MIL Submissions Engine

Source: The Conversation – UK – By Mehri Khosravi, Energy and Carbon Senior Research Fellow, University of East London

Planning summer holidays in Europe is beginning to involve more focus on avoiding high temperatures.

Destinations including the Greek islands and southern Italy have traditionally relied on warm, stable summers to attract tourists. But they have faced extreme temperatures causing mass evacuations, wildfires and putting lives in danger in recent summers.

Even without those conditions, high temperatures are changing the summer holiday experience. Tourists are often more exposed to heat risk than residents. They spend longer periods outdoors, take part in outdoor sports, and navigate unfamiliar environments without knowing where to find shade, or local healthcare. Yet despite this heightened exposure, tourists’ vulnerability to extreme heat remains relatively underexamined.

Recent summers have made these risks visible. During 2024, parts of southern Europe, including Greece, Italy, Spain and Cyprus, experienced temperatures exceeding 40°C. During Greece’s record-setting heatwave, several foreign visitors died or went missing including the British broadcaster Michael Mosley. Mosley went missing on the Greek island of Symi and a coroner found the cause of death could have been heatstroke. In response to these very high temperatures, countries including the UK, Germany, and Sweden issued travel advisories warning of extreme heat in popular destinations.

Heat is not just a safety issue; it is also reshaping the quality of the holiday itself. Extreme temperatures can shorten stays, reduce participation in outdoor activities, and lower overall satisfaction. Key tourist sites, such as the Acropolis in Greece, may close in extreme heat making trips less satisfying. As a result, rising temperatures are already influencing what tourists can do, when they travel, and how destinations function.

Shifting travel patterns

As heat intensifies, travel patterns are beginning to shift. A growing number of tourists are moving away from traditionally hot Mediterranean destinations towards cooler regions, a trend often described as “coolcations”. Emerging evidence points to declining tourist demand in parts of southern Europe during peak summer months, alongside increased interest in destinations with milder climates.

Elevated temperatures are also influencing when people take a trip. A recent report by the European Travel Commission found that 28% of travellers are planning to change the time of year that they travel. Avoiding extreme heat was cited as a key reason.

Extreme heat also interacts with other climate-related pressures. Wildfires, drought and water shortages can disrupt tourism activities and local economies. As one participant in ongoing research at the University of East London described:
“Our reservoir was very low over the summer… boating, sailing, and water sports couldn’t run. The centre has now closed. You see those ripple effects.”

Climate is not the only factor shaping travel decisions this year. Geopolitical tensions, including the ongoing conflict involving the US, Israel and Iran, are contributing to rising fuel and travel costs. This is adding another layer of pressure, encouraging some travellers to reconsider long-distance or high-cost travel

These pressures can reinforce climate-driven trends. If southern destinations become both hotter and more expensive, travellers may be more likely to choose nearer, cooler alternatives.

Extreme heat is no longer a marginal issue for tourism; it is becoming a structural one. As heatwaves intensify and seasonal patterns shift, traditional peak holiday seasons may no longer align with safe or comfortable conditions.

Adapting will require more than incremental change. It means rethinking infrastructure, timing and visitor management, from providing shade and cool spaces, to redesigning tourism calendars. In some destinations, this is already happening, with attractions shifting opening hours to cooler periods of the day, a trend increasingly described as “noctourism”.

But adaptation is not only physical; it is also behavioural. A key part of this transition lies in how travellers perceive and respond to heat. Perception shapes behaviour: whether visitors adjust their plans, seek shade, stay hydrated, or recognise when conditions have become dangerous. This is particularly important for travellers from temperate countries, such as the UK, where awareness and experience of extreme heat remain relatively limited. Without a strong perception of risk, even well-designed warnings may fail to prompt action.

Clear and timely communication will therefore be essential. Travellers need support to interpret unfamiliar risks and take protective action when needed. This includes clearer public messaging, accessible guidance on heat safety, and better integration of tourists into national and local heat health alert systems.

At present, most heat alerts are designed with residents in mind. Yet tourists represent a highly exposed and often overlooked group. Integrating communication to visitors into heat action plans, through multilingual alerts and travel advisories, will be increasingly important as global travel continues. This kind of information needs to be developed for travellers and tour operators.

