Should scientists be bolder in public?

Is it the role of science to be brave and pick a side, or just to ask the searching questions?

I spoke at the London Climate Forum this weekend. This is a rough sketch of what I said.

Jeremy Grantham is the investor behind the “Grantham Institute” centres for climate change research at Imperial and the LSE. He recently wrote a provocative opinion piece for Nature, arguing:

Overstatement may generally be dangerous in science (it certainly is for careers) but for climate change, uniquely, understatement is even riskier and therefore, arguably, unethical. It is crucial that scientists take more career risks and sound a more realistic, more desperate, note on the global-warming problem. Younger scientists are obsessed by thoughts of tenure, so it is probably up to older, senior and retired scientists to do the heavy lifting. Be arrested if necessary. This is not only the crisis of your lives — it is also the crisis of our species’ existence. I implore you to be brave.

It’s a bold statement. But possibly not a fair one. As Roger Pielke Jr quipped, “how about you go first?“ More to the point, perhaps, many scientists recoiled from the suggestion, not simply because they lacked the courage or conviction of their work, but because they felt that isn’t a productive way to do science in public. People’s ideas of science vary, but to many it is not about boldly delivering anything, but asking questions.

And yet, perhaps Grantham has a point that climate is different. It’s more urgent, and there are more than enough people external to science ready to pounce and amplify your understatement for you. It’s surrounded by a very different political narrative of certainty and doubt than, for example, BSE. It’d be wrong to build a policy of scientific advice for climate based on models constructed in another crisis. Further, one might argue that climate science as a community is a bit too reticent, a bit too quick to hide (at least compared to other actors in the field), perhaps because the scientists who are currently at the most senior levels came into it before it was such a high profile political issue; they didn’t sign up for this.

In many ways, this isn’t a new dilemma. One might even say it’s the basic paucity of scepticism, the evental emptiness of doubt: At some point, you have to believe in something and act, or you do nothing. That doesn’t mean we have to be stuck though, it’s just a matter of deciding when you do choose to put questions to one side and act.

I don’t think we should be prescriptive about what scientists do here. If some would rather focus on uncertainty, fine, but equally I don’t think we should necessarily admonish those who take their work more boldly to the streets either (for one thing, that plays into stories those working against scientific advice would seek to promote: who are we really serving when we do such scolding?). That’s not to say we can’t critique individual actions we disagree with, but I’d like to think science is big and diverse enough to cover a range of approaches to science in society, and that we should be ok with that. If anything, we should celebrate and foster diversity of political attitude and approach. There’s a lot more to scientists in society than simply those who speak out and those who don’t; there are different ways to speak, a range of frames and a diversity of possible audiences. As Pielke Jr argues in his book The Honest Broker, their are various models for scientific advice one might choose, the important thing is scientists do pick one approach, and do so consciously  thinking about which they apply, when and why.

I’m not sure I agree with Grantham’s focus on senior scientists, although they will have to be more accepting of such an approach if younger, less senior ones are to be involved too. This kind of work doesn’t just have to be done scientists either, but other members of the scientific community: educators, public engagement officers, artists, psychologists, sociologists, writers, press officers, storytellers, filmmakers, all sorts. (Yes, these people are part of the scientific community – broadly defined – and many are very skilled too).

We just don’t see enough of this activity applied to climate science. And so, I’d say if Grantham really wants a stronger public discourse on climate science, he should put his money where his mouth is and fund some. There used to be the Grantham Prize for journalism, the funding for which was recently shifted to training journalists, but journalism is only one part of the sort of work needed here. I would like to see a much larger project of investment in a larger range of climate communications. (I think it should be funded by the government, but that’s another fight). I know way too many science communication people who deliberately frame their ideas to have a biomedical theme so they can apply to Wellcome public engagment grants. If Grantham helped put together a climate version, I’m sure many would shift their energies, and that’d probably be a lot more productive in the long run than front page photos of Brian Hoskins occupying an oil rig.

This post first appeared on Alice Bell's blog here.

Climate change protestors in St Andrews. Photograph: Getty Images

Alice Bell is an academic and writer interested in the social side of science. She currently works as a researcher at a university in the south of England, but blogs in a personal capacity here.  She tweets as @alicebell.

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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