayer Nicola sheds light on the devastating future faced by our coral reefs, with the effects of anthropogenic climate change far from having reached its peak. Humans vs Pathogens Staying at the Top of Our Game: the Evolutionary Arms Race by Aizere Malibek As nations vie for military supremacy, Aizere covers a microscopic competition between humans and the microbes evolving strategies against our defences. Seeing Space Interstellar Overdrive: Secrets of our Distant Universe by Sarah Ibrahimi Embark on an epic journey as Sarah explores the cosmic mysterious being revealed by NASA's James Webb Space Teloscope. Fossil Markets Fossil Markets: Under the Gavel, Under Scrutiny by Jesse Allen Diving into the wild world of fossil auctions, Jesse prompts us to ask: who is the real apex predator, the T-rex or hedge-fund billionaires? Cancer Treatments Tip of the Iceberg: An Overview of Cancer Treatment Breakthroughs by Arwen Nguyen-Ngo Icebreakers. Follow Arwen as she recounts the countless stories of the giants before us, who carved a path for our cancer research today. Triangles Pointing the Way: A Triangular View of the World by Ingrid Sefton Guiding us through land, seas and screens, Ingrid explores this humble 3-sided shape as a vital tool of modern society and its many fascinating uses. Anti-ageing Science Timeless Titans: Billionaires defying death by Holly McNaughton From billionaire-backed pills to young blood transfusion, Holly traverses the futuristic world of anti-ageing and asks: what happens when death is no longer inevitable? Brain-computer Implants Neuralink: Mind Over Matter? by Kara Miwa-Dale Would the ability to control a computer with your mind bolster possibilities or bring harm? Kara visualises a possible future under the Neuralink implant. Fish Morphology Designing the perfect fish by Andy Shin With a splash of creativity, Andy concocts the ultimate 'Frankenfish' by investigating the traits that allow fish to flourish in their aquatic environments. Commercial Aviation Soaring Heights: An Ode to the Airliner by Aisyah Mohammad Sulhanuddin Settle in and take a round trip with Aisyah through the evolution of commercial aviation, from the secrets of aircraft cuisine to the mechanics of staying afloat.

< Back to Issue 4 Talking to Yourself: The Biology of Hallucinations by Lily McCann 1 July 2023 Edited by Arwen Nguyen-Ngo and Yasmin Potts Illustrated by Zhuominna Ma What is consciousness? No small question. To this day it hasn’t been entirely satisfied. Consider a conversation: There are voices from the outside, stimuli that talk to all the sensory receptors that we have. They pass on messages to our fingertips that we are touching something cold; they tell our eyes that we are seeing certain wavelengths of light; and they tell the cochlea of our ears what sounds we are hearing. The sensory circuits of our bodies bring these words from outside and turn them inward, presenting them to the centre of our consciousness: Here - this is what we are experiencing. This is what we are taking from the world outside. But already, at the base of this consciousness, an idea of the world has been established. The central experience of our mind is built upon prediction: we are constantly conjuring up an estimate of how the outside world will be. The ‘Predictive Processing’ model of consciousness states that it is the conversation between this predictive perception of the world and the feedback from our sensory experience that defines what it is to feel consciousness (1). In 1971, Nature published the conclusions of a study titled, ‘Preliminary Observations on Tickling Oneself’ (2). In this experiment, a device was used to compare the experience of being tickled by an experimenter to the experience of tickling oneself, and both were compared to the intermediate of passively following the experimenter’s arm as they tickled the participant. The study concluded that the action of tickling oneself produced no effect as the planned action of tickling cancelled out the sensation of being tickled; the lack of an action in the case of the experimenter tickling the subject’s hand, allowed for a full ‘tickle’ sensation. Interestingly, the third process of passively following the tickling action was rated at a level in between these two responses. This showed that it was not the action of tickling alone that cancelled out the sensation of the stimulus as tickling, but that a knowledge of the tickle, a prediction of it, were enough to reduce the effect. This experiment reflects the idea that it is not just our planned actions and our sensory perception that drive consciousness, but that it is prediction that has a core place in driving experience. For centuries, hallucinations have been recognised as distortions of our sense of being conscious in the world. In 1838, Esquirol wrote in his ‘Mental Maladies: A Treatise On Insanity’ that the experience of a hallucination is “a thorough conviction of the perception of a sensation, when no external object, suited to excite this sensation, has impressed the senses.” (3) Anything that distorts our ‘perception’ or ‘sensation’ can therefore give rise to a hallucination. This can occur in the context of infection, psychosis, delirium, use of certain drugs - and the aptly named ‘exploding head syndrome’. Contrary to popular opinion, hallucinations are not a feature of psychotic disorders alone. In fact, analysis has shown that no single aspect of schizophrenia-related hallucinations is specific to this disease (4). In 2000, the idea of the ‘Tickling’ study was elaborated with respect to hallucinations in an investigation comparing the experience of self-produced and externally implemented stimuli for those who both did and did not suffer from hallucinations. It was shown in this study that for participants with hallucinatory disorders, there was a breakdown in the ability to differentiate between stimuli produced externally and internally (5). This study is in line with a certain theory of hallucination purported by Frith, who suggests in his discussion of positive symptoms of schizophrenia that the foundation of hallucination is a “fault in the system which internally monitors and compares intentions and actions” (6). There is another interesting theory that describes hallucinations as memories released from suppression. The authors suggest that the hallucination itself is a cacophony of memory signals set loose, where normally they are shut out of our conscious mind. One study described auditory hallucinations in those with hearing loss as an “uninhibition syndrome”. They argued that in the cases studied, a lack of sensory auditory input seemed to “uninhibit neuronal groups storing auditory memory” (7). The brain is an incredibly complex organ and theories regarding consciousness and hallucinations abound. The question of greatest practical importance is what part of the process of hallucinations can we understand and therefore, what can be targeted when we are called to treat this system in a medical setting. Recent investigations have linked various molecules, receptors and genes to hallucinatory disorders or states, whilst imaging studies demonstrate networks and regions of the brain activated during hallucinations. Investigation of certain receptor-modulating drugs has revealed the place of certain molecules in delusion and sensation; and the association of certain genes to hallucination-prone phenotypes has established a genetic cause for susceptibilities to hallucination. This research yields molecular and genetic targets for therapies that can help reduce the burden of hallucinations on an individual. It is a remarkable faculty of our minds, the ability to create a world - or aspects of the world - for ourselves and convince our own consciousness that it is real. Hallucinations reveal the capacity of the human brain for imagination; they show that all we experience is indeed creative, merely restricted by what we see as truth. But the grounding fact of knowing what is real is essential to functioning in society. Losing the ability to check our own creative experience of consciousness is exceedingly frightening and disempowering. Anything that helps us to maintain the right balance of conversation between the experiences we create and those we feel allow us to maintain a sense of self in the world. Elucidating the biology behind these conversations and the effects of hallucination itself can bring us closer to a definition of consciousness. References Hohwy J, Seth A. Predictive processing as a systematic basis for identifying the neural correlates of consciousness. Philosophy and the Mind Sciences. 2020;1(2). 3. https://doi.org/10.33735/phimisci.2020.II.64 Weiskrantz L, Elliot J, Darlington C. Preliminary observations on tickling oneself. Nature. 1971 Apr 30. 230: 598–599 https://doi.org/10.1038/230598a0 Esquirol J. Mental maladies: A treatise on insanity. France: Wentworth Press; 2016 Waters F, Fernyhough C. Hallucinations: A systematic review of points of similarity and difference across diagnostic classes. National Library of Medicine. 2016 Nov 21. doi: 10.1093/schbul/sbw132 Blakemore S.J, Smith J, Steel R, Johnstone E.C. The perception of self-produced sensory stimuli in patients with auditory hallucinations and passivity experiences: Evidence for a breakdown in self-monitoring. Psychological Medicine. 2000 Oct 17. 30(5): 1131-9. https://doi.org/10.1017/S0033291799002676 Frith C. The positive and negative symptoms of schizophrenia reflect impairments in the perception and initiation of action. Psychological Medicine. 1987 Aug. 17(3): 631-648. Doi: 10.1017/s0033291700025873 Goycoolea, M., Mena, I. and Neubauer, S. (2006) ‘Spontaneous musical auditory perceptions in patients who develop abrupt bilateral sensorineural hearing loss. an uninhibition syndrome?’, Acta Oto-Laryngologica, 126(4), pp. 368–374. doi:10.1080/00016480500416942. Previous article Next article back to MIRAGE