It is vital to improve our understanding of tourists perceptions of risk from heat, how to respond, and the effectiveness of communications.

Airlines, hotels, and travel websites could provide key ways to communicate in future. Providing heat-related guidance at the point of booking, before departure, and during the stay could help bridge the gap between awareness and action. In years ahead, if summer temperatures continue to intensify this could be vitally important.

Mehri Khosravi 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. Coolcations: why people are heading away from the sun this summer – https://theconversation.com/coolcations-why-people-are-heading-away-from-the-sun-this-summer-281452

Source: The Conversation – UK – By Kate Travers, Leverhulme Early Career Research Fellow, Liberal Arts, University of Warwick

The Devil Wears Prada 2 is the sequel to a film that launched a thousand memes.

For the film’s New York premiere in April 2026, fashion designer Evan Hirsh decided to commemorate one of the original 2006 film’s most celebrated scenes. He embroidered Meryl Streep’s infamous monologue on the fictional fashion history of the colour cerulean into the bright blue train of his coat.

In the monologue, ice-queen fashion editor Miranda Priestly (Streep) lambasts ingenue Andy Sachs (Anne Hathaway) for her ignorance about the blue – I mean, cerulean – colour of her sweater.

Equal parts derisive and incisive, this monologue nods to the “ballroom” tradition of reading the flaws of others, in order to deliver a devastating (and often hilarious) insult. Ballroom is an underground scene of competitive balls created by Black and Latinx LGBTQ+ communities centred on dance, fashion and performance. There, reading functions as both art form and social critique.

The monologue also encapsulates a skill practised in humanities classrooms around the world: close reading. This is the art of unpacking a detail and contextualising it within a broader history, to see how artistic choices and media landscapes come together to shape the world around us – often without us really noticing.

Although an old idea (arguably, even Aristotle was doing it), in the early decades of the 20th century, literary scholars in Britain and America began to emphasise the skills we now know as close reading. They argued that small details and specific choices come together to create the reader’s experience of the text.

In 2006, to see close reading on-screen was rare. Prior to the rise of social media, virtuosic displays of close readings were often confined to academic settings, or the occasional documentary. Now, close reading can be found everywhere in our content diets – in podcasts, YouTube videos and on TikTok.

Close reading proves an ideal technique for generating constant content. It allows creators to unpack artistic choices and the aesthetic histories of just about anything.

Some of this content presents itself as educational programming, making use of expert academic hosts (for example, in Architectural Digest’s series Every Detail or the London Review of Books’ podcast Close Readings).

These podcasts and videos form part of the history of post-war educational media, along with Open University programming that used to fill the BBC airwaves in the early hours. Contributors to this programming included Stuart Hall, whose criticism defined the field of Cultural Studies by melding historical analysis with questions of how media such as TV and film communicate with viewers.

Expertise in close reading, however, does not lie only within academia. Close readings can be found in fashion content that highlights the history of specific items, such as the 99% Invisible podcast Articles of Interest. And they’re also evident in the videos of influencers who examine the history of specific looks and the publications that shaped them.

Videos and podcasts on pop music and culture hosted by musicologists, such as Vulture’s Switched on Pop, also rely on close reading. Fan videos and tweets unpacking the work of singers like Taylor Swift or Sabrina Carpenter perform this same skill.

Every video breaking down the difference between gen Z and millennial makeup, every outfit takedown, every analysis of a political speech – close reading is everywhere.

Close reading in The Devil Wears Prada

Let’s return to that blue sweater. While fashion editors have debunked the scene’s representation of how the fashion industry operates, that is not what is at stake for the characters. This scene dramatises the allure of shared cultural knowledge. This kind of knowledge represents what it takes to succeed at the fictional Runway magazine.

By understanding and valuing the history of a colour, Andy could become part of a glamorous in group. Now, our phones contain our own personal Miranda Priestlys, explaining how and why an object, an image, a text matters – and perhaps why we should buy it.

The Met Gala, an annual evening of fundraising for New York’s Metropolitan Museum of Art, is always a key date in the close-reading calendar. The event exemplifies what art and music has always done for its wealthy patrons and consumers: it provides an opportunity to see and be seen, to participate in the performance of connoisseurship.

