Moving image: filmmaker Anthony Powell has yet to find cold-beating tech solutions on his feet. Image: Anthony Powell for his film "Antarctica: A Year on Ice"
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What happens when your dishwasher breaks down in Antarctica?

When you're living at the bottom of the world, you can’t just pop out to a hardware shop when something breaks, so your appliances are like part of the family.

Can you connect to the internet at the South Pole? It might not be the most obvious question to ask when planning a trip to one of the coldest, windiest and driest places on earth, but it has an unexpected answer: yes. We often assume that Antarctica is a lot like the moon or Mars – dangerous, uninhabited and with no wifi. In the past decade the situation has changed.

Felicity Aston, who in 2012 became the first woman to ski solo across Antarctica, explains: “There’s a gizmo which turns your satellite phone into a wifi hotspot, through which you can then connect a smartphone.” Mundane as it sounds, it’s transformative. Gone are the days of lugging heavy radio transmitters across the ice; and it isn’t just a piece of kit, it’s peace of mind. As Aston explains: “I’ve been able to tweet, I’ve been able to make podcasts, and it’s also my lifeline. It’s the way I can get help if something goes wrong.” The bandwidth isn’t sufficient to upload photos or video yet, but Aston predicts it won’t be long: “I think that’s more a case of them bunging up a new satellite in space than creating new technology.”

Out there on the ice, hundreds of miles from any other human beings, her phone enables her to call anyone on earth. But that’s a mixed blessing, as the tantalising prospect of a chat with your mum when you are utterly alone can play tricks with your mind: “It was too difficult to have those loved ones effectively in the tent with me one minute, and then press the disconnect button and send them back thousands and thousands of kilometres.” The potential link it represented was psychologically important, though. “The whole time I was in my tent, I would have my satellite phone in my lap, even if I wasn’t using it . . . It became a symbol of the connection to the outside world, and I was literally clinging hold of it.”

Yet technology isn’t just a guarantee of safety or a means of alleviating loneliness. For Anthony Powell, a film-maker who has worked on the BBC’s Frozen Planet, keeping his equipment going in viciously cold temperatures is vital to being able to do his job. “Cameras tend to start failing at about -60°C with mechanical and electrical problems,” he explains. There is also the problem of power – normal lithium batteries fail after about ten minutes in the cold, so he has to wire up his cameras to car batteries. Video cameras work in Antarctica only with difficulty, so he has designed his own timers and motion-capture techniques in order to get the magnificent time-lapse sequences in his films.

Powell has been working in Antarctica since 1998 (he and his wife, Christine, even got married there). His most recent film, Antarctica: a Year on Ice, chronicles life from the point of view of the mechanics, technicians, cargo handlers, carpenters, electricians, cleaners and cooks who keep the research stations running. Technical problems are on a different level there. As Powell puts it: “You can’t pop out to the local hardware store to pick something up.”

On the Antarctic Sun website in 2012, Beth Jennings of McMurdo Station (the largest community on the continent) mourned the passing of their dishwasher, named Bertha. “She may not have been flesh and bone, but Bertha was indeed part of the family – love her or hate her,” Jennings wrote, reminiscing fondly about Bertha’s ability to “unexpectedly spew slime” over kitchen workers. Next to the report was a photograph of black-clad people standing around a dishwasher with heads bowed. The report recorded, only half-mockingly, that a “dance was performed in her honour”. At the bottom of the world, you have to take care of the technology that takes care of you.

Caroline Crampton is web editor of the New Statesman.

This article first appeared in the 10 April 2014 issue of the New Statesman, Tech Issue

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The Tinder dating app isn't just about sex – it's about friendship, too. And sex

The lines between sex, love and friendship are blurrier than ever, as I found out quickly while using the app.

The first time I met someone using Tinder, the free dating app that requires users to swipe left for “no” and right for “yes” before enabling new “matches” to chat, it was an unqualified success. I should probably qualify that. I was newly single after five years in a committed relationship and wasn’t looking for anything more than fun, friendship and, well, who knows. A few weeks earlier I had tried to give my number to a girl in a cinema café in Brixton. I wrote it on a postcard I’d been using as a bookmark. She said she had a boyfriend, but wanted to keep the postcard. I had no date and I lost my page.

