Powerful you have become: a 3D-printed model of Star Wars' Yoda. Photo: Getty
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Made in space: Sending 3D printers into orbit

The ESA wants to test a 3D printer in orbit because this is likely to be the best place and method of building the equipment that will take us further out.

Samantha Cristoforetti is about to enjoy a trip to space. Formerly a fighter pilot in the Italian air force, the 37-year-old Cristoforetti is now a European Space Agency (ESA) astronaut. She will blast off with two others, a Russian and an American, in a Russian Soyuz rocket on 23 November. After a few hours, the trio will arrive at the International Space Station (ISS). We can say this with confidence because people have beenS making this trip for very long. This month marks the 14th year of human life in space.

We’re not stopping at the space station, though. One of Cristoforetti’s tasks will be to test the ESA’s new 3D printer, a means to creating future space technology in orbit.

The development of 3D printing is another quiet revolution in progress. Just like a standard inkjet printer for paper documents, it places microscopic drops on to a surface – but these drops are molten plastic or metal. They solidify immediately and another drop can be placed on top of the first layer. Gradually, the drops build up to form an object created with extraordinary precision.

The ESA wants to test a 3D printer in orbit because this is likely to be the best place and method of building the equipment that will take us further out. On earth, firms such as Rolls-Royce are already making plans to use 3D printers to build parts for cars and aeroplanes. Recently, General Electric 3D-printed a fully functioning miniature jet engine. Nasa has created 3D-printed fuel injectors for its rocket engines. Airbus’s experiments with 3D printers have enabled the company to reduce the number of components in its fuel injectors from 250 to two. Manufacturing has never looked so easy – or so promising.

The next step is 3D printing in space. Cristoforetti’s task is to make sure the technology works in the near-absence of gravity. Molten materials form different-shaped drops in microgravity: without a strong pull towards the centre of our planet, they are almost perfect spheres and may not bond to the structure under construction in the same way as on earth. That would create weaker objects. This matters because the future of space colonisation is likely to depend on microgravity manufacturing of satellite parts, sensors, engines and even housing and storage facilities.

With 3D printers on the ISS, the residents can build whatever they need for their next step in space. At the least, this will reduce the payload problems on supply rockets. Although the materials that feed into the printer will have to be delivered, they’ll be in the form of pellets – much easier to pack, weight for weight, than a fully formed part for a satellite.

Once we have become used to it, 3D printing will be as mundane as printing out a high-resolution photograph is to most people now. Similarly, spacefaring was once a dream but is now routine. The world held its breath at the attempt to land a probe on a comet and Commander Chris Hadfield’s tweets and songs broadcast from space caught our attention for a moment but almost no one notices the ISS passing overhead. Even fewer give a moment’s thought to the human beings living up there.

So, we have colonised space. There was no fanfare, no spectacular jamboree. It required remarkable ingenuity, carefully paced progress and determination in the face of scepticism – for a long time, the ISS was described as a white elephant. In the end, though, our scientists, astronauts and engineers just quietly got on with the programme and, thanks to research by the likes of Cristoforetti, we will 3D-print our way to even greater heights. Our time confined to the planet has ended – not with a bang but with a printer. 

Michael Brooks holds a PhD in quantum physics. He writes a weekly science column for the New Statesman, and his most recent book is At the Edge of Uncertainty: 11 Discoveries Taking Science by Surprise.

This article first appeared in the 20 November 2014 issue of the New Statesman, The deep roots of Isis

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"It's just a prank, bro": inside YouTube’s most twisted genre

Despite endless headlines and media scrutiny, catchphrases such as "it was a social experiment" and "block the haters" have allowed YouTube's dangerous pranking culture to continue unregulated. 

A year and five months after the worst prank video ever was uploaded to the internet, its crown has been usurped. In November 2015, YouTuber Sam Pepper made headlines after he filmed a video entitled “KILLING BEST FRIEND PRANK”. In the video, Pepper kidnaps a man before forcing him to watch his friend be “murdered” by a masked figure. Rocking on the chair he has been tied to, the victim sobs and shouts: “We’re just kids”.

Last week, an actual child – aged nine – was victim to a similarly distressing “prank”. Michael and Heather Martin, of the YouTube channel DaddyOFive, poured disappearing ink on to their son Cody’s carpet before – in Heather’s words – “flipping out” on the child.

“What the fuck did you do,” yells Heather to summon Cody to his room. “I swear to God I didn’t do that,” screams and cries Cody as his parents verbally berate him. His face goes red; he falls to his knees.

You won’t find either of these videos on either of their creators’ channels today. After considerable backlash, Pepper deleted his video and DaddyOFive have now made all of their videos (bar one) private. The Martins have faced international scrutiny after being called out by prominent YouTuber Philip DeFranco, who collated a video of clips in which Cody is “pranked” by his family. In one, Cody appears to be pushed face-first into a bookcase by his father. In another, a visibly distressed Cody sobs while his father says: “It’s just a prank bro.”

These five words have been used to justify some of the most heinous pranks in YouTube history. Sam Pepper famously called a video in which he pinched the bottoms of unsuspecting women, a “social experiment”. Usually, though, creators’ excuses follow a pattern. “It was just a prank,” they say. Then, if the heat doesn't subside: “Actually, it was fake.”

Three months after his “KILLING BEST FRIEND” prank, Pepper claimed the video – and all of his other prank videos – were staged. In a video entitled “Family Destroyed Over False Aquisations [sic]” the Martins have now also claimed that their videos are scripted. “We act them out,” says Michael. It seems many on the internet remain sceptical. The Child Protection Services website for Maryland – where the Martins live – has crashed after Redditors encouraged one another to report the family. If the Martins’ videos are indeed staged, Cody is one of the shining child actors of our time.

Though the Martins might yet face severe consequences for their pranks, it wouldn’t be surprising if they didn’t.  The “Just a prank”/“No it’s fake” cycle means that despite multiple headline-grabbing backlashes, YouTube pranking culture continues to thrive. Boyfriends pretend to throw their girlfriend’s cats out windows; fathers pretend to mothers that their sons have died. YouTubers deliberately step on strangers' feet in order to provoke fights. Sometimes, yes, pranksters are arrested for faking robberies, but in the meantime their subscribers continue to grow in their millions.

At present, there is no regulatory body that examines YouTube. Pranksters who break the law are arrested, but children whose daily lives are filmed for the site are not protected by the same regulations that safeguard child actors from being overworked or exploited. Though the communications authority Ofcom has guidelines about wind-up calls and consent, it does not regulate YouTube. The BBC were famously fined £150,000 by the body after Russell Brand and Jonathon Ross prank called Andrew Sachs, yet internet pranks remain out of its jurisdiction.

Though YouTube removes videos that breach its “Community Guidelines”, it seems illogical that we trust the service to police itself. Since the invention of the radio, we have assumed that independent bodies are needed to scrutinise the media – so why you should the largest video-sharing platform on the planet be exempt? No one is truly looking out for either the pranking victims or the children of YouTube. God forbid, like Cody, if you are both.

It is also arguable that YouTube pranks need more regulation than those broadcast on TV. Britain’s favourite pranking shows revolve around humiliating comedians themselves – Trigger Happy TV, Balls of Steel, Jackass – or are very soft (think a man pretending to be both a mime and a policeman) in nature. When someone is outright humiliated on TV, it’s because they are seen to be “fair game”, such as in Comedy Central’s Fameless Prankers, where people desperate to be famous are forced into increasingly humiliating situations. On YouTube, there are no consent forms or waivers to ensure filming remains ethical, and YouTube pranksters often target more vulnerable people.

“There’s an element of power here with the parents and it seems this is very top-down,” says Jonathan Wynn, a sociology professor at the University of Massachusetts who has written on pranks in the past. Wynn explains that traditionally pranks mock status and hierarchy, such as when court jesters taunted kings. When pranks come from the top down, Wynn says they allow a group to bond emotionally – arguably something the Martins are attempting as a family. Nonetheless, Wynn notes this would work better if the children also pranked their parents equally. “In this case the status differential is quite high, when you have children and parents.”

Traditionally, the mainstream media has had little room for this type of content. In 2012, two radio DJs attempted to prank the Duchess of Cambridge Kate Middleton by calling the hospital she was staying at, but instead tricked two nurses. When one of these nurses, Jacintha Saldanha, died by suicide days later, the episode seemed the ultimate illustration of the recklessness of pranks that “punch down”.

Conversely, status differentials are a large part of YouTube prank culture. Rather than attacking people in power, YouTube pranks are often played by those in power (the YouTube famous) on those who have lower social status. Frequently, boyfriends prank girlfriends, for example, and since 2014, white pranksters have filmed “in the hood” pranks provoking young black men. In “The N Word Prank!!” famous internet prankster Roman Atwood goes around saying “What’s up my neighbour” to people of colour, knowing that it will be misheard as a racial slur. In the context of this pranking culture, a parent pranking a child to the point of tears seems almost inevitable.

Perhaps, then, it is easy to understand why Michael and Heather Martin “prank” their children – it is harder to understand why anyone is watching. The DaddyOFive channel has over 750,000 subscribers, with over 7,000 of these subscribing after Philip DeFranco’s video accused the family of “abusing” their children. In order to defend themselves, the Martins initially employed another YouTube rhetoric, on top of “just a prank bro”. In a since deleted video, they invited their fans to “block the haters”.

This phrase is ingrained in online culture, and has allowed internet celebrities to dismiss criticism for years. By painting anyone who is critical as “jealous” or a “hater”, YouTubers can ensure their fans ignore their words and therefore stay loyal. In a video response to Philip DeFranco, the Martins riffed off a popular meme and placed spoons over their eyes to symbolise this mentality, and now fans as young as 12 are copying this action to show their support. When I search the hashtag used by the family’s supporters to see if anyone might be willing to explain why they still love the channel, I am faced with the reality that most of DaddyOFive’s fans are children. Though YouTube’s minimum sign-up age is 13, there is nothing really stopping children from watching – and normalising – harmful content, particularly when it is disguised as a “prank”.

In this context, it doesn’t matter in the slightest whether a prank is faked. Sam Pepper might have asked his friend's permission before he fake-kidnapped him, and perhaps Michael Martin was only pretending when he pushed his son into a bookcase. Neither of these facts will prevent children – 19 percent of whom have a desire to be famous – from copying these actions in order to promote their own YouTube channels. Even if a YouTuber is punished for a dangerous pranking video, there are thousands of other pranksters ready and willing to take their place. 

It remains to be seen whether the Martins will continue with their YouTube channel. At the end of their now infamous invisible ink prank, Michael asks Cody to “do the outro” – the concluding section of a YouTube video. Wiping his nose and still red in the face, Cody rattles off his script at alarming speed.“Thank you guys for watching this video if you like this video and want to see more videos like this one leave a comment down the section below and don’t forget to follow us on Twitter, Instagram, Facebook, Snapchat… and don’t forget to… Like and Subscribe.” 

Since the backlash, Michael has added a new line into the “About” section of the DaddyOFive YouTube channel. After reiterating that the videos are fake, he writes: “no child was harmed in the making of our videos”. 

Amelia Tait is a technology and digital culture writer at the New Statesman.

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