< Back to Issue 8 Why Are We So Fascinated by Space? An Exploration of Human’s Fascination with Outer Space by Emily Cahill 3 June 2025 Edited by Weilena Liu Illustrated by Saraf Ishmam I have always been enamoured by the stars. Sitting on the beach after sunset, staring up at the sky, has always given me this hopeful, grateful feeling - for what I have, and for what’s to come. It has made me wonder, why do I feel this way? Why do I feel hope instead of fear, staring into the great darkness? Is it pure curiosity or is it curated by society? Culture encompasses the ideas, customs, and manifestations that we hold regarding space. Films have been the leading presentation of outer space for many entertainment industries around the world and make visuals of space accessible for many. Many commercials, whether for global or local companies, feature advertising set in or about outer space, filling magazines, billboards and television ad breaks. From astronomy to geology to botany, many scientific fields are involved in outer space research and centre around the universe to seek answers. Culture, the entertainment industry, commercialization, and science could all be contributing factors to this fascination, and may have just as great an impact as innate curiosity. Culture Throughout time, there has been a leap from admiration to exploration of outer space. Myths and folktales about outer space and the stars have existed for centuries. The constellations were defined by humans based on patterns associated with these myths and folktales (1). Perhaps space is something that has connected all humans regardless of where and when because it has always existed for us to admire. From folktales to automated rocket ships, the human desire to explore launched our voyages in space. From designing caravans to traverse the countryside, to building boats to cross the sea, to assembling submarines to travel to the bottom of the ocean, humans have always created whatever they need to explore the unknown. The ‘father of modern rocketry’ Konstantin Tsiolkovsky said, “The Earth is the cradle of humanity, but one cannot live in a cradle forever” (2). These inspiring words align with many scientists and space exploration companies like NASA, emphasizing the importance of space travel to satisfy curiosity. There are also underlying cultural reasons that push space exploration. The 1961 Apollo space mission was presented as an opportunity to discover the unknown, but in fact was for another reason. Apollo Astronaut Frank Borman said, “Everyone forgets that the Apollo programme wasn’t a voyage of exploration or scientific discovery, it was a battle in the Cold War, and we were Cold War warriors. I joined to help fight a battle in the Cold War and we’d won” ( Hollingham , 2023). Pop culture also has a large influence on how we see outer space. Katy Perry and Gayle King went to space just a few months ago, heralding female astronauts, but at the same time, reinforcing the growing idea of space tourism. Entertainment Perhaps the most common and tangible depiction of outer space - other than gazing at the sky itself - is in films. Star Wars was and continues to be a cultural phenomenon, even garnering the distinction of a global holiday on the 4th of May. The films Gravity (2013), Interstellar (2014), and The Martian (2015) centre around heroes in unbelievably intense scenarios trying to solve problems to better the human race. The success of these films may be due to the strength of the actors and writing alone, but is more likely due to the dueling feelings of fear and hope that accompany the setting of outer space. The deep sea and outer space are both settings where films have thrived, potentially because of the human instinct for curiosity, and in turn, the impulse to root for and care about the characters. Given the influence of entertainment on culture, if these movies depicted space as a scary, dangerous, and outlandish environment, we might not feel as excited or positive about space. Both our conceptions of the unknown and the influence of the entertainment industry shape our perceptions of outer space. Interstellar is praised by critics for its ability to let us see ourselves as the protagonist - solving impossible puzzles and searching for the answers to life - while reflecting the emotionally beautiful and terrifying landscape of human existence in outer space (4). Commercialization For decades, advertisements have featured outer space as a setting or main theme for the storyline. Some ads are even filmed in space. In 2001, Pizza Hut sent an astronaut in a rocketship with a camera and a pizza, becoming the first commercial actually shot in space (5). Olay and Girls Who Code collaborated in a 2020 Super Bowl commercial with Katy Kouric, Taraji P. Henson, Busy Phillps, and Lilly Singh with the tagline “make space for women” (6). Madonna Badger - the COO of the advertising agency that ran the Olay commercial - said that space gives us somewhere to escape to in the midst of tough times: “W e’re living in pretty anxious times. When things on Earth become so stressful, there’s something about space that gives us permission to dream” (5). The CCO of Walmart, Jane Whiteside echoed Badger, saying, “It’s a really strange time to be an earthling right now. There’s this interesting confluence of extreme anxiety and a sense of optimism that somehow, we’re going to figure things out.” He said, “Space is the epitome of that. It’s unbridled optimism” (5). The 2020 Super Bowl Walmart commercial centered around a Walmart delivery person dropping off groceries to aliens on another planet. Outer space is on our televisions and devices as the setting for some of the biggest advertisements, for the biggest companies, suggesting a sense of importance and grandeur. Science The hunt to answer the questions “Where do we come from?”, “Are we alone in the universe?”, and “What is out there?” is another factor that may drive our fascination with space. Not only do we enjoy admiring it, but we also want to gain something from it. Scientists say that these questions can potentially be answered, and fields like paleontology, geology, botany, and chemistry work together to answer them. One of the current driving forces of this research is the search for another planet that can support human life if Earth becomes uninhabitable (7). Climatologists are able to learn more about Earth’s climate from the climate of other planets and gain natural resources that benefit our planet. Mars’ climate has undergone drastic changes, including the presence of water and the loss of atmospheric gases - changes we can learn from using paleontology and geology to discover how organisms on Mars may have adapted (7). Whether launching into space or stargazing, humans continue to look up into the sky - whether for a defined reason or not, it will continue to remain a mystery. References 1. National Sanitation Foundation. (2012). What are Constellations? National Radio Observatory. https://public.nrao.edu/ask/what-are-constellations/ 2. NASA. (2015). The Human Desire for Exploration Leads to Discovery. https://www.nasa.gov/history/the-human-desire-for-exploration-leads-to-discovery/ 3. Hollingham R. Apollo: How Moon missions changed the modern world. BBC. 2023 May. https://www.bbc.com/future/article/20230516-apollo-how-moon-missions-changed-the-modern-world 4. Scott A.O. Off to the Stars, With Grief, Dread and Regret. New York Times. 2014 Nov. https://www.nytimes.com/2014/11/05/movies/interstellar-christopher-nolans-search-for-a-new-planet.html 5. Zelaya I. Why Outer Space Is a Go-To Theme for Super Bowl 2020 Ads. Adweek (Super Bowl Commercials). 2020 Jan. https://www.adweek.com/brand-marketing/why-outer-space-is-a-go-to-theme-for-super-bowl-2020-ads/ 6. Spacevertising: The Super Bowl And The 15 Best Outer-Space Ads You Need To See Right Now Orbital Today (Features). 2024 Feb. https://orbitaltoday.com/2024/02/14/spacevertising-super-bowl-and-15-best-outer-space-commercials-you-need-to-see-right-now/ 7. Horneck, G. (2008). Astrobiological Aspects of Mars and Human Presence: Pros and Cons. Hippokratia Quarterly Medical Journal, 1, 49-52. https://pmc.ncbi.nlm.nih.gov/articles/PMC2577400/ Previous article Next article Enigma back to

