Category: Academic Reportage

Source: The Conversation – UK – By Dominic Davies, Reader in English, City St George’s, University of London

There are more refugees in the world today than at any other point in history. The United Nations estimates that there are now more than 120 million people forcibly displaced from their homes. That is one in every 69 people on Earth. Some 73% of this population is hosted in lower or middle-income countries.

From the legacies of European colonialism to global inequality, drone warfare and climate instability, politicians have failed to address the causes driving this mass displacement. Instead, far-right parties exploit the crisis by inflaming cultures of hatred and hostility towards migrants, particularly in high-income western countries.

This is exacerbated by visual media, which makes refugees an easy target by denying them the means of telling their own stories on their own terms. Pictures of migrants on boats or climbing over border walls are everywhere in tabloid newspapers and on social media. But these images are rarely accompanied by any detailed account of the brutal experiences that force people into these situations.

In our new book, Graphic Refuge: Visuality and Mobility in Refugee Comics, we show how a growing genre of “refugee comics” is challenging this visual culture through a range of storytelling strategies and innovations in illustration. Comprised of multiple images arranged into sequences and interspersed with speech bubbles and caption boxes, refugee comics disrupt a media landscape that tends to reduce migrants to either threats or victims.

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Many different kinds of visual storytelling live under the umbrella of refugee comics. They include short strips and stories, such as A Perilous Journey (2016) with testimonies from people fleeing the civil war in Syria, and Cabramatta (2019), about growing up as a Vietnamese migrant in a Sydney suburb. They also include codex-bound graphic novels, such as The Best We Could Do by Thi Bui (2017), and interactive web-comics such as Exodus by Jasper Rietman (2018).

They include documentaries made by journalists about the specific experiences of individual refugees. They also include fiction by artists who combine elements of several refugee testimonies into representative stories. Additionally, there are both fictional and non-fictional artworks made by migrants and refugees themselves.

Refugee comics address different forced mass displacements over the 20th and 21st centuries. These include the 1948 Nakba in Palestine, the 1970s flight of refugees from Vietnam and the 2010s displacement of people from Syria and other countries across sub-Saharan Africa and the Middle East.

These refugee comics challenge anti-migrant images in at least three ways. First, they often integrate the direct testimonies of refugees. This is enhanced by the combination of words and pictures that comprise the comics page, which allows refugees to frame the way we see and respond to images of displaced people.

For example, in The Unwanted by Joe Sacco (2012), familiar images of migrants crossing the Mediterranean on small boats are narrated by a refugee called Jon. Jon’s testimony turns our attention to the fears and desires that drive people to attempt dangerous sea crossings.

A second way comics challenge anti-migrant images is by allowing refugees to tell their stories without disclosing their identities. Because comics are drawn by hand and use abstract icons rather than photographs, refugees can tell their stories while also avoiding any unwanted scrutiny while also maintaining personal privacy. This reintroduces refugee agency into a visual culture that often seeks to reduce migrants to voiceless victims or security threats.

For example, in Escaping Wars and Waves: Encounters with Syrian Refugees (2018) German comics journalist Olivier Kugler dedicates two pages to a man he calls “The Afghan” because he didn’t want his name or identity revealed. Kugler presents this man’s testimony of failed attempts to get to the UK, but he never draws his face or refers to him by name.

The third way comics challenge anti-migrant images is by shifting our attention from refugees themselves to the hostile environments and border infrastructures that they are forced to travel through and inhabit. Refugee researchers describe this different way of seeing as a “places and spaces, not faces” approach.

For instance, in Undocumented: The Architecture of Migrant Detention (2017), Tings Chak walks her readers through migrant detention centres from the perspective of those who are being processed and detained.

Drawing displacement

This emphasis on place and space is built into the structure of our own book, Graphic Refuge. We begin by focusing on graphic stories about ocean crossings, particularly on the Mediterranean sea. We then turn to comics concerned with the experience of refugee camps, and we also ask how interactive online comics bring viewers into virtual refugee spaces in a variety of ways.

It is the obliteration of homes that forces people to become refugees in the first place. Later in the book, we explore how illustrated stories document the destruction of cityscapes across Syria and also in Gaza. Finally, we turn to graphic autobiographies by second-generation refugees, those who have grown up in places such as the US or Australia, but who must still negotiate the trauma of their parents’ displacement.

Where most previous studies of refugee comics have focused on trauma and empathy, in Graphic Refuge we take a different approach. We set out to show how refugee comics represent migrant agency and desire, and how we are all implicated in the histories and systems that have created the very idea of the modern refugee.