My Tinder date was a master’s student from Valencia called Anna (her name wasn’t really Anna, of course, I’m not a sociopath). When I arrived at the appointed meeting place, she told me I was far more handsome IRL (“in real life”) than my pictures suggested. I was flattered and full of praise for the directness of continental Europeans but also thought sadly to myself: “If only the same could be said about you.”

Anna and I became friends, at least for a while. The date wasn’t a success in the traditional sense of leading us into a contract based on exclusivity, an accumulating cache of resentments and a mortgage, but it had put me back in the game (an appropriate metaphor – people speak regularly of “playing” with the app).

According to Sean Rad, the co-founder who launched Tinder in late 2012, the service was invented for people like me. “It was really a way to overcome my own problems,” he told the editor of Cosmopolitan at an event in London last month. “It was weird to me, to start a conversation [with a stranger]. Once I had an introduction I was fine, but it’s that first step. It’s difficult for a lot of people.” After just one outing, I’d learned two fundamental lessons about the world of online dating: pretty much everyone has at least one decent picture of themselves, and meeting women using a so-called hook-up app is seldom straightforwardly about sex.

Although sometimes it is. My second Tinder date took place in Vienna. I met Louisa (ditto, name) outside some notable church or other one evening while visiting on holiday (Tinder tourism being, in my view, a far more compelling way to get to know a place than a cumbersome Lonely Planet guide). We drank cocktails by the Danube and rambled across the city before making the romantic decision to stay awake all night, as she had to leave early the next day to go hiking with friends. It was just like the Richard Linklater movie Before Sunrise – something I said out loud more than a few times as the Aperol Spritzes took their toll.

When we met up in London a few months later, Louisa and I decided to skip the second part of Linklater’s beautiful triptych and fast-track our relationship straight to the third, Before Midnight, which takes place 18 years after the protagonists’ first meet in Vienna, and have begun to discover that they hate each others’ guts.

Which is one of the many hazards of the swiping life: unlike with older, web-based platforms such as Match.com or OkCupid, which require a substantial written profile, Tinder users know relatively little about their prospective mates. All that’s necessary is a Facebook account and a single photograph. University, occupation, a short bio and mutual Facebook “likes” are optional (my bio is made up entirely of emojis: the pizza slice, the dancing lady, the stack of books).

Worse still, you will see people you know on Tinder – that includes colleagues, neighbours and exes – and they will see you. Far more people swipe out of boredom or curiosity than are ever likely to want to meet up, in part because swiping is so brain-corrosively addictive.

While the company is cagey about its user data, we know that Tinder has been downloaded over 100 million times and has produced upwards of 11 billion matches – though the number of people who have made contact will be far lower. It may sound like a lot but the Tinder user-base remains stuck at around the 50 million mark: a self-selecting coterie of mainly urban, reasonably affluent, generally white men and women, mostly aged between 18 and 34.

A new generation of apps – such as Hey! Vina and Skout – is seeking to capitalise on Tinder’s reputation as a portal for sleaze, a charge Sean Rad was keen to deny at the London event. Tinder is working on a new iteration, Tinder Social, for groups of friends who want to hang out with other groups on a night out, rather than dating. This makes sense for a relatively fresh business determined to keep on growing: more people are in relationships than out of them, after all.

After two years of using Tinder, off and on, last weekend I deleted the app. I had been visiting a friend in Sweden, and took it pretty badly when a Tinder date invited me to a terrible nightclub, only to take a few looks at me and bolt without even bothering to fabricate an excuse. But on the plane back to London the next day, a strange thing happened. Before takeoff, the woman sitting beside me started crying. I assumed something bad had happened but she explained that she was terrified of flying. Almost as terrified, it turned out, as I am. We wound up holding hands through a horrific patch of mid-air turbulence, exchanged anecdotes to distract ourselves and even, when we were safely in sight of the ground, a kiss.

She’s in my phone, but as a contact on Facebook rather than an avatar on a dating app. I’ll probably never see her again but who knows. People connect in strange new ways all the time. The lines between sex, love and friendship are blurrier than ever, but you can be sure that if you look closely at the lines, you’ll almost certainly notice the pixels.

Philip Maughan is Assistant Editor at the New Statesman.

This article first appeared in the 26 May 2016 issue of the New Statesman, The Brexit odd squad