< Back to Issue 2 Postdoc Possibilities Thinking about postgraduate research? This column has some advice for you, courtesy of a recent PhD graduate. by Renee Papaluca 10 December 2021 Edited by Ruby Dempsey and Breana Galea Illustrated by Casey Boswell The idea of (dis)order is apparent in many scientific fields. One example of this is artificial light at night, which can disrupt our ecosystems. I caught up with Marty Lockett, a recent PhD graduate in this field, to learn more about the research pathway and their experience studying science at the University of Melbourne. Marty Lockett. Image included with permission. Marty recently completed his PhD in the Urban Light Lab, School of Biosciences. In his spare time, Marty enjoys birdwatching, Lego and science fiction. What was the ‘light-bulb moment’ that prompted you to study science? “I have always enjoyed the outdoors. For example, bushwalking, snorkelling, birdwatching — all that sort of stuff. I am more of a latecomer to science. About 10 years ago, I took long-service leave from my job. I used to be a lawyer. I ended up spending a lot of time doing volunteer work for conservation and restoration organisations… and I was exposed for the first time to the world of science and ecology. The work involved things like cleaning up rubbish, tree planting, weed removal, and banding and recapturing birds with researchers. It was really eye-opening! I realised I could do this for a job… I had never studied science, apart from chemistry at school. I had never been exposed to ecology or really considered it as a potential career option. Having that opportunity to immerse myself in nature in a more constructive and helpful way, rather than being a passive observer, really got me thinking.” Why did you choose to complete a research pathway? “So, I came into this not having an undergraduate degree in science. I completed a Masters of Environment to begin with. My thinking there was to try and get into environmental management, conservation or restoration management. As part of that masters, I completed a couple of third-year animal behaviour subjects. I found this really interesting as I hadn’t studied much about the behaviour of wildlife. Off the back of that, I decided to focus on this area for my research capstone subject. I met Dr Therésa Jones [current supervisor] and … did a mini research project on artificial light at night which is her area of specialization. From there, I got hooked on research… I wanted to find out more and, from there, decided to complete a PhD… There’s so much to learn about the world. Being in the position where the world now knows something that it once didn’t because of your work is really powerful.” What was the focus of your PhD research? Why did you choose this area? “My main project was looking at the effects of artificial light at night on an important food chain in Eucalyptus woodlands.” “There's a lot of research on the effects of artificial light at night on individual organisms… There's less but increasing research on interactions between species. As you spread out wider, there's [even] less research on more complex communities and on the wider cascading ecological effects of artificial light at night. I wanted to look into the effects of artificial light on a system that was underexplored and really important here in Australia.” “I chose a specific Eucalyptus woodland food chain consisting of river red gum trees, lerp psyllids, and birds that eat them. Lerps are the white bumps you sometimes see on Eucalyptus leaves. These are made by the nymphs [juveniles] of insects called lerp psyllids. Psyllids feed on leaf sap. Since eucalyptus sap is very rich in carbohydrates, they secrete the excess carbohydrates and use it to build little white domes over themselves. This takes a resource which is completely indigestible by most animals [Eucalyptus sap] and it turns it into something that is highly digestible by a whole range of animals… like birds, other insects, possums [and] bats. So lerps are a really key food resource in Eucalyptus woodlands. At the next level of the food chain, I chose a bird that was particularly dependent on lerps known as bell miners. I wanted to see the effect of artificial light at night at each level of this food chain. This is because all three organisms were vulnerable to… [the] effects of artificial light at night in different ways, and impacts at one level of the food chain might have cascading effects on other levels.” What did your day-to-day life as a PhD researcher look like? “It's really varied. In my case, I broke it down into three main work categories. So first up, you've got reading and writing. In the early days, before you start doing any experiments, you've got to learn a lot about your area, find out what's known, what's unknown, form hypotheses and figure out ways of testing them…” “In the middle, there is much more time spent on fieldwork and lab work. The extent of this will vary depending on the project… In my case, it was probably 50/50… An amazing amount of research involves what we refer to as ‘art and crafts’ where, after you design an experiment, you've got to then figure out a way to test that experiment on a tight budget. For example, building insect traps; you have to think about how you will make it work logistically. You need something that can be easily broken down and transported, but is rigid enough to stand up in a street, doesn't blow over in the wind and all those kinds of things. Fieldwork involved rigging up electric lights in a paddock, finding ways to stop parrots eating sound recorders; all kinds of weird stuff I never thought I'd be doing. Then there’s the actual fieldwork itself — catching bugs, measuring trees — whatever it is you need to do to gather data.” “The third main activity is statistical analysis and coding, which often go hand in hand. Most of [my] analysis was done in R [programming language], which was another thing that I hadn't done before… I hadn't really appreciated, as an outsider, just how much time scientists spend on statistics and coding. Coding governs a whole lot of things [in research], not just statistics. So you'll use coding to measure the number and diversity of vocalisations in birdsong recordings. You also may use it for physical mapping of study sites. In stats, there is obviously coding involved in statistical analysis, but also for creating the plots for your papers. It's all coding!” “At the end, you come back to reading and writing. You've gathered all your data, you've written up your results and then you've got to put them in context for your reader.” What advice would you give to students considering this research pathway? “There's two aspects to a PhD. On one hand, you are researching something that is of interest to you. This might be a particular organism, process or scientific question… That's a really important element of the PhD. But the other element is about you upskilling. Basically, a PhD is like a research apprenticeship and it's mostly self-driven… Your supervisor is there to guide you but you've got to come up with all the questions yourself, and figure out how to test them. I feel like it's really important to make the most of both these aspects; you want to do a great research project and find out something interesting that the world didn't know before. But you also want to make sure you're making the most of this time to meet people, take on skills, try things out and get outside your comfort zone. This is really important in making yourself as attractive as possible to future employers and a well-rounded researcher.” What are your future plans following your PhD? “I would like to take these skills and apply them in an in-house ecologist or research position. I’d like to do work where there's a chance to both conduct research and apply what we know to achieve better outcomes for wildlife. So, for example, working on the practical application of artificial light, working with people who make decisions about installing artificial light fixtures and helping them to find better ways to balance the needs of humans and the needs of wildlife.” Previous article back to DISORDER Next article

2022: A YEAR IN SCIENCE 23 March 2023 Message from the Editors in Chief By Caitlin Kane, Rachel Ko, Patrick Grave, Yvette Marris A short message from the Editors in Chief Svante Pääbo: Talking to the Past By Lily McCann The world of today might seem completely alien to an archaic human, but 2022 Nobel Prize winner Svante Pääbo is pioneering work using archaeological DNA to decode genetic links to help us understand humans of the past. Meet the New Kid By Julia Lockerd Imagine a machine joins your art class, creating new art from an AI algorithm fed by original human creation. No need to imagine — AI has already refined art in 2022. From Fusion to Submarines: A Nuclear Year By Andrew Lim In 2022, nuclear science stood between old fears and new possibilities. What’s next for politicians, scientists and the public? Behind the Mask By Yvette Marris 2022 brought new stories of healthcare workers struggling in our post-pandemic world, but the big picture goes beyond the COVID wards.