Former Vogue editor-in-chief Anna Wintour, the perennially sunglasses-clad inspiration for Priestly, helped make first Monday in May (when the gala is held) a covetable event in the fashion calendar. Days after the theatrical release of the Devil Wears Prada 2 in May 2026, a flurry of content will emerge close reading the outfit choices at the gala.

The message of the cerulean monologue is that culture, and the business of culture, exempts no one. Simply because we do not care about a certain aspect of culture does not mean we can escape its influence.

Like the blue of Andy Sach’s sweater, the act of close reading “represents millions of dollars and countless jobs”, and probably more hours of your own time than you would care to admit. Perhaps most importantly, close reading is the skill that enables us to unpack art’s political statements.

So, in case you had any doubt, it’s important that you know: it’s not just blue, it’s cerulean.

Kate Travers receives funding from the Leverhulme Trust.

– ref. How close reading took over the internet via The Devil Wears Prada’s cerulean monologue – https://theconversation.com/how-close-reading-took-over-the-internet-via-the-devil-wears-pradas-cerulean-monologue-281567

Source: The Conversation – UK – By Samson Maekele Tsegay, Research Fellow, School of Education, Anglia Ruskin University

It’s often assumed that expanding access to education is progressive – that it’s a means of ensuring social, economic and political development. However, this is not always the case.

We’ve carried out research examining the relationship between education and authoritarianism with a focus on Eritrea. Eritrea has been under a single political party and leadership since its independence in May 1993. The country lacks a functioning or implemented constitution and freedom of the press.

Our research has concluded that, in countries under authoritarian rule, education is not necessarily a path to empowerment. Instead, it’s a fertile ground for the spread of authoritarianism. Governments can spread their ideas and principles through repressive and ideological state apparatus – the processes and organisations they use to maintain power. This includes education.

Authoritarian regimes such as Eritrea claim to address societal problems through social justice and cohesion. However, they consolidate power around a single or dominant regime, which restricts democratic institutions and erodes civic liberties. They also apply preferential treatment based on political loyalty. People are elevated to positions of power for allegiance rather than merit. This causes division and political polarisation in the name of protecting national security.

Expanding education

Authoritarian states use education to maintain political stability to ensure the survival of the regime. Although many authoritarian regimes expand access to education, it is often used as a means of control and a tool for manufacturing loyalty.

For example, since independence, the number of schools and student enrollment in Eritrea has increased around fourfold. However, such regimes also see education as an opportunity to impose their attitudes onto young people. They use education to keep students isolated from ideas that may differ from or be critical of the regime.

Authoritarian regimes use deception and misinformation to uphold their ideology and extend their control. In doing so, they attempt to ensure that citizens accept the legitimacy of their rulers without question.

Additionally, authoritarian regimes politicise the school curriculum. They manipulate content, such as in history and citizenship education. This is used to mislead citizens and make them supporters of the degradation of human rights.

For example, Eritrea’s school curriculum normalises the creation of a militarised citizen who upholds the Eritrean People’s Liberation Front’s legacy and revolutionary culture. Similarly, North Korea uses school education to shape students’ behaviour, attitudes and beliefs to be compatible with and supportive of the regime. This is often supported by controlling the teaching and learning process and the academic environment.

Monitoring teachers and research

Authoritarian regimes recognise that safe education spaces can help students develop critical thinking and eventually question the country’s political system. They monitor teachers and school leaders, and promote those loyal to the regime’s ideas and principles. And, rather than encouraging critical thinking, they foster students’ sense of nationalism and patriotism.

Academic research is also a target of authoritarian regimes because of its scrutiny of government policies and actions. Researchers’ academic freedom is limited, and their choice of research topics is policed.

Most of these control measures are imposed in the name of protecting national security. For example, Eritreans are not allowed to conduct critical research that challenges the existing systems, inequalities and power structures of the country.

Researchers who cross the boundaries and criticise authoritarian regimes are silenced. Some are fired from their jobs while others face prison terms.

Meanwhile, authoritarian regimes rely on loyal academics to promote the state’s narrative. Loyal academics are also used to conceal authoritarian regimes’ failures by presenting selective evidence.

Many authoritarian states, such as China, Eritrea and North Korea, also incorporate military training into education. They blend political and ideological instruction to sustain their power. They teach students discipline and promote patriotism to develop loyal and obedient citizens.