As critical refugee scholar Vinh Nguyen writes in our book’s foreword, while it is difficult to truly know what refugee lives are like, those of us who enjoy the privileges of citizenship can at least read these comics to better understand “what we – we who can sleep under warm covers at night – are capable of”.

This article features references to books that have been included for editorial reasons, and may contain links to bookshop.org. If you click on one of the links and go on to buy something from bookshop.org The Conversation UK may earn a commission.

The authors do not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.

– ref. Comics and graphic novels can empower refugees to tell their stories on their own terms – https://theconversation.com/comics-and-graphic-novels-can-empower-refugees-to-tell-their-stories-on-their-own-terms-258943

Source: The Conversation – UK – By Barry Langford, Professor of Film Studies, Royal Holloway University of London

Stephen Spielberg’s original Jurassic Park film (1993) instilled awe and trepidation in his characters and audience alike. As his protagonists wrestled with the unintended consequences and ethical dilemmas of reanimating extinct apex predators, viewers marvelled at the novel use of CGI. At a keystroke it seemed to consign the hand-crafted stop-motion wonders of dinosaur films past to the archive.

Alongside pulse-pounding action set pieces delivered with trademark Spielberg panache, that first film flamboyantly inaugurated a new era in fantasy effects. And it solicited delight and wonder from its audience. On opening day in New York the dinosaurs’ first appearance prompted a spontaneous ovation: I was there and clapped too.

Thirty-two years, six Jurassic iterations and countless monstrous digital apparitions later, that initial wow factor is a distant memory. By Jurassic World: Rebirth (set nearly 35 years after the original film) dinosaurs are treated by their human prey as barely more than inconvenient obstacles. They’re dangerous, of course, but certainly not wondrous.

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Palaeontologist Dr Henry Loomis’s (Jonathan Bailey) delight in coming face-to-face with his objects of study is a pale echo of the giddy euphoria that overtook Sam Neill and Laura Dern’s characters all those years ago.

In fact, early in the film we’re told that the public have since lost all interest in dinosaurs. Wildlife parks and museum displays are closing and the animals themselves have mostly died off outside their quarantined tropical habitat.

As this has information has little bearing for the plot, it’s hard not to sense some ironic commentary from screenwriter David Koepp (returning to the franchise for the first time since 1997) on the exhaustion of the Jurassic Park model. Always incipiently reflexive – as a blockbuster set in a theme park – by this stage in the game, the franchise machinery is inescapably visible.

Almost as ironic is a plot line promoting the open-source sharing of intellectual property for the benefit of the whole world rather than exploitative corporations. I doubt NBCUniversal-Comcast would agree.

The Jurassic franchise

The Jurassic Park format is among the most unforgivingly rigid of any current film franchise.

Each instalment (bar to some extent the last, the convoluted 2022 Jurassic World: Dominion, whose characters and story the new release completely ignores) places humans in perilous proximity to genetically rejuvenated sauropods. And generally does so in a remote, photogenic tropical location with minimal contact with the outside world. (Will the franchise ever run out of uncharted Caribbean islands where demented bio-engineers have wreaked evolutionary havoc?)

The human characters in this new film are the usual pick-and-mix of daredevil adventurers, amoral corporate types and idealistic palaeontologists. And there are the mandatory school-age children too – important to keep the interest of younger viewers. The real stars of course, are the primeval leviathans who grow larger and more fearsome – though not more interesting – with each new episode of the franchise.

How this human-dino jeopardy comes about tends not to matter very much. Jurassic World: Rebirth produces one of the least interesting MacGuffins in movie history (meaning something that drives the plot and which the charcters care about but the audience does not). Blood drawn from each of the three largest dinosaur species in the aforesaid remote tropical island will produce a serum to cure human heart disease (dinosaur hearts are huge, you see, so … never mind).

This feeble contrivance suffices for sneery Big Pharma suit Martin (Rupert Friend) to hire freebooters Zora (Scarlett Johansson) and Duncan (Mahershala Ali) for his expedition. Along the way they encounter a marooned family (dad, two teens, one winsome but plucky grade-schooler) who subsequently have their own largely self-contained adventures before reuniting for the big climax.

Franchise filmmaking is generally an auteur-free zone. Welsh blockbuster specialist Gareth Edwards is no Spielberg (though he pays homage at several point, notably in a waterborne first act studded with Jaws references). But he handles the action with unremarkable competence.

In truth, Jurassic World: Rebirth suggests that the intellectual property so expensively vested in the franchise would benefit from some genetic modification.

Barry Langford does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Jurassic World Rebirth has everything a Jurassic film should – except the wonder – https://theconversation.com/jurassic-world-rebirth-has-everything-a-jurassic-film-should-except-the-wonder-260227

Source: The Conversation – UK – By Maoli Duan, Associate Professor, Senior Consultant, Karolinska Institutet

Up to three in every 1,000 newborns has hearing loss in one or both ears. While cochlear implants offer remarkable hope for these children, it requires invasive surgery. These implants also cannot fully replicate the nuance of natural hearing.

But recent research my colleagues and I conducted has shown that a form of gene therapy can successfully restore hearing in toddlers and young adults born with congenital deafness.

Our research focused specifically on toddlers and young adults born with OTOF-related deafness. This condition is caused by mutations in the OTOF gene that produces the otoferlin protein –a protein critical for hearing.

The protein transmits auditory signals from the inner ear to the brain. When this gene is mutated, that transmission breaks down leading to profound hearing loss from birth.

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Unlike other types of genetic deafness, people with OTOF mutations have healthy hearing structures in their inner ear – the problem is simply that one crucial gene isn’t working properly. This makes it an ideal candidate for gene therapy: if you can fix the faulty gene, the existing healthy structures should be able to restore hearing.

In our study, we used a modified virus as a delivery system to carry a working copy of the OTOF gene directly into the inner ear’s hearing cells. The virus acts like a molecular courier, delivering the genetic fix exactly where it’s needed.

The modified viruses do this by first attaching themselves to the hair cell’s surface, then convincing the cell to swallow them whole. Once inside, they hitch a ride on the cell’s natural transport system all the way to its control centre (the nucleus). There, they finally release the genetic instructions for otoferlin to the auditory neurons.

Our team had previously conducted studies in primates and young children (five- and eight-year-olds) which confirmed the virus therapy was safe. We were also able to illustrate the therapy’s potential to restore hearing – sometimes to near-normal levels.

But key questions had remained about whether the therapy could work in older patients – and what age is optimal for patients to receive the treatment.

To answer these questions, we expanded our clinical trial across five hospitals, enrolling ten participants aged one to 24 years. All were diagnosed with OTOF-related deafness. The virus therapy was injected into the inner ears of each participant.

We closely monitored safety during the 12-months of the study through ear examinations and blood tests. Hearing improvements were measured using both objective brainstem response tests and behavioural hearing assessments.

From the brainstem response tests, patients heard rapid clicking sounds or short beeps of different pitches while sensors measured the brain’s automatic electrical response. In another test, patients heard constant, steady tones at different pitches while a computer analysed brainwaves to see if they automatically followed the rhythm of these sounds.

For the behavioural hearing assessment, patients wore headphones and listened to faint beeps at different pitches. They pressed a button or raised their hand each time they heard a beep – no matter how faint.

Hearing improvements were both rapid and significant – especially in younger participants. Within the first month of treatment, the average total hearing improvement reached 62% on the objective brainstem response tests and 78% on the behavioural hearing assessments. Two participants achieved near-normal speech perception. The parent of one seven-year-old participant said her child could hear sounds just three days after treatment.

Over the 12-month study period, ten patients experienced very mild to moderate side-effects. The most common adverse effect was a decrease in white blood cells. Crucially, no serious adverse events were observed. This confirmed the favourable safety profile of this virus-based gene therapy.

Treating genetic deafness

This is the first time such results have been achieved in both adolescent and adult patients with OTOF-related deafness.

The findings also reveal important insights into the ideal window for treatment, with children between the ages of five and eight showing the most pronounced benefit.

While younger children and older participants also showed improvement, their recovery was less dramatic. These counter-intuitive results in younger children are surprising. Although preserved inner-ear integrity and function at early ages should theoretically predict a better response to the gene therapy, these findings suggest the brain’s ability to process newly restored sounds may vary at different ages. The reasons for this are not yet understood.

This trial is a milestone. By bridging the gap between animal and human studies and diverse patients of different ages, we’re entering a new era in the treatment of genetic deafness. Although questions still remain about how long the effects of this therapy last, as gene therapy continues to advance, the possibility of curing – not just managing – genetic hearing loss is becoming a reality.

OTOF-related deafness is just the beginning. We, along with other research teams, are working on developing therapies that target other, more common genes that are linked to hearing loss. These are more complex to treat, but animal studies have yielded promising results. We’re optimistic that in the future, gene therapy will be available for many different types of genetic deafness.

Maoli Duan does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Gene therapy restores hearing in toddlers and teenagers born with congenital deafness – new research – https://theconversation.com/gene-therapy-restores-hearing-in-toddlers-and-teenagers-born-with-congenital-deafness-new-research-258112

Source: The Conversation – UK – By Lillian Hingley, Postdoctoral Researcher in English Literature, University of Oxford

With her latest album, Virgin, Lorde is stretching the concept of the virgin beyond the common definition. Some may consider the album’s title and its cover art – an X-ray of Lorde’s pelvis showing an IUD – to be contradictory.

But while Lorde could still be using contraception for purposes beyond birth control, its presence shows that the album doesn’t shy away from discussions of sexual activities and the risk of pregnancy (two themes that are clearly discussed in the track Clearblue).

As she also shows with her approach to gender in the album’s opening song, Hammer (“Some days, I’m a woman, some days, I’m a man”), Lorde is testing and muddying common dualisms.

The scientific perspective offered by the album art forces the viewer to look through Lorde’s body, but we are also looking beyond her reproductive organs. Certainly, Lorde sometimes conceptualises virginity as something that can only be given once, as she explains on David.

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In Hammer, her quip “don’t know if it’s love or if it’s ovulation” is a comedic musing on whether an experience is profoundly transcendental or just the product of hormones. But what strikes me is the fact that her concepts and themes are not static or singular.

This album is exploring the idea of being made, or even remade, through experience. In If She Could See Me Now, Lorde recounts how painful moments “made me a woman”.

Like French philosopher Simone de Beauvoir’s phrase “one is not born, but rather becomes, a woman”, Lorde is exploring how her body is being changed by what she has been through. As she sings in What Was That?: “I try to let whatever has to pass through me pass through.”

Again, while she on the one hand describes something moving through her body, she’s also describing an attempt to move through something that has happened to her – turning a passive experience into one of acceptance and action. Here we might think of another notion of virginity: a substance before it is processed. Virginity is part of the experience of being changed, or reborn, into something else.

This is not to say that Virgin is uninterested in the body. Lorde’s discussion of her eating disorder in Broken Glass is a case in point.

Lorde as performance artist

The visuals accompanying Virgin emphasise Lorde’s status as a performance artist. The crescendo of the What Was That video is a spontaneous public performance of Virgin’s first single.

When Lorde released the second single, Man of the Year, she posted on her website:

TRYING TO MAKE IT SOUND LIKE A FONTANA, LIKE PAINTING BITTEN BY A MAN, LIKE THE NEW YORK EARTH ROOM. THE SOUND OF MY REBIRTH.

The simile here, or the idea of making music sound “like” visual art, emphasises the tactility of Lorde’s work. Each artistic piece referenced here is concerned with physically intervening into the conventional art gallery set-up.

Italian artist Lucio Fontana’s Spacial Concept series (1960) included slashed canvases a disruption of the body of the artwork with yonic – in other words, vulva-like – imagery (indeed, it challenges how “damaged” artworks are usually hidden from audiences, waiting to be restored).

Similarly, American artist Jasper Johns’ Painting Bitten by a Man (1961) is an encaustic painting (derived from the Greek word for “burned in”), which shows off the markings of someone who has bitten into the canvas.

The music video for Man of the Year is filmed in a room that is filled with dirt. This is a clear nod to American sculptor Walter de Maria’s New York Earth Room (1977). The piece also fills a white room in New York with this unexpected material: earth inside a building, where mushrooms can grow.

The video for Man of the Year may also be referencing another artwork. Lorde is shown using duct tape to bind her breasts. While this points to Lorde’s exploration of her body and gender identity, the material also recalls Italian artist Maurizio Cattelan’s duct-taped banana artwork, Comedian.

Offering phallic imagery to Fontana’s yonic imagery, Cattelan’s piece mirrors Lorde’s concern with ontology, or definition. What makes something art?

Prometheus (Un)bound?

But just as Lorde is binding herself in new ways, she is unbinding herself in others. In If She Could See Me Now, Lorde declares: “I’m going back to the clay.”

Here that the album recalls the Prometheus myth: the ancient Greek story that Prometheus fashioned humans out of mud (or clay) and gave his creations fire.

The closing track, David, offers another ancient allusion, this time about David and Goliath. David – who, as a harpist, is a musician like Lorde – kills the giant man with stones. This reference furthers the song’s discussion of the problem of treating a man, a lover, like a god.

This subtle reference to the killing of Goliath adds another layer to the euphemism for male testicles explored in Shapeshifter: “Do you have the stones?”. Perhaps Virgin is doing what Mary Shelley’s Frankenstein (1818) did with the Prometheus tale: both exploring what happens when a man tries to create and determine the fate of another being, whether nature or nurture make a person, and how a new body can be refashioned from old ones.

After listening to the entire album, I was struck by how Lorde is exploring different facets of another question: who, exactly, is Lorde? Especially now that she is embracing who she is beyond the yoke of other people – or the demons – that have shaped her? Virgin shows that Lorde now wants to return “to the clay”, or to remake who she is, now that she is unbound by Prometheus.

This article features references to books that have been included for editorial reasons, and may contain links to bookshop.org. If you click on one of the links and go on to buy something from bookshop.org The Conversation UK may earn a commission.

Lillian Hingley does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Virgin by Lorde is a layered work of performance art – her smartest references explained – https://theconversation.com/virgin-by-lorde-is-a-layered-work-of-performance-art-her-smartest-references-explained-260181

Source: The Conversation – UK – By Jonathan R. Goodman, Research Associate, Public Health, University of Cambridge

We all need to learn how to place trust in others. It’s easy to be misled. Someone who doesn’t deserve trust can appear a lot like someone who does – and part of growing up in a society is developing the ability to tell the difference.

An important part of this is learning about the signals people give about themselves. These might be a smile, a style of dressing or a way of speaking. In particular, we use accents to make decisions about others – especially in the UK.

But what if people adapt or change their accents to fit into a certain social group or geographical area? Our past research has shown that native speakers are pretty good at spotting such speech. We’ve now published a follow-up study that supports and further strengthens our original results.

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We associate accents with places, classes and groups. Research shows that even infants use accents to determine whether they think someone is considered trustworthy. This can be a problem – studies have demonstrated that accents can affect someone’s odds of getting a job – and potentially the likelihood of being found guilty of a crime.

As with most topics in the social sciences, evolutionary theory has a lot to say about this process. Scientists are interested in understanding how people send and receive signals like accents, how those signals affect relationships between people and how, in turn, those relationships affect us.

But because accents can affect how we treat each other, we’d expect some people to try to change them for personal gain. A social chameleon who can pretend to be a member of any social class or group is likely to win trust within each – assuming they are not caught.

If that’s true, though, then we’d expect people to also be good at detecting when someone is “faking” it – what we call mimicry – setting up a kind of arms race between those who want to deceive us into trusting them and those who try to catch deceivers out.

Over the last few years, we’ve looked into how well people detect accent mimicry. Last year we found that generally speaking, people in the UK and Ireland are strong at this, detecting mimicked accents in the UK and Ireland better than we’d expect by chance alone.

What was more interesting, though, was that native listeners from the specific places of the imitated accent – Belfast, Glasgow and Dublin – were a lot better at this task than were non-natives or native listeners from further away in the UK, like Essex.

Beyond the UK

Our new findings went further, though. Of the roughly 2,000 people that participated, more than 1,500 were this time based in English-speaking countries outside the UK, including the US, Canada and Australia. And on average, this group did a lot worse at detecting mimicked accents from seven different regions in the UK and Ireland than did people from the UK.

In fact, people from places other than the UK barely did better than we’d expect by chance, while people who were native listeners were right between about two-thirds and three-quarters of the time.

As we argued in our original article, we believe it’s local cultural tensions — tribalism, classism or even warfare — that explain the differences. For example, as someone commented to me some time ago, people living in Belfast in the 1970s and 80s – a time of huge political tension – needed to be attuned to the accents of those around them. Hearing something off, like an out-group member’s accent, could signal an imminent threat.

This wouldn’t have put the same pressures on people living in a more peaceful regions. In fact, we found that people living in large, multicultural and largely peaceful areas, such as London, didn’t need to pay much attention to the accents of those around them and were worse at detecting mimicked accents.

The further you move out from the native accent, too, the less likely a listener is to place emphasis on or notice anything wrong with a local accent. Someone living in the US is likely to pay even less attention to an imitation Belfast accent than is someone living in London, and accordingly will be worse at detecting mimicry. Likewise, someone growing up in Australia would be better at spotting a mimicked Australian accent than a Brit.

So while accents, and our ability to detect differences in accents, probably evolved to help us place trust more effectively at a broad level, it’s the cultural environment that shapes that process at the local level.

Together, this has the unfortunate effect that we sometimes place a lot more emphasis on accents than we should. How someone speaks should be a lot less important than what is said.

Still, accents drive how people treat each other at every level of society, just as other signals, be they tattoos, smiles or clothes, that tell us something about another person’s background or heritage.

Learning how these processes work and why they evolved is critical for overcoming them – and helping us to override the biases that so often prevent us from placing trust in people who deserve it.

Jonathan R. Goodman receives funding from the Wellcome Trust (grant no. 220540/Z/20/A).

– ref. Can you spot a ‘fake’ accent? It will depend on where you’re from – https://theconversation.com/can-you-spot-a-fake-accent-it-will-depend-on-where-youre-from-260238

Source: The Conversation – UK – By Michelle Sahai, Computational Biochemist, Brunel University of London

The US Food and Drug Administration (FDA) has issued an urgent warning about tianeptine – a substance marketed as a dietary supplement but known on the street as “gas station heroin”.