< Back to Issue 9 Time Perception – The Chaos Binding Your World Together by Furqan Mohsin 28 October 2025 Illustrated by Noah Chen Edited by Arwen Nguyen-Ngo Take a moment to clap your hands together. Do you hear the sound of the clap right as your hands come into contact? This does appear to occur at the same time. Yet the sound of the clap travels much slower than the light from your hands, and your brain differs in the time taken to process sound and light. So how does the clap appear to be in sync? Our ability to measure time is the glue that holds our perception of the world together. It ties our senses, our memories and the events of our lives into a coherent narrative. Yet this system is rarely thought about, and, in many ways, peculiarly disconnected from reality. For instance, time tends to flow faster when we feel excited (1), slow down when we move slowly (2) and even seems to flow differently when we look at the colour red (3). Our window of time tends to expand when we’re taking in a high density of important information (4) and contracts when we are in a state of flow (5). Overall, our subjective experience of time is malleable, ebbing in and out of alignment with real, objective time. This indicates our perception of time is shaped by our environment and internal state rather than a direct readout of physical time, and our best neuroscientific theories of time perception support this. Though scientists have theorised our brain uses a central clock or metronome, more recent evidence suggests our mechanisms for perceiving time are distributed across our brain (6). For example, there seem to be distinct mechanisms involved in tracking time of less than a second, compared to more than a second (7). Each sense also seems to have its own timing systems, meaning vision, hearing and touch modalities are able to track their own time (8). Rather than syncing to a central clock, many researchers believe the measurement of time is implicit in the timing of neural processes and inferred from external signals (9). It’s not a metronome – it’s an orchestra without a conductor, each player keeping the other in check. This means our flow of time is dynamic, stitched together from our environment, alertness and the neuronal activity of the brain itself. Our subjective experience of time and the inner workings of time in the brain are very different from the steady, constant flow we perceive physical time to be. Yet, time as an objective feature of the universe is dynamic in its own way. We all share the basic experience of “being” in a present moment. According to our best understanding of physics, however, time is tied to space, with no point in spacetime being uniquely privileged (10). This means there is no singular present moment we all share. Rather, depending on their position and motion through space, different people can experience different chains of events in time. In essence – different people experience different presents (11). Time is also inherently directionless. Fundamental equations in physics are time-symmetric, meaning the laws of physics work in reverse (12). Our experience of time as a directional flow is fundamental to how we see the world, but this flow is a product of entropy (13). This refers to how arrangements of particles in a system are overwhelmingly likely to progress from states of order into states of increasing disorder. An apple decays and doesn’t revitalise. Ice cubes melt and don’t reform. But this is also not a fundamental force, like we perceive the flow of time to be. It is a statistical tendency that emerges only on the large-scale interactions of an uncountable number of particles. In summary, time in physics is far from an independent arrow. It is interweaved with space and has direction only through the relationships between particles. Yet it remains an integral aspect of our reality. If objective time is so different from our intuitions, how do we explain our experience of time? Why do we experience a seemingly shared present moment, and a sense of time flowing forward steadily? Ultimately, this is because our experience of time is constructed. We need the experience of a present moment to draw together events in the world (14). The clap of your hands, in the truest sense, is a collection of particles. But by interweaving the myriad streams of brain activity and sensory stimuli, the mind places this clap within a moment. Just as we, as a species, place ourselves within a moment. Time in the brain is represented through a shifting, organised chaos of neural activity and interconnected systems. Within physics, it is bound with space and progresses forward through a dance of particles organised through thermodynamics. Collectively, we tell stories and plan futures through a shared sense of time that has been somehow ordered from the chaos. If you’re ever without a clock and wondering how much time has passed, remember, you are not alone. References Gable PA, Wilhelm AL, Poole BD. How Does Emotion Influence Time Perception? A Review of Evidence Linking Emotional Motivation and Time Processing. Front Psychol . 2022;13. doi: 10.3389/fpsyg.2022.848154 De Kock R, Zhou W, Joiner WM, Wiener M. Slowing the body slows down time perception. eLife . 2021. doi: 10.7554/eLife.63607 Shibasaki M, Masataka N. The color red distorts time perception for men, but not for women. Sci Rep . 2014;4(1):5899. doi: 10.1038/srep05899 Matthews WJ, Meck WH. Temporal cognition: Connecting subjective time to perception, attention, and memory. Psychol Bull. 2016 Aug;142(8):865–907. Hancock P. A meta-analysis of flow effects and the perception of time. Acta Psychol (Amst) . 2016;142(8):865-907. doi: 10.1037/bul0000045 Ivry RB, Schlerf JE. Dedicated and intrinsic models of time perception. Trends Cogn Sci . 2008;12(7):273–80. doi: 1 0.1016/j.tics.2008.04.002 Paton JJ, Buonomano DV. The Neural Basis of Timing: Distributed Mechanisms for Diverse Functions. Neuron . 2018;98(4):687–705. doi: 10.1016/j.neuron.2018.03.045 Rammsayer T, Pichelmann S. Visual-auditory differences in duration discrimination depend on modality-specific, sensory-automatic temporal processing: Converging evidence for the validity of the Sensory-Automatic Timing Hypothesis. Q J Exp Psychol . 2018;71(11):2364-2377. doi: 10.1177/1747021817741611 Buhusi CV, Meck WH. What makes us tick? Functional and neural mechanisms of interval timing. Nat Rev Neurosci . 2005 Oct;6(10):755-65. doi: 10.1038/nrn1764 Buonomano D, Rovelli C. Bridging the neuroscience and physics of time. arXiv . 2021. doi: 10.48550/arXiv.2110.01976 Baron S, Miller K. An Introduction to the Philosophy of Time. 1st ed. Polity; 2018. 280 p. Carrol S. Time. In: The Biggest Ideas In The Universe: Space, Time and Motion. Dutton; 2022. p. 304. Buonomano D. Your Brain Is a Time Machine: The Neuroscience and Physics of Time. 1st ed. W. W. Norton & Company; 2017. 304 p. Eagleman DM. Human time perception and its illusions. Curr Opin Neurobiol. 2008;18(2):131–136. doi: 10.1016/j.conb.2008.06.002 Previous article Next article Entwined back to

< Back to Issue 4 From the Editors-in-Chief by Caitlin Kane, Rachel Ko, Patrick Grave, Yvette Marris 1 July 2023 Edited by the Committee Illustrated by Gemma van der Hurk Scirocco, summer sun, shimmering on the horizon. Salt-caked channels spiderweb your lips, scored by rivulets of sweat. Shifting, hissing sands sting your legs. You are the explorer, the adventurer, the scientist. A rusted spring, you heave forward, straining for each step, hauling empty waterskins. ----- The lonely deserts of science provide fertile ground for mirages. An optical phenomenon that appears to show lakes in the distance, the mirage has long been a metaphor for foolhardy hopes and desperate quests. The allure of a sparkling oasis just over the horizon, however, is undeniable. The practice of science involves both kinds of stories. Some scientists set a distant goal and reach it — perhaps they are lucky, perhaps they have exactly the right skills. Other scientists yearn to crack a certain problem but never quite get there. In this issue of OmniSci Magazine, we chose to explore this quest for the unknown that may be bold, unlucky, or even foolhardy: chasing the ‘Mirage’. Each article was written entirely by a student, edited by students, and is accompanied by an illustration that was created by a student. We, as a magazine, exist to provide university students a place to develop their science communication skills and share their work. If there’s a piece you enjoy, feel free to leave a comment or send us some feedback – we love to know that our work means something to the wider world. We’d like to thank all our contributors — our writers, designers, editors, and committee — who have each invested countless hours into crafting an issue that we are all incredibly proud of. We’d also like to thank you, our readers; we are incredibly grateful that people want to read student pieces and learn little bits from the work. That’s enough talking from us until next issue. Go and read some fantastic student writing! Previous article Next article back to MIRAGE