Militarisation education sometimes places teachers and school leaders under military control. In Eritrea, all secondary school students complete their last year under military authority. This approach leads students to drop out of school. Additionally, it causes students and teachers to leave the country.

Authoritarian regimes manifest their true nature by spreading their ideas and principles. Our research shows that the education system is one of the most important levers in the propaganda machine for authoritarian countries.

Samson Maekele Tsegay is a Research Fellow at Anglia Ruskin University.

Zeraslasie Shiker is a PhD researcher at the University of Leeds.

– ref. How authoritarian regimes use education as a political tool – https://theconversation.com/how-authoritarian-regimes-use-education-as-a-political-tool-270731

Source: The Conversation – UK – By Ahmed Elbediwy, Senior Lecturer in Cancer Biology & Clinical Biochemistry, Kingston University

In 1950, two researchers noticed something that didn’t quite add up. Hector Chevigny, a writer who had lost his sight in adulthood, and psychologist Sydell Braverman were studying the psychological lives of blind people when they stumbled upon an intriguing pattern: schizophrenia, a serious mental illness affecting people across virtually every known society, appeared to be entirely absent in people who had been blind from birth.

The observation sat largely ignored for decades, held back by limited understanding of the disease and a lack of patient data. Then, in the early 2000s, large national health databases allowed researchers to follow entire populations from birth into adulthood, and the pattern held up.

The most rigorous evidence comes from a 2018 whole-population study tracking nearly half a million children born in Western Australia between 1980 and 2001. Of those, 1,870 developed schizophrenia, but not one of the 66 children with cortical blindness did.

That sample of blind children is small, but the pattern holds across more than 70 years of evidence: not a single congenitally blind person with schizophrenia has ever been reported. The protection seems to be specific to cortical blindness, which is caused by damage to the brain’s visual cortex.

People who lose their sight later in life, or whose blindness is caused by damage to the eyes rather than the brain, can still develop the condition. This makes it clear that blindness itself isn’t the deciding factor. Something specific about the visual brain is.

This might seem odd. Schizophrenia is most commonly associated with hearing voices or holding unusual beliefs, not with vision. But the explanation lies not in what people see, but in how the brain uses vision to make sense of the world.

Scientists now understand schizophrenia as, at least in part, a disorder of prediction. The brain is constantly generating expectations about its surroundings and checking them against signals from the senses. In schizophrenia, this process appears to go wrong. Weak or random signals are given too much weight. Coincidences feel significant. Thoughts can seem to come from somewhere outside oneself. The boundary between imagination and reality begins to blur.

A question of prediction

Vision plays a powerful role in shaping this system, particularly in early life. The visual cortex is one of the brain’s largest and most richly connected regions, involved not just in sight but in learning, attention and emotion. When it receives no input from birth, the brain develops differently. Brain imaging studies show that in people with congenital cortical blindness, this area is often repurposed for tasks such as language, memory and reasoning.

Some researchers believe this early reorganisation may offer a kind of protection. Without visual input generating a constant stream of ambiguous or unpredictable signals, the brain may settle into more stable ways of interpreting the world, reducing the risk of the misfiring predictions that characterise schizophrenia.

Timing matters enormously. Losing vision later in life, even in childhood, does not appear to offer the same protection. By then, the brain has already been shaped by years of visual experience.

None of this suggests that blindness could ever be a practical safeguard against schizophrenia. But it does open up new ways of thinking about the condition and potentially new ways of treating it.

Most current treatments target brain chemistry, particularly the dopamine system. These drugs help many people, but they don’t work for everyone and can carry significant side-effects. If schizophrenia is partly about how the brain learns to predict and interpret reality, then future treatments might also address perception, learning, and how the brain weighs up uncertain information.

Research is now looking at drugs that act on glutamate, a brain chemical involved in learning and communication between nerve cells. Glutamate systems are particularly active in the visual cortex and in circuits that help the brain filter out what’s important from what can be ignored. These aren’t treatments based on blindness itself, but on what congenital blindness reveals about how a stable, well-organised brain develops.

The field is still at an early stage. But the hope is that by better understanding brain development from the very beginning, scientists might one day find ways to reduce the risk of schizophrenia or prevent its most severