How and why do we use animals in research?

There are few topics as emotive as the use of animals in research, and few topics where public trust is so essential. This is your chance to have your say.

At a meeting recently, one of our clinical scientists described how she had given a talk to prospective medical students about her research. They expressed surprise that medical research involved the use of animals. How, she wondered, did they think new drugs were developed?

There is a lot of misunderstanding and, for want of a better word, ignorance, about how and why animals are used in research. At a series of recent focus groups, for example, participants believed that cosmetics were still tested on animals. In fact, this practice has not been allowed in the UK since 1998 and was outlawed across Europe in 2009, and from this year no cosmetics tested on animals can be sold in the EU, regardless of where the testing took place. 

It is misconceptions such as these that drive home the need for scientists to talk about their work and which partly underlie the Concordat on Openness on Animal Research being developed by Understanding Animal Research (UAR).

Animals are essential for improving our understanding of health and disease, from how mental illness arises from the circuitry in the brain, to improving surgical procedures and developing new medicines to keep us – and our pets and livestock – healthy. We are constantly refining our techniques: in many cases, we are able to replace animal use with new technologies. Of course researchers would like to see the day when animals are no longer required for medical research.  Unfortunately we are not there yet.

As a nation of animal lovers, it is understandable that many of us feel uncomfortable with the idea that we deliberately make our animals sick in the name of medical research. This is why we believe that scientists must be open about their work and what it entails so that the public can scrutinise it and hold them to account.

The UK has some of the strictest legislation in the world when it comes to research using animals. Every researcher who wishes to use animals must apply to the Home Office for a licence and must show why animals are required and that the eventual benefits of the research outweigh the harm to the animals involved. In addition, the Wellcome Trust, like all other major funders of research, insists that researchers demonstrate a commitment to the "3Rs" – the reduction, refinement and replacement of the use of animals in research.

We thought the research community was doing a reasonable job of communicating what they do and how they do it, but towards the end of last year we received a wake-up call. A survey carried out by Ipsos MORI on behalf of the government showed that the number of people who ‘could accept the use of animals in research’ had fallen – not by a huge amount, but a decline in support nevertheless.

Ironically, one reason for this decline may be the safer environment in which scientists now conduct their research. A decade ago, animal rights activists waged a campaign of intimidation towards animal researchers, with threats of physical violence, attacks on labs and even bombs. A small, but courageous, cohort of scientists stood up to them publicly, explaining their work and why it was important. Now, thanks to measures aimed at tackling extremism, such attacks are a thing of the past, but this has meant that scientists are no longer called on as often to explain why using animals is necessary for scientific and medical progress.

When the results of the survey were released, a group of funders, charities, learned societies, universities and pharmaceutical companies united to sign a "declaration of openness", committing to becoming more open about the use of animals. This declaration was only intended to be the start of the process, however; we also committed to developing a ‘concordat’ that would detail the measures that we would take to be more open.

Over the past year, UAR has been leading discussions to pull together this concordat. They have sought input from organisations that carry out or fund research using animals, and organisations that are concerned with animal welfare.

The final version of the concordat is due to be launched in spring next year, but today UAR is launching a public consultation to find out what people think about the proposals and what "openness" around the use of animals in research means to them.

Much is made in the scientific world about "public dialogue" and "public engagement" – the need not to talk at the public, but rather to talk and, crucially, listen, to them. There are few topics as emotive as the use of animals in research, and few topics where public trust is so essential. It would be very easy for the research community to assume it knows what people want to know. This is your chance to tell us what you really want to know.

To take part in the public consultation, please visit www.understandinganimalresearch.org.uk.

Nancy Lee is a Senior Policy Advisor at the Wellcome Trust

A labatory technician holds a lab mouse. Photo: Getty
Calvert 22/Courtesy of the artist, Danila Tkachenko
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Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.