< Back to Issue 9 Living Pixels by KJ Srivastava 28 October 2025 Illustrated by Max Yang Edited by Nirali Bhagat We’ve all seen those hypnotic videos of colour-changing animals – a cuttlefish pulsing stripes across its body, a chameleon melting from green to gold, or an octopus vanishing into coral like a magician’s smoke bomb. Their skin shifts hues like it’s nothing. But how do they actually do that? Take starfish, for instance. They don’t seem to have eyes, yet somehow they “know” what their surroundings look like. Cephalopods, your octopuses, squids, and cuttlefish, go even further, creating patterns that match their environment with uncanny precision. How can they pull that off if they can’t even see any details around them? Seeing Without Eyes? A chromatophore is a specialised cell found in animals, and even some bacteria, that contains pigment or reflects light. You’ll find them across the animal kingdom: in fish, frogs, chameleons, and even in certain bacteria (yes, microbes get to have fun too). Depending on the species, chromatophores come in different flavours. Some are pigment-based, like those filled with melanin (the same as in human skin), while others use microscopic structures to bend and reflect light, acting like natural nanotech (1). Under white light, chromatophores are often classified by the colour they show off – red, brown, blue, green, and the iridescent in-betweens. In vertebrates like fish and reptiles, these cells sit in neat layers under the skin, filtering and bouncing light to produce a kaleidoscope of shades. Chromatophores 101: Nature’s Colour Cells In creatures like octopuses and cuttlefish, chromatophores are tiny, elastic sacs filled with pigment. These sacs are surrounded by radial muscle fibres which are wired to the nervous system. When the animal wants to display a colour, it sends a signal that contracts those muscles, pulling the pigment sac open like an umbrella. The expanded pigment becomes visible on the surface. Relax the muscle and the sac snaps shut – colour gone! So instead of pigment just sitting there passively, the cephalopod is actively controlling its skin colour with muscle contractions, at speeds fast enough to create those mesmerising rippling patterns. All these changes are actively, neurally controlled; they're not automatic like blushing. They're often voluntary, and dynamic, responding to things like light, mood, temperature, and stress (2). In fact, cephalopod chromatophores are sensitive to direct electrical stimulation. One study found that when researchers applied oscillating electrical patterns to the squid Sepioteuthis lessonia, the pigment sacs expanded and contracted in synchronised, wave-like patterns under 1.5Hz; essentially, we can rhythmically ‘play’ these cells like an instrument! (1) Chromatophores in vertebrates work a bit differently. Instead of opening and closing sacs, the pigment inside the cell moves around, spreading out when the colour needs to be more visible, clustering together when it doesn't. Still responsive, still cool, just a little less… flashy. Layers, Pigments, and Light Tricks Here’s where things get really interesting. Chromatophores aren’t all for show. They’re sensitive to light, chemistry, and electrical signals, which makes them incredibly valuable for science and technology! Some fish chromatophores, for example, visibly change colour in the presence of toxins like cholera and pertussis. They detect these threats in real time, with the colour change varying with concentration, meaning you can even tell how much of a toxin is there, not just whether it is present (3). That makes them powerful candidates for biosensors, living tools that can monitor environmental or biological conditions. Why is it a big deal? Unlike traditional sensors made of synthetic materials or inert components, chromatophore-based systems are made of living cells. They keep reacting, adapting, and functioning over time, giving them an edge in sensitivity, flexibility, and longevity (2). While chromatophores already act as living, colour-changing pixels, researchers are exploring how to use them in adaptive camouflage technologies. Imagine a bandage that shifts colour when it detects infection, the moment bacteria start to grow, not just after the infection has spread. Or ocean sensors that monitor salinity and pollution, while blending seamlessly into coral reefs so as not to disturb marine life. All of these possibilities are made an achievable reality by these remarkable sacs of pigment! These amazing cells offer a glimpse at what happens when evolution builds something both beautiful and functional. Next time you see a chameleon vanish into a leaf, or an octopus ripple with light like a living mood ring, take a second to think about what’s really going on under the surface. Behind every colour shift is a tiny symphony of biology and physics, all working together in real time. And the best part? It’s still magic. It doesn't stop being magic when we figure out how it works! References Lei Y, Chen W, Mulchandani A. Microbial biosensors. Analytica chimica acta . 2006;568(1-2):200-10. doi: 10.1016/j.aca.2005.11.065 Tan L, Schirmer K. Cell culture-based biosensing techniques for detecting toxicity in water. Current opinion in biotechnology . 2017;45:59-68. doi: 10.1016/j.copbio.2016.11.026 Plant TK, Chaplen FW, Jovanovic G, Kolodziej W, Trempy JE, Willard C, Liburdy JA, Pence DV, Paul BK. Sensitive-cell-based fish chromatophore biosensor. InBiomedical Vibrational Spectroscopy and Biohazard Detection Technologies 2004;5321;265-274. doi: 10.1117/12.528093 Kim T, Bower DQ, Deravi LF. Cephalopod chromatophores contain photosensitizing nanostructures that may facilitate light sensing and signaling in the skin. Journal of Materials Chemistry C . 2025;13(3):1138-45. doi: 10.1039/D4TC04333B Previous article Next article Entwined back to

By Renee Papaluca < Back to Issue 3 In conversation with Paul Beuchat By Renee Papaluca 10 September 2022 Edited by Zhiyou Low and Andrew Lim Illustrated by Ravon Chew Next Paul is currently a postdoctoral teaching fellow in the Faculty of Engineering and Information Technology. In his spare time, he enjoys overnight hikes, fixing bikes, and rock climbing. Note: The following exchange has been edited and condensed. What was the ‘lightbulb moment’ that prompted you to study science? I often say that I chose engineering a little bit by not wanting to choose anything else. I think it also played into my strengths back in high school. I wasn't particularly into English, history or languages but I really enjoyed physics, chemistry and maths. So, that already drew me to science broadly. What ended up directing me towards engineering, and particularly mechanical engineering, was just always tinkering at home. My dad was always tinkering and building things. We had a garage with all of the tools necessary, and I had free rein to pull things apart and put them back together. Mechanical engineering was a way of taking a more formal route of enjoyment into the hobby. Why did you choose to pursue a research pathway? After I finished my double degrees in Science and Engineering, I got a job, which I enjoyed. It was fun working with a bigger team. In this case, it was an oil and gas company with some pretty big equipment involved. This wasn’t just tinkering with something little in the garage, but something on an industrial scale. At some stage, though, I felt like there was a bit missing. There was a research arm as part of the company, but that wasn't somewhere that I could get to. I was excited by the kind of work being done in that area, and I saw a PhD as a way of pursuing that love so that I could then work on those sorts of exciting things. What advice would you give to students considering a research pathway? Certainly, while I was a PhD, all the postdocs would say that the PhD was the best time of their life. Then the PhDs would say that the Masters was the best. So, be prepared for it to be hard. The advice is to be passionate about the topic and not be fearful about uncertainty or knowing the exact topic straightaway. Also, you likely will need a lot of support to get through the hard parts. It’s nice to have tangential input in the form of seminars, visiting academics from other institutions or even from PhDs in the same group or department. This input gives you new knowledge, new exciting fields and new industry connections. What sparked your love of teaching? My original intention was to complete my PhD, gain the relevant skills and return to the industry. My passion for teaching was sparked during my PhD experience; I got to supervise Masters students that are working on a larger project with me. It was a close collaboration with someone, where you start the process of teaching them whatever the topic is. You work on it together, and eventually, the student becomes the master. They can now guide you along, as well as having vibrant discussions together. That's what I find exciting about tertiary education more broadly - we all are pushing the limits of engineering to achieve better outcomes together. What does your day-to-day life as a teaching fellow look like? One of the focuses of my position was to include more project-based teaching, i.e. to include more hands-on education and work in the classroom, which was not included previously. I got the opportunity to create a new subject. I initially spent a lot of time developing what it was going to be. My day-to-day work included choosing new topics to add to the subject and linking them to a hands-on project, like a ground robot. There's a whole bunch of work that goes into designing a robot and the relevant software on top of preparing lecture slides and delivery—all these bits and pieces that make up a subject. Scattered throughout all this is teaching research; the teaching team assesses the students, and I need to assess the teaching itself. For instance, I need to understand what is being attempted in a particular class, what we are intending to achieve and how this aligns with the current best practices in education research publications. What advice would you give to students considering academic teaching as a career? One of the very nice things here at the University of Melbourne is the support teaching staff can receive through the Graduate Certificate of University Teaching. This gives you insight into and guidance on how to tackle the whole field. For instance, one of the lecturers mentioned that you have to be passionate about teaching because it has its ups and downs. Certainly, while developing a new subject, I found it to be quite stressful. It’s a different way of thinking, and all-new terminology, which is exciting and scary, and that took me a little bit by surprise. Where I shot myself in the foot the most was trying to do too much. I was in a very lucky position where I had free rein to make a subject as hands-on as possible, which opened the floodgates to possibilities. Prioritising was extremely important. It's not that you don’t try everything, but trying too many new exciting ideas at the same time means they probably are all going to fail or take an exorbitant amount of time to implement properly. Being realistic in my instruction was important. Also, having a mentor or someone you can talk very openly with was helpful. What are your future plans? For now, my intention is to stay in teaching. I’d like to push this position to the limits of what I can achieve and see where it takes me. I can also imagine the level of curriculum redesign in shifting whole courses to project-based learning. Current reports, like from the Council of Engineering Deans, are pushing for all engineering education to shift over to project-based learning within the next five to ten years. I’d like to continue teaching, with a view to contributing to higher-level curriculum development. Previous article Next article alien back to

< Back to Issue 9 Entwined: A Hug Story by Elise Volpato 28 October 2025 Illustrated by Esme MacGillivray Edited by Steph Liang Ranging from Will’s heartbreaking collapse in Sean’s arms (Good Will Hunting (1)), to Sheeta and Pazu’s cheerful embrace (Castle in the Sky (2)), to Love Actually’s opening scene (3), hugs are everywhere. In cinema, songs, poems or artworks, they embody strong emotional connections. A s we observe and experience affectionate physical touch in various contexts, let us not forget about the importance of emotional connections in our own lives . Sharing a hug with your lover(s), your friends, your family, your pets; it seems to be an ordinary action… for extraordinary benefits. When hugging, we can all feel pleasant emotions such as serenity, joy, love. But what is the science behind being entwined to someone? Both psychologists and neuroscientists have puzzled over this question, and proposed potential explanations from numerous studies. Before we dig deeper into the warm world of hugs, I invite you to take some time to reflect on your own experiences: is physical contact important for you? What makes a good hug? Does being entwined to someone mean something to you? We will see that the perspectives on hugging differ through culture, physiology and psychology. Let’s now unknot the strings of our health through the lens of hugging! Hugging as a cultural practice Hugging is embedded in culture. It is often considered as a social greeting, either at the moment of an encounter between two people, or when they say goodbye to each other. Hugging, rather than handshaking, implies a reduction of interpersonal distance, greater emotional involvement and the willingness to show it. It is important that both people want this closer contact, as physical proximity is not appreciated by everybody. This is where particular cultural customs will feel natural for some and uncomfortable for others, depending on the greeting expectations and the person’s disposition to comply with them. Certain cultures will favour handshakes, kisses on the cheeks, a quick tap on the shoulder, or head nods (4). Hugging is not a universal practice. In fact, hugs are more common in warmer countries (alongside other forms of social touch), and within young people and females, but less practiced by conservative and religious populations (5). Physical touch seems less prevalent in Asian cultures – for instance, compared to countries such as Mexico, Costa Rica, or Sweden, China often has the lowest levels of hugging, whether between partners, friends, or a parent and their child (5). Hugs are also a symbol of cohesion, with sports teams’ group hugs providing motivation before a match or celebration after the victory. Interestingly, most studies into this have been conducted in Europe and Northern America, reflecting a bias in the cultural significance of hugging and what we take it to symbolise. Cultural context highlights that hugging serves multiple functions: greeting, social support, but also group cohesion and strengthening relationships. Why your body wants a hug Whether the cultural environment promotes hugging or not, this action inevitably has a physiological impact on people. A primary belief is that the physical warmth of an embrace makes the body feel relaxed, comfortable, and protected. It does not stop there, with hugging triggering various biochemical and physiological reactions, such as a higher magnitude of plasma oxytocin (bonding hormone), decrease in cortisol (stress hormone), and lower blood pressure (6). Hugging also reduces colds, promoting a more efficient immune system, and daily hugging predicts lower levels of two proinflammatory cytokines (7). Clinically, inflammation is a significant health marker, and plays a role in both mental and physical diseases. These results support the “affection exchange theory”, stating that affectionate interpersonal behaviour decreases stress and enhances immunity (excluding mitigating factors). Interestingly, studies show a general preference for right-arm given hugs. This effect is bigger (92%) when there is little