Category: The Conversation

Source: The Conversation – UK – By Janine Natalya Clark, Professor of Transitional Justice and International Criminal Law, University of Birmingham

The 2025 Tribeca Film Festival in New York included a world premiere of War Through the Eyes of Animals (also known as Animals in War). The documentary gives an animals-eye view of Russia’s war against Ukraine and features the wartime experiences of several different species, including a cow, a rabbit and a wolf.

Throughout history, animals have been affected by war and exposed to its many dangers. Despite this, war is usually discussed from human-centred perspectives that marginalise animal experiences.

My own work on the Russia-Ukraine war uses sound as a way of thinking about some of the war’s environmental impacts and the experiences of animals. The idea that sound can provide ecological information is not new. Research has shown how the sounds, for example, of plants and animals can tell us a lot about how their environment is changing. What is new is exploring this in the context of war.

For my research project I interviewed more than 30 Ukrainians, including botanists, ornithologists, herpetologists (who study reptiles and amphibians) and a marine biologist. I also asked them to make short recordings of their local soundscapes.

A scientist working in Tuzlivski Lymany National Park in the Odesa region of southern Ukraine made a recording of Iranian Shahed drones flying over his office and explained that these “abnormal” sounds greatly affect some species of birds.

In 2024, for example, there was a large colony of nesting flamingos in Tuzlivski Lymany. However, noise caused them to abandon their nests, leaving their eggs vulnerable to predators. No chicks were born in the flamingo colony that year. Research in peacetime has found that drones can lead to significant breeding failures among some birds.

A herpetologist, meanwhile, shared his recording of natterjack toads and European tree frogs that he made in the Volyn region of northern Ukraine the year before the start of the full-scale invasion in 2022.

What he wanted to convey was that he may never hear this particular “amphibian chorus” again. The area is close to the border with Belarus, and it is unclear what impact the construction of Ukrainian defensive fortifications has had on local animal and plant life.

I also asked interviewees whether the war has helped nature in any way. In response, they frequently talked about reduced anthropogenic (human-made) pressures on the environment. An example is the ban on hunting, first imposed at the start of the war in eastern Ukraine in 2014.

One interviewee recorded a nighttime summer meadow in Kyiv region and captured the distant sound of a fox calling. The prohibition on hunting has enabled foxes to thrive

Another interviewee made a recording near the Kaniv Nature Reserve in central Ukraine. Alongside birdsong are the barking sounds of roe deer, another species that has benefited from the hunting ban.

Of course, such population increases are not necessarily beneficial to wider ecosystems, as ecologist Aldo Leopold discussed in his classic Thinking like a Mountain (1949). Leopold found that uncontrolled numbers of deer due to the mass killing of wolves in the United States during the first part of the 20th century took a huge toll on the environment. “I have seen every edible bush and seedling browsed”, he wrote”, “first to anaemic desuetude, and then to death”.

The fact that the Russia-Ukraine war has contributed to reducing some anthropogenic pressures does not in any way minimise the enormity of harm done to nature, including forests, soil and marine ecosystems. Yet it is too narrow to think about the environment only in terms of harms done to it.

Nature’s recovery

The Chernobyl Exclusion Zone (CEZ) created following the Chernobyl nuclear disaster in 1986 is often cited as an example of nature’s ability to recover. One of the ornithologists whom I interviewed made a recording of birdsong from within the CEZ, in northern Ukraine.

When I listen to the recording I am reminded of research which has found that birds have adapted physiologically to radiation exposure within the CEZ.

Another example of recovery relates to the destruction of the Kakhovka dam in June 2023. When Russian aggressors breached the dam, water drained from the Kakhovka reservoir, leaving it dry. Today, there is a young willow forest growing on the site of the former reservoir.

To emphasise the resilience of nature, one of my interviewees made an audio recording from the Yelanets Steppe Nature Reserve in the Mykolaiv region in southern Ukraine. Against the acoustic backdrop of wind gusting through the grasslands are the repeated calls of the common pheasant.