Linked to overdoses and deaths, it is being sold in petrol stations, smoke shops and online retailers, despite never being approved for medical use in the US.

But what exactly is tianeptine, and why is it causing alarm?

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Tianeptine was developed in France in the 1960s and approved for medical use in the late 1980s as a treatment for depression.

Structurally, it resembles tricyclic antidepressants – an older class of antidepressant – but pharmacologically it behaves very differently. Unlike conventional antidepressants, which typically increase serotonin levels, tianeptine appears to act on the brain’s glutamate system, which is involved in learning and memory.

It is used as a prescription drug in some European, Asian and Latin American countries under brand names like Stablon or Coaxil. But researchers later discovered something unusual, tianeptine also activates the brain’s mu-opioid receptors, the same receptors targeted by morphine and heroin – hence it’s nickname “gas station heroin”.

At prescribed doses, the effect is subtle, but in large amounts, tianeptine can trigger euphoria, sedation and eventually dependence. People chasing a high might take doses far beyond anything recommended in medical settings.

Despite never being approved by the FDA, the drug is sold in the US as a “wellness” product or nootropic – a substance supposedly used to enhance mood or mental clarity. It’s packaged as capsules, powders or liquids, often misleadingly labelled as dietary supplements.

This loophole has enabled companies to circumvent regulation. Products like Neptune’s Fix have been promoted as safe and legal alternatives to traditional medications, despite lacking any clinical oversight and often containing unlisted or dangerous ingredients.

Some samples have even been found to contain synthetic cannabinoids and other drugs. According to US poison control data, calls related to tianeptine exposure rose by over 500% between 2018 and 2023. In 2024 alone, the drug was involved in more than 300 poisoning cases. The FDA’s latest advisory included product recalls and import warnings.

Users have taken to the social media site Reddit, including a dedicated channel, and other forums to describe their experiences, both the highs and the grim withdrawals. Some report taking hundreds of pills a day. Others struggle to quit, describing cravings and relapses that mirror those seen with classic opioid addiction.

Since tianeptine doesn’t show up in standard toxicology screenings, health professionals may not recognise it. According to doctors in North America, it could be present in hospital patients without being detected, particularly in cases involving seizures or unusual heart symptoms.

People report experiencing withdrawal symptoms that resemble those of opioids, like fentanyl, including anxiety, tremors, insomnia, diarrhoea and muscle pain. Some have been hospitalised due to seizures, loss of consciousness and respiratory depression.

UK legality

In the UK, tianeptine is not licensed for medical use by the Medicines and Healthcare products Regulatory Agency and it is not classified as a controlled substance under the Misuse of Drugs Act 1971. That puts it in a legal grey area, not formally approved, but not illegal to possess either.

It can be bought online from overseas vendors, and a quick search reveals dozens of sellers offering “research-grade” powder and capsules.

There is little evidence that tianeptine is circulating widely in the UK; to date, just one confirmed sample has been publicly recorded in a national drug testing database. It’s not mentioned in recent Home Office or Advisory Council on the Misuse of Drugs briefings, and it does not appear in official crime or hospital statistics.

But that may simply reflect the fact that no one is looking for it. Without testing protocols in place, it could be present, just unrecorded.

Because of its chemical structure and unusual effects, if tianeptine did show up in a UK emergency department, it could easily be mistaken for a tricyclic antidepressant overdose, or even dismissed as recreational drug use. This makes it harder to diagnose and treat appropriately.

It’s possible, particularly among people seeking alternatives to harder-to-access opioids, or those looking for a legal high. With its low visibility, online availability and potential for addiction, tianeptine ticks many of the same boxes that once made drugs like mephedrone or spice popular before they were banned.

The UK has seen waves of novel psychoactive substances emerge through similar routes, first appearing online or in head shops, then spreading quietly until authorities responded. If tianeptine follows the same path, by the time it appears on the radar, harm may already be underway.

Michelle Sahai does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. ‘Gas station heroin’: the drug sold as a dietary supplement that’s linked to overdoses and deaths – https://theconversation.com/gas-station-heroin-the-drug-sold-as-a-dietary-supplement-thats-linked-to-overdoses-and-deaths-259194

Source: The Conversation – UK – By Dafydd Townley, Teaching Fellow in US politics and international security, University of Portsmouth

Donald Trump is continuing his run of political wins after his keynote legislation, nicknamed the ‘big beautiful bill’, squeaked through the Senate.

While the bill, which includes major cuts in tax and government spending, must now go back to the House of Representatives for another vote, passing the upper house is highly significant. Trump lost the support of just three Republican senators, and with the help of a tie-breaking vote from Vice-President J.D. Vance managed to push the bill forward.

Democrats, the minority in both the House and Senate, have been unable to do anything but sit by and watch as Trump claims victory after victory. These include progress in his attempt to end birthright citizenship, the claimed destruction of significant Iranian nuclear sites (yet to be independently verified) and the convincing of Nato member states to increase defence spending to 5% of their GDP. Trump may even be getting closer to a peace deal between Israel and Hamas.

And now the Democrats have failed in their desperate attempts to stop this bill. In the Senate, it was felt that there could be enough Republican senators concerned about cuts to Medicaid (the US system that provides essential healthcare to those on low incomes), the closure or reduction of services at rural hospitals, and the increase in national debt to potentially hinder the bill’s progress. However, Democrats were unable to do anything apart from delaying the voting process, and the bill is progressing with some changes but not enough to be severely weakened.

It had seemed likely that the Democrats could work with the Maga-focused Freedom Caucus group of representatives, whose members include Marjorie Taylor Greene, in the early stages in the House to stop its initial passage. But Speaker Mike Johnson managed to calm most of their fears about the rise in the deficit to get the bill through the House.

The lack of effective opposition from the Democrats reflects their congressional standing. The Republicans control the Senate 53-47, and they also have a majority of 220-212 in the House, with three vacancies.

While Democrat numbers in Congress is the primary issue in opposing this bill, their future congressional power will rely on strong leadership within the party and, more importantly, a clear set of policies with appeal that can attract more support at the ballot boxes. Failure to address this will probably allow Republicans to dominate Congress and shape American domestic and foreign policy any way they wish for longer.

What could Democrats do differently?

While Democrat Hakeem Jeffries has been a diligent minority leader in the House, he has attempted to operate as an obstacle to Republican policies with little success, rather than reaching across the political divide to create a consensus with dissenting Republicans.

Outside of Congress, California governor Gavin Newsom, widely touted as a potential candidate for the next presidential election, has offered some resistance to the Trump administration, particularly over Trump’s assumption of national command over the state-controlled National Guard to deal with protests in California against the Immigration and Customs Enforcement agency. However, Newsom’s reputation is still relatively regional, although it is on the rise.

There will be jostling over the next couple of years for the Democratic presidential nomination, and this will have an impact on the platform that the party runs on. Party members and those voting for the next presidential nominee will need to decide whether to continue with the mainly centrist position that the party has adopted since the 1990s or adopt something more left-wing.

A more radical candidate, such as New York representative Alexandria Ocasio-Cortez, might offer a substantially different proposal that could seem attractive to Democratic voters and those Trump supporters who may feel dissatisfied with the current Republican administration.

However, democratic socialist Zohran Mamdani, recently selected as the Democratic nominee for the New York mayoral election, has already been vilified by some in the Republican party.

Concerns about such a supposedly “radical” candidate may concern many voters in red states in middle America. However, getting elected is one thing but implementing progressive, left-leaning policies is another thing entirely. They also need to deliver solutions to major issues, such as crime, at all levels, to show their abilities to solve problems.

It is not just the policies that matter for the Democrats, but who they want to represent. Last year’s election suggested that the Democrats had been ousted as the representatives of the working class. Some significant labour unions, a foundation of Democratic support for the majority of the 20th century, failed to endorse Kamala Harris.

Mamdani’s success in New York stemmed from the mobilisation of a grassroots campaign that used social media effectively. It targeted young working-class voters disenchanted with the Democratic party. He also resonated with voters in areas that had seen an increase in Republican voters in the 2024 election.

All this may offer some lessons to the Democrats. They need to reassess their policies, their image and their tactics, and show Americans that they can solve the problems that the public sees as most important, including the high cost of living. While they can expect to gain seats in the House in next year’s midterms, they need to look for a leader and policies that will capture the public’s hearts.

Dafydd Townley does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Trump wins again as ‘big beautiful bill’ passes the Senate. What are the lessons for the Democrats? – https://theconversation.com/trump-wins-again-as-big-beautiful-bill-passes-the-senate-what-are-the-lessons-for-the-democrats-260038

Source: The Conversation – UK – By Kai Greenlees, PhD Candidate, Sustainable Futures, University of Exeter

The UK is now more than halfway (50.4%) to achieving a net zero carbon economy, which means it has reduced its national emissions significantly compared to 1990.

We should even celebrate that 0.4%. Why? Because every tonne of carbon saved from the atmosphere and every fraction of a degree celsius of warming avoided saves lives and leaves more life-sustaining ecosystems intact for our children and grandchildren.

It also reduces the risk of triggering irreversible, devastating tipping points in the Earth system. We absolutely do not want to go there. Though, it may already be too late to save 90% of warm-water coral reefs, on which hundreds of millions of people depend for food and protection from storms.