emotional connection between huggers; for instance, in a “Social Media Challenge” setting where one person has their eyes covered and is hugged by random people (8). On the other hand, only 59% of people in international airport arrival halls (who are likely strongly connected to each other) hug with the right arm (9). These findings align with the “right hemisphere theory”, which states that the right hemisphere of the brain is dominant in emotional processing. Therefore, in situations of emotional hugging, the right hemisphere (which controls the left side of the body) takes the lead, so individuals hug each other with their left arm. Hence, emotional networks in the brain affect our hugging behaviour. Mind and perception If physical health can be bettered by regular hugs, we should not forget the undeniable links between physiology and mental health. Indeed, they are entwined in a virtuous circle. Due to decreased blood pressure and pulse, stress regulation is enhanced. This regulation is essential to emotional stability, for example before public speaking (10). Cortisol levels – which are related to both physical and psychological stresses - are lowered following a twenty-second hug, compared to no physical connection. This “well-being hack” works either with another person or even by self-hugging (11). Furthermore, research suggests that oxytocin has analgesic effects and influences pain processing areas in the brain (12). Pain is often thought of as a physical process, but it is multifactorial. In psychology, the “gate-control theory” (13) explains that a “gate” in the spinal cord exerts effects on pain perception by combining excitatory inputs from noxious stimuli with inhibitory ones. Thus, pain perception is modulated by both physical, ascending factors, and psychological, descending elements. As oxytocin release aids pain management, human psychology is positively influenced by the benefits of this neuromodulator, as well as the conscious, pleasant perception of hugging. Clearly, our mental health is particularly impacted by physical connection. As there is a lot of individual variability in the way people enjoy embraces, we may wonder whether hugs are more context-dependent or trait-dependent. When we look at personality traits, extraverted individuals tend to take the initiative in hugging, illustrating their spontaneity and warmth. On the other hand, neuroticism shows a tendency to social withdrawal combined with low self-esteem (14). While personality traits can be present from birth, some elements depend on our experiences during infancy. This is particularly relevant for attachment styles. When elaborating on this theory in 1969, Bowlby (15) described how it was essential for a child to not only experience affectionate and encouraging language, but also caresses and physical embraces, in order to develop a secure attachment. Throughout our entire lifespan, regular and adequate physical touch is hugely beneficial to human development. Conclusion The science behind hugging reveals multiple benefits. As long as the embrace is agreed on by all parties, there are minimal negatives, and the hug makes way for social, physiological and psychological advantages. As human beings, we are a highly social species that craves social connection, whether it is through physical bonds, emotional links, or both (hint: a key factor to achieve both is hidden in this article). Being interlaced is a marvellous way to improve your day, and even your life – go increase your oxytocin levels, I promise it is worth it. In the end, feeling entwined tells a meaningful story: a hug-story. References Scalia P, ed. Good Will Hunting . Miramax Films; 1997. Seyama T, Kasahara Y, eds. Castle in the Sky . Toei; 1986. Moore N, ed. Love Actually . Universal Pictures; 2003. Ocklenburg S. The Psychology and Neuroscience of Hugging . Springer Nature Affective Interpersonal Touch in Close Relationships: A Cross-Cultural Perspective. ResearchGate . doi: 10.1177/0146167220988373 Grewen KM, Girdler SS, Amico J, Light KC. Effects of Partner Support on Resting Oxytocin, Cortisol, Norepinephrine, and Blood Pressure Before and After Warm Partner Contact. Psychosomatic Medicine . 2005;67(4):531-538. doi: 10.1097/01.psy.0000170341.88395.47 Lisa, Floyd K. Daily Hugging Predicts Lower Levels of Two Proinflammatory Cytokines. Western Journal of Communication . 2020;85(4):487-506. doi: 10.1080/10570314.2020.1850851 Packheiser J, Rook N, Dursun Z, et al. Embracing your emotions: affective state impacts lateralisation of human embraces. Psychological Research . 2018;83(1):26-36. doi: 10.1007/s00426-018-0985-8 Turnbull OH, Stein L, Lucas MD. Lateral Preferences in Adult Embracing: A Test of the “Hemispheric Asymmetry” Theory of Infant Cradling. The Journal of Genetic Psychology . 1995;156(1):17-21. doi: 10.1080/00221325.1995.9914802 Grewen KM, Anderson BJ, Girdler SS, Light KC. Warm Partner Contact Is Related to Lower Cardiovascular Reactivity. Behavioral Medicine . 2003;29(3):123-130. doi: 10.1080/08964280309596065 Dreisoerner A, Junker NM, Schlotz W, et al. Self-soothing touch and being hugged reduce cortisol responses to stress: A randomized controlled trial on stress, physical touch, and social identity. Comprehensive Psychoneuroendocrinology . 2021;8(100091):100091. doi: 10.1016/j.cpnec.2021.100091 1.Boll S, Almeida de Minas AC, Raftogianni A, Herpertz SC, Grinevich V. Oxytocin and Pain Perception: From Animal Models to Human Research. Neuroscience . 2018;387:149-161. doi: 10.1016/j.neuroscience.2017.09.041 Melzack R, Wall PD. Pain Mechanisms: A New Theory. Science . 1965;150(3699):971-978. Forsell LM, Åström JA. Meanings of Hugging: From Greeting Behavior to Touching Implications. Comprehensive Psychology . 2012;1:02.17.21.CP.1.13. doi: 10.2466/02.17.21.cp.1.13 Bowlby J. Attachment and Loss: Attachment .; 1969. Previous article Next article Entwined back to

< Back to Issue 8 Glowing Limelight, Fashioned Stars by Aisyah Mohammad Sulhanuddin 3 June 2025 Edited by Kylie Wang Illustrated by Jessica Walton Good evening Rose Bowl, Pasadena! The crowd erupts into a roar, the stadium air overcome with a thunder of adulation. Between throngs of teenagers tearing through streets in pursuit of the Beatles, concert-goers fainting at the sight of Michael Jackson, and Top Tens of the day made to navigate flirty fan calls on daytime TV in front of live audiences (1), pop history as we know it has always revolved around the deep, fanatic reverence of the star . Stars in all corners of the entertainment cosmos, be it music, film or TV, have long had their lives glamorised. Tales told of luxurious jet-setting, post-show mischief and infamous public appearances peppered with paparazzi. Fame turned into fables, circulated eagerly by the wider populace. Having avidly followed a plethora of musicians, actors and comedians at different points of my own life, the gurgling vortex of stardom culture has remained ever-intriguing. Why do our relationships with stars mean so much to our society, and have they shifted over time? Public perceptions & parasocial relationships Our journey begins with the making of a star. A star is born from an assemblage of artistic choices: artwork, stage personas, press releases, bold onstage costumes and more, which constellate into a fashioned image. Or, a ‘manufactured personal reality’ (2). This reality is what audiences draw upon when forming attachments to stars, a process that moulds complex, contradicting human beings into idealised forms that may resonate, validate or provide meaning to them. The mid-century women empowered by the feminine sexuality and intelligence of Marilyn Monroe (2), or the working class Eastern European following of Depeche Mode who saw the band as an emblem of social rebellion under the USSR in the late 80s (3), are such examples. Such attachment gives rise to the infamous ‘parasocial relationship’ (PSR). An often derisive term aptly used today to call out toxic, boundary-crossing online fan behaviour, parasocial relationships at their core simply encompass socio-emotional connections formed with media figures (4). In it, audiences extend emotional energy, time or interest towards figures that whilst unreciprocated, create a perceived idea of intimacy similar to that of two-way relationships. For the audience, PSRs can evoke feelings of safety, trust and various forms of devotion, self-strengthened through personal habits – think dressing like a favourite ‘bias’, or diligently watching a favourite director’s closet picks. PSRs have historically been one-sided. Audience reactions to sensation and scandal have had the power to make or break an artist’s image, but restricted channels of dialogue meant that direct two-way feedback was often “fragmented” (2). The influencing power of the star’s image lay within reach of the star themselves, and more often than not, was shaped by the wider commercial agendas of their agency or labels. That is, until recently… The rise of the Internet Whilst the glitz and glamour of stardom remains strongly relevant, we can focus on the advent of the internet as the most powerful force in reshaping the relationship between fan and star. Termed the “o ne and a half sided” PSR (4), seen today is a shift in power dynamics towards one of increased fan-star symbiosis. As the theory notes, technology has allowed for greater perceived proximity and reciprocity, blurring the line between social and parasocial. Under the extensive nature of the current digital world, our internet presence has become increasingly considered a material extension of our real-life selves (4), whether through Zoom calls, real-time story updates or live vlogs. Direct messages or comments that allow instant reply have muddied the realm of physical and virtual reality, thus leading audiences to feel ‘physically’ closer to the figures in question. This decrease in constructed social distance has fostered notions of reciprocity, viewing stars as people they can reach out to and touch, converse with, and most importantly, influence in return – regardless of any actual ability to do so (4). As we witness stars defend their personal choices against an onslaught of ‘netizen’ backlash or wryly reply to a barrage of invasive thirst tweets (5), we see the increased power that global audiences have over said stars’ images. Eroded power barriers between the star and fan have heightened both positive and negative emotional engagement. Well-documented are various behaviours that disrespect boundaries between personal and professional lives, such as harassment, stalking, and other breaches of privacy. Yet, the rise of the ordinary, accessible star has also allowed greater exposure to previously hidden or stigmatised facets of figures’ lives, fostering safe spaces for perceived authenticity and vulnerability that can counter blind idealisation (6). Evolving industries & societies Under the diluted power networks of stardom today, we can describe celebrity image production as increasingly decentralised (6). Technology has made entry into the entertainment industry more accessible by providing numerous channels for artistic output, whether it be through releasing music independently on streaming services like Spotify, Bandcamp or Soundcloud, or creating short-form video skits on platforms like TikTok or Instagram. With top-down connections to age-old media institutions no longer required, the pool of faces that audiences can form relationships with has drastically expanded (7). Social norms – at the time of writing – have also welcomed the notion of diversified talents. As prevailing social, cultural and political structures shape value judgments made of stars (2), we have seen increased audience meaning-making in the dimensions of gender, ethnicity, class or sexual orientation over past decades (8) aligned with a gradual direction towards progressive and learned landscapes. Here, celebrity advocacy for causes and movements beyond the stage is nothing new, but fan bases can now dissect their forays into activism more publicly than ever before. A world unapologetically critical of “out of touch” (9) wealthy stars crooning out Lennon’s Imagine at the beginning of the pandemic would unlikely have welcomed the white-saviorist charity event that was Live Aid 1985 with as open arms as the dominant media narrative did then (10). A hyper-consumerist present If the exclusive stardom of yore can be likened to the dominance of a supermarket monopoly, then stardom today looks more like a diverse hub of online stores for buyers to ‘Click and Collect’ from. Whilst this setup offers diversified perspectives to a consuming audience, it embodies wider societal trends towards hyper-commodification. Market an image that sells well, and everyone will be famous for 15 minutes , as Andy Warhol supposedly declared (11). Reinforcing the ephemerality of mass consumerism are internet memes or trends (12) that morph and dilute rebellious celebrity motifs for overarching capitalistic agendas – think Brat Summer campaigns in the style of Charli xcx’s 2024 album co-opted by the most unethical multinational corporation you’ve ever come across. Like with the discourse exposing ‘nepo’ babies in the entertainment industry (13), we are reminded that despite the semblances of democratisation, the limelight remains far from a level stage. Stardom, beyond So what then? What lies in store for the future star? On one hand, the perception of proximity with the decline of ‘untouchable’ star personas can strengthen fan worship and deification, with frenzied consequences. On the other hand, increased artist-audience dialogue can pave the way for real change over performative gestures as lessening power imbalances bring a form of democratisation that can platform diverse and marginalised voices in art. All in all, stars today may no longer be able to fully present themselves and be perceived solely as spectral, enigmatic illusions that audiences can latch upon, but the new freedoms and avenues that come with being more truly known may be just as bedazzling. References 1. Robinson P. The great pop power shift: how online armies replaced fan clubs. The Guardian [Internet]. 2014 Aug 25; Available from: https://www.theguardian.com/music/2014/aug/25/great-pop-power-shift-how-online-armies-replaced-fan-clubs 2. Dyer R. Introduction. In: Heavenly Bodies [Internet]. Routledge; 2004. Available from: https://doi.org/10.4324/9780203605516 3. Wynarczyk N. Tracing Eastern Europe’s obsession with Depeche Mode [Internet]. Dazed. 2017. Available from: https://www.dazeddigital.com/music/article/36659/1/tracing-eastern-europe-s-obsession-with-depeche-mode 4. Hoffner CA, Bond BJ. Parasocial Relationships, Social Media, & Well-Being. Current Opinion in Psychology [Internet]. 2022 Feb;45(1):1–6. Available from: https://doi.org/10.1016/j.copsyc.2022.101306 5. Yodovich N. Buzzfeed’s “celebrities reading thirst tweets”: examining the sexualization of men and women in the #MeToo era. Journal of gender studies. 2024 Feb 28;33(8):1–11. Available from: https://doi.org/10.1080/09589236.2024.2324263 6. Driessens O. The Celebritization of Society and Culture: Understanding the Structural Dynamics of Celebrity Culture. International Journal of Cultural Studies [Internet]. 2013;16(6):641–57. Available from: https://doi.org/10.1177/1367877912459140 7. Carboni M. The digitization of music and the accessibility of the artist. Journal of Professional Communication [Internet]. 2014 Jun 4;3(2). Available from: https://doi.org/10.15173/jpc.v3i2.163 8. Stewart S, Giles D. Celebrity status and the attribution of value. European Journal of Cultural Studies [Internet]. 2019 Jul 21;23(1). Available from: https://doi.org/10.1177/1367549419861618 9. Caramanica J. This “Imagine” Cover Is No Heaven. The New York Times [Internet]. 2020 Mar 20; Available from: https://www.nytimes.com/2020/03/20/arts/music/coronavirus-gal-gadot-imagine.html 10. Grant J. Live Aid/8: perpetuating the superiority myth. Critical Arts [Internet]. 2015 May 4;29(3):310–26. Available from: https://doi.org/10.1080/02560046.2015.1059547 11. Nuwer R. Andy Warhol Probably Never Said His Celebrated “Fifteen Minutes of Fame” Line [Internet]. Smithsonian Magazine. Smithsonian Magazine; 2014. Available from: https://www.smithsonianmag.com/smart-news/andy-warhol-probably-never-said-his-celebrated-fame-line-180950456/ 12. Cirisano T. “Brat” summer and the dilemmas of going mainstream [Internet]. MIDiA Research. 2024. Available from: https://www.midiaresearch.com/blog/brat-summer-and-the-dilemmas-of-going-mainstream 13. Jones N. How a Nepo Baby Is Born [Internet]. Vulture. 2022. Available from: https://www.vulture.com/article/what-is-a-nepotism-baby.html Previous article Next article Enigma back to