These sounds of the wild steppe awakening in early spring, the interviewee stressed, are also the sounds of nature getting on with life.

Birdsong is clearly audible in a recording made by soldiers near the frontline in Kharkiv region.

Similarly, birds continued to sing over the trenches during the first world war. Some interviewees also pointed out that certain species of birds, including cormorants, herons and white storks, have adapted to the sounds of war, becoming less sensitive to them.

Justice and reparations

I am particularly interested in the significance of nature’s sounds in the context of transitional justice – and especially reparations.

Discourse on environmental reparations focuses on repairing harms done to nature – and sounds can provide useful insights into some of these harms.

But what is missing from existing scholarship on reparations is attention to some of the ways that ecosystems can and do regenerate and recover. Moving forward, therefore, it is essential to think about how reparations can support (and not disturb) these natural ecosystem processes.

Janine Natalya Clark receives funding for this research from the Leverhulme Trust (RF-2024-137)

– ref. Sound recordings can give us an animals’ eye view of the war in Ukraine – https://theconversation.com/sound-recordings-can-give-us-an-animals-eye-view-of-the-war-in-ukraine-260519

Source: The Conversation – UK – By Breno Nunes, Associate professor in Sustainable Operations Management, Aston University

Since early January 2025, residents of Birmingham in the UK have been caught in the dispute between the city council and the Unite union over pay, terms and conditions for waste and recycling collectors. The latest attempt at talks broke down in acrimony.

At one point during the crisis, there were 17 tonnes of uncollected rubbish in Birmingham. Businesses and residents face public health and safety risks including pest infestations and the spread of disease and fire hazards.

These have tainted the reputation of the city and hurt its chances of hosting events and attracting visitors. The news of cat-sized rats in Birmingham has made headlines from the US to Australia.

Read more:
Birmingham bin strikes: a threat to public health

Workers’ pay is being negotiated between the union and the council in Birmingham. However, this is a fairly dangerous job and, with an ageing population, it may become more difficult to hire new workers. We argue that a more fair approach would be to use technology to help transition workers (including through training) towards better paid and safer positions.

This would be an opportunity to build more sustainable waste management in the UK’s second largest city and beyond. Advances in robotics and AI are making automated refuse collection a reality, for example. Some cities in the US, Canada and parts of Europe already use robotics-enabled equipment in their refuse collection systems.

A shortage of skilled personnel threatens the transition towards a greener economy. People have to be at the centre of the solution. In this case, skilled workers are needed to keep different types of waste separate and so improve recycling rates.

The recovery value can be high for certain products such as electronics, automotive parts, as well as materials like plastic and metal. This is still difficult for machines to do.

Smart bins and automated trucks

Birmingham city council has already proposed improvements to waste collection. Based on publicly available information, it aims at increasing the number of rubbish trucks, reducing the number of collection days and retraining refuse collectors. But it has yet to take full advantage of existing advanced technologies.

The plan, for instance, proposes improving communication with residents about collection day via text messages. While welcome, this is rather basic. It was only during the pandemic that all recycling centres started using online booking systems. Prior to that, endless queues were common – wasting time and increasing emissions with traffic jams.

We argue that a whole-systems approach is needed to make the most of the opportunities new technology affords. Automated side loader trucks and smart bins are already used in various cities – the latter use sensors to monitor waste volumes and predict when collection is needed. The council could analyse the strengths and weaknesses of each technology in different areas of the city.

Side loader trucks, which can lift up large bins and empty them, automate a dangerous process and are already considered a mature technology, used in cities across the US, Canada and Sweden. These trucks are difficult to drive in narrow streets. But, where appropriate, their benefits include increased productivity, reduced collection costs and greater worker safety.

Sensors embedded in the vehicle, including from cameras, can provide data on the distribution of waste in different areas. This helps to produce a waste map. AI algorithms can analyse the data and provide customised collection schedules that optimise the use of trucks in the collection fleet. The algorithms can learn and be continuously revised to improve the service.

In busy areas of the city, information from smart bins can prevent rubbish accumulating. Advanced machine learning techniques can then be employed to further optimise the collection schedule by detecting, for instance, anomalies such as a sudden increase in some types of waste. Such systems can provide more adaptable solutions and increase the productivity of officers.

Recent improvements in imaging techniques and chemical analysis can help to identify different waste materials and allow automatic sorting, and the identification of hazardous waste.

Other technological solutions, such as the use of smart underground large storage containers as communal bins allow for less frequent collections, but they may require significant changes to both infrastructure and trucks. These already exist in parts of Spain.

Pneumatic waste collection systems have been tested in Wembley, a suburb in northwest London. In this system, waste is sucked through underground pipes by a fan system at speeds approaching 50mph to a central point, where it is stored in airtight containers until further treatment takes place. More than 30 countries adopt this system.

Educating the public is vital too. Reducing waste in the first place is a good way to save money and would reduce pressure on waste collection systems.

As far as Birmingham goes, overlooking advanced technologies won’t make the council’s task of satisfying residents and waste collection teams any easier. We think a lot of people would be happier to see more robotics trucks and smart bins than more rats in the streets.

Breno Nunes receives funding from InnovateUK for a Knowledge Transfer Partnership (KTP) project on sustainable manufacturing strategy.

Roberto Castro Alamino 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. From robotic trucks to smart bins: how technology is helping cities sort their waste problem – https://theconversation.com/from-robotic-trucks-to-smart-bins-how-technology-is-helping-cities-sort-their-waste-problem-260023

Source: The Conversation – UK – By Jane Steventon, Course Leader, BA (Hons) Screenwriting; Deputy Course Leader & Senior Lecturer, BA (Hons) Film Production, University of Portsmouth

When HBO launched Lena Dunham’s Girls in 2012, it followed shows such as Buffy (1997-2003), Sex and the City (1998-2004) and Gossip Girl (2007-2012), which had all set a standard of shiny, sanitised female representation that was both attractive and palatable to a wide audience.

The grubby realism of Dunham’s New York twentysomethings, on the other hand, offered a surprising authenticity for some. But for others it was too messy, too white, too privileged and too authored around Dunham’s own life.

Although younger characters are often categorised by self-absorption and poor judgment, the “realness” of Girls was still challenging for many viewers. In particular they struggled with Dunham’s own character, Hannah Horvath, an aspiring writer frequently making personal and professional mistakes. She made for an unlikely – and often unlikable – heroine.

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Much attention was also paid to Hannah’s nudity, which proved to be a talking point each season. Dunham is known for her bold and positive attitude to her body, which clearly does not conform to standard Hollywood beauty types. But this reaction to Hannah’s frequent nakedness was ultimately highlighted as misogynistic by the creative powers behind the series such as producer Judd Apatow and co-writer Jenni Konner, as well as Dunham herself.

The same critics may have similar problems with Too Much. Though fresh 20-something protagonist, Jessica is played with gusto by TikTok star Megan Stalter, not Dunham herself. She’s known for her scene-stealing performance in comedy-drama Hacks (2021-).

Too Much is still clearly written by Dunham. Jess’s relocation from NYC to London echoes her own move to the UK in 2021, where she met and married the Peruvian-British musician Luis Felber and settled in north London.

The pair have co-created this “love letter to London”, with Dunham directing and and Felber providing the original music. The story takes in London pubs, creative agencies, Notting-Hill-the-movie aspirations and council-estate realities.

Growing pains

As Jess starts work in a London media agency, helmed by an excitable Richard E. Grant, she meets cerebral indie musician Felix (played convincingly and charmingly by Will Sharpe). Their instant connection means that Jess is thrust back into the world of dating, with all the Instagram anxiety and breakup PTSD that her last relationship produced.

The tone is at once fresh and frivolous, but episode one feels contrived at times with the creaky set-up of post-relationship life and relocation.

The familial scenes are the most enjoyable, with Dunham calling in all her celebrity cameo favours, including herself as Jessica’s mother (she snaffles some of the show’s best lines), and Rita Wilson playing her own mother. The small but mighty Rhea Pearlman grabs the great-grandmother role with gusto, flirting salaciously with Jess’s paramour while dispensing wicked wisecracks with bone-dry humour.

As the story develops, so does the sophistication and thoroughbred quality of Dunham’s writing and directing. Glorious moments of obsession with skin, taste and touch in the early days of a relationship are convincingly conveyed by credible and well-crafted moments of intimacy, both physical and intellectual.

As Jessica and Felix navigate the inevitable ups-and-downs of togetherness (dinner parties, red-flag paranoia and an unrequited “I love you”), Dunham reflects on love’s tumultuous and terrifying roller-coaster via brilliant dialogue and meaningful visual storytelling.

A particularly thought-provoking moment of direction comes in the form of a long take at the end of episode three, where the duo cosy up together, ready for sleep, in silent closeness. Jess listens to music on headphones, potentially excluding Felix, but the inference is of acceptance and tenderness – a reassuring sign of potential longevity.

The pitfalls on the road to love are frequently revealed in flashback from Jessica’s past relationship with Zev (Michael Zegen), who has moved on with a new partner. We go from the “meet-cute” and early days of infatuation between Jess and Zev, steadily giving way to less and less tolerance and emotional intimacy, until finally the betrayal with the new love becomes clear.

Capitalising on the anxieties induced by social media, Dunham has Jess obsessively watching Zev’s new love Wendy (Emily Ratajkowski) on Instagram, where every desirable detail of her life plays out in perfection. When Wendy broadcasts the inevitable proposal on Instagram Live, Jess is sent spiralling and decides to flee to London.

As the series progresses, Dunham’s goals become clearer and echo those of Girls. Both shows explore what it means to be “too much” – an accusation that many strong, ambitious and focused women have experienced.

Being too much, it turns out, may be not such a bad thing. As Felix remarks at the close of episode four, after one of their first clashes, “too much” is not necessarily an insult – it can be a way of describing someone who is remarkable. It’s something that Dunham clearly believes – and wants us all to believe – about the tumultuous and chaotic experience of growing up.

Too Much is a hopeful paean to womanhood, a declaration that messiness, failure and fear are all part of becoming a woman just as much as joy, love and intimacy. This show inspires and engages the more it reveals of its flawed and fallible protagonist amid the melting pot of London that Dunham so clearly adores.

Jane Steventon 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. Too Much: Lena Dunham’s love letter to London, romance and the messiness of being a woman – https://theconversation.com/too-much-lena-dunhams-love-letter-to-london-romance-and-the-messiness-of-being-a-woman-260528

Source: The Conversation – UK – By Aybars Tuncdogan, Reader in Digital Innovation and Information Security, King’s College London

The cyber-attack on Marks & Spencer will lead to an estimated £300 million hit to the company’s profits this year. It now aims to have online shopping at the store back to normal by August, more than three months after IT systems were compromised.

Fans of M&S clothing and food will be relieved after all of the uncertainty. But that level of uncertainty, as well as the huge cost, is surely a sign that big retailers, which millions of people rely on, need to change how they think about – and invest in – cybersecurity.

It has to be an absolute priority. After all, few marketing strategies or HR initiatives can save a company £300 million in just six weeks. But perhaps a more sophisticated cybersecurity department could have done just that.

To be fair, M&S faced a relatively rare, high-impact ordeal. Most cyber-attacks of this nature don’t affect customers so directly, and much of the recovery typically happens behind the scenes.

But M&S shoppers saw online orders collapse, contactless payments fail and refunds, gift cards and loyalty points not functioning. Disruption in stock-management and warehousing led to empty shelves and food waste.

On June 27, M&S issued a public apology and a £5 digital gift card to affected customers. But research suggests that the most important element of keeping customers onside is the quality of the recovery process, and whether normal service is eventually resumed.

To get back to normal service, it is possible that a ransom was paid to the cyber attackers, but M&S has refused to confirm or deny this. (One survey found that many organisations hit by cyber attacks agreed to pay a ransom – and then suffered a subsequent breach, often from the very same culprits.)

But even when normal service returns, when hackers steal customer data, as they did with M&S, research suggests that this information is often reused by criminals in identity theft and phishing. A study even found that victims of data breaches are more likely to have mortgage applications denied.

From what we know about the breach at M&S, it seems that the cyber-attackers simply used a phishing technique to get the support desk of a third-party contractor to reset the password of an admin-level account. That said, although in this case the main vulnerability was human, the lesson to be learnt here is that sometimes just one vulnerability can shake the whole system to its core.

This is why business owners need to think of cybersecurity not just as a tedious and inconvenient IT issue, but as a core function of the business. Otherwise, as the M&S case illustrates, it is simply not possible for the rest of the corporate structure to operate.

Testing times

So cybersecurity targets must be incorporated into every department to ensure collective defence. And organisations also need to stress-test the different aspects of their systems.

That could be checking on human responses, but it should also include technology (like a vulnerability in the web server), physical barriers (a poorly secured server room door) and HR procedures (failure to revoke ex-employee access).

These lines of defence have to be stress-tested regularly and from multiple angles, rather than being considered an annual checkbox activity for compliance.

Scenario-based tests – essentially a cyber fire-drill — such as internal threat simulations and response exercises, can provide useful insights into an organisation’s readiness to detect, respond to and recover from cyber-attacks.

It’s also important that organisations learn to communicate clearly once a breach occurs. Research into responses to data breaches suggests that any backlash is sharper when the company seems to be trying to hide the breach, which may later be publicised by the criminals instead.

Consumers should also remember that they are not powerless. We may not be able to prevent a data breach, but all of us can help to stop attackers from infiltrating our online worlds by something as simple as not re-using the same passwords.

By remaining sceptical, we can prevent attackers from using the information they stole to phish us later. And by thinking carefully about what personal data we share with companies, we can reduce the impact of future breaches.

Aybars Tuncdogan 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. How M&S responds to its cyber-attack could have a serious impact on its future – and its customers – https://theconversation.com/how-mands-responds-to-its-cyber-attack-could-have-a-serious-impact-on-its-future-and-its-customers-260429

Source: The Conversation – UK – By Magnus Marsden, Professor of Social Anthropology, University of Sussex

The winter season of 2024-25 marked a resurgence of fur clothing – both faux and real – in fashion across Europe and North America. Shearling jackets and embroidered “Penny Lane coats” featured widely in reports on the latest fashion trends. Vintage fur coats are also back in vogue.

To many, the resurgence came as a surprise. The anti-fur movement, especially influential in the 1980s, continues to shape perceptions of fur. In the 2010s, cities including New York and Los Angeles banned the use of fur to make clothes. The UK meanwhile banned the farming of fur-bearing animals, and, alongside the EU, has committed itself to legislating against all fur imports.

Just last year the town of Worthing, in England, debated whether their mayor should wear ceremonial robes trimmed with fur or not. Despite these trends, many young people have embraced the renewed trend of wearing real fur.

Some clothes made from animal skins became popular during the counter-cultural movement of the 1960s, but historically, fur has mostly marked status, wealth and luxury. Today, many critics interpret fur’s return to fashion as a cultural expression of rightwing politics.

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Fur is prominent in the “boom boom” fashion trend, which emphasises excess and “male-coded values”. It has been described by fashion journalists as “over-the-top and unashamed about its own greed and lack of wokeness”.

Fur clothing is a reminder of the moral tensions between need and desire, and luxury and excess. In addition to being inter-generational, these debates are also about gender. For much of the 20th century, fur coats symbolised femininity, erotic power and class position in the west. But by the 1980s, advertising campaigns depicted women who wore fur as either stupid and unthinking or thinking and unspeakably cruel, leading many to jettison it.

Fur’s return to fashion has injected old debates with new significance. Some young people are willing to wear faux fur because it does not involve killing animals. But others argue that, because it is made from synthetic material, faux fur is actually more environmentally damaging and prefer to wear the real thing. They claim that wearing vintage fur is a form of “sustainable consumption” but are challenged by those who argue that this fashion trend ultimately justifies killing animals to make clothes.

The boom boom trend is said to embody a contemporary expression of 1980s “conspicuous consumerism”, but in an era of economic austerity the adoption of fur by young people suggests the clothes they wear identify their desires rather than their financial reality.

A global history of fur

Today, as in the 1980s, the perspectives, interests and experiences of non-Europeans are often unheard in debates around fur. A decline of fur-bearing animal populations in North America and Siberia from the early 19th century, led to a global expansion in fur farming.

Read more:
How central Asian Jews and Muslims worked together in London’s 20th-century fur and carpet trade

From the 1850s, for example, Central Asia supplied furs to Europe and North America. Local artisans cured the pelts of karakul lambs – a native breed – to yield a rich and glossy fur. In central and south Asia, men of high status wore karakul hats; in Europe and America, they were mostly used to make women’s coats.

After the Russian revolution of 1917, many nomadic and semi-nomadic pastoralists, who raised sheep and other animals, left central Asia and moved with their flocks to neighbouring Afghanistan. The trade in karakul fur grew in the country, and foreign currency reserves came to depend on lambskins sold at auctions in London and New York.

In the 1960s, sheepskin coats made in Afghanistan – known as “Afghans” – became popular in the west, being worn by stars including Brian Jones of the Rolling Stones. The 1969 British edition of Vogue featured an interview with an icon of “oriental chic”, the “beautiful, dashing, intelligent, adventurous” Afghan socialite, Safia Tarzi, who lived in Paris, and ran a boutique clothing shop in Kabul.

The Afghan coat enjoyed a resurgence in 2000 having been worn by the character Penny Lane (Kate Hudson) in the film Almost Famous.

Read more:
Friday essay: how ‘Afghan’ coats left Kabul for the fashion world and became a hippie must-have

In the 1980s, the anti-fur campaign contributed to a declining market for karakul. For decades, rumours of Central Asian shepherds extracting lambs from the wombs of sheep to ensure a steady yield of delicate pelts had circulated. Moral opposition to the practice was not confined to the west.

During my research on globally dispersed activists, intellectuals and merchants from Afghanistan, a man from Afghanistan, now based in London, told me that his father banned his family from wearing karakul hats because sheep and their lambs were treated cruelly.

In the 1990s, civil war destroyed much of the infrastructure of the karakul industry in Afghanistan, but a trickle of pelts reached auction houses located in Frankfurt, Copenhagen and Helsinki.

In the 2000s, international development organisations attempted to revive the trade, though sales never returned to anyway near the levels of the 1970s. By the 2010s, families in northern Afghanistan struggling economically opted to send sons to travel illegally to Turkey to find work as shepherds for commercially oriented Turkish farmers.

Promotional videos of fashion houses occasionally touch on the Penny Lane coat’s ties to Afghanistan, but media coverage of fur fashions rarely address its historical connections to central Asia.

Magnus Marsden received funding from the Arts and Humanities Research Council including for the research upon which this article is based.

– ref. From Kabul to the catwalk – the surprising global history behind fashion’s fur revival – https://theconversation.com/from-kabul-to-the-catwalk-the-surprising-global-history-behind-fashions-fur-revival-256382