Luckily, tipping points can also work in our favour. Researchers like us call them positive tipping points, which kickstart irreversible, self-propelling change towards a more sustainable future.

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Solar energy has already crossed a tipping point, having become the cheapest source of power in most of the world. Because it is quick to deploy widely and in a variety of formats and settings, solar is expanding exponentially, including to the roughly 700 million people who don’t have electricity.

Electric vehicle sales have also crossed tipping points in China and several European markets, as evidenced by the abrupt acceleration of their shares in national vehicle fleets. The more people buy them, the cheaper and better they get, which makes even more people buy them – a self-propelling change towards a low-carbon road transport system.

Recent findings from the Climate Change Committee, independent advisers to the UK government on climate policy, show that the UK too may be on the cusp of a positive tipping point for electric vehicles (EVs), but that further work is needed to reach a tipping point for heat pumps.

EV sales are racing ahead

According to the CCC, more than half of the UK’s success in decarbonising its economy since 2008 can be attributed to the energy sector. Here, the transition from electricity generated by coal to gas and, increasingly, renewable sources like solar and wind, has occurred “behind the scenes”, without much disruption to daily life.

However, over 80% of the greenhouse gas emission cuts needed between now and 2030 (the UK aims to reduce emissions by 68% by 2030) need to come from other sectors that require the involvement and support of the public and businesses.

The adoption of low-carbon technologies by households, including the buying of EVs and installing of heat pumps, is a critical next step to determining the success or failure of the UK’s ability to achieve net zero. Cars account for about 15% of the UK’s emissions and home heating a further 18%.

Encouragingly, and despite concerted misinformation campaigns to discredit EVs, sales in the UK accounted for 19.6% of all new cars in 2024, which puts this sector close to the critical 20-25% range for triggering the phase of self-propelling adoption, according to positive tipping points theory.

This rise in EV sales is happening for two main reasons. First, the UK has a rule that bans the sale of new petrol and diesel cars from 2035, which gives carmakers and buyers a clear deadline to switch.

Second, they are becoming a better choice all round. They’re getting cheaper (some are expected to cost the same as petrol cars between 2026 and 2028), more appealing (with longer ranges and faster charging), and easier to use (thanks to more charging points and better infrastructure).

If this positive trend continues, emissions saved by EV adoption will be sufficient to achieve the UK road transport sector’s 2030 emissions target.

Where is the heat pump tipping point?

Heat pumps have been slower on the uptake in the UK, leading the CCC to identify their deployment as one of the biggest risks to achieving the 2030 emissions target.

Heat pumps use electricity to pump warmth from outside into a home (like a reverse refrigerator) and can be between three and five times more efficient than gas boilers, with approximate emissions savings of 70%.

The UK government has set a target of installing 600,000 heat pumps a year by 2028. But despite 90% of British homes being suitable for a heat pump, only 1% have one.

There are signs that installations are picking up pace, however. In 2024, 98,000 heat pumps were installed – an increase of 56% from 2023. Deployment will need to be increased more than six times its current rate over the next three years to reach the installation target. In other words, we urgently need to trigger a positive tipping point in this sector.

The triggering of self-propelling change depends on the relative strength of feedbacks that either resist change (damping or negative feedback) or drive it forward (positive feedback).

One important negative feedback highlighted by the CCC is the UK’s high electricity-to-gas price ratio, which increases the running costs of a heat pump on top of the high upfront cost of buying and installing one. Addressing this issue has been at the top of the CCC’s policy recommendations for the last two years.

One positive feedback that needs to be strengthened is the perception among installers of household demand for heat pumps. When installers perceive demand, they are more likely to invest in the training and certifications needed to meet it.

Two ways the CCC suggests the government could encourage installer confidence are to extend the boiler upgrade scheme (which provides grants to households to install heat pumps) and clean heat mechanism (which obliges manufacturers and installers to prioritise heat pumps) and to reinstate the 2035 phase-out rule for new fossil fuel boilers.

An understanding of positive tipping points helps us identify key leverage points where intervention can be most effective in tackling the remaining half of the UK’s emissions. When implemented as part of a coherent national strategy, positive change can be accomplished at the pace and scale required. There is no time to lose.

Don’t have time to read about climate change as much as you’d like?

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Kai Greenlees receives funding from the Economic Social Research Council, through the South West Doctoral Training Partnership.

Steven R. Smith does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. UK may be on verge of triggering a ‘positive tipping point’ for tackling climate change – https://theconversation.com/uk-may-be-on-verge-of-triggering-a-positive-tipping-point-for-tackling-climate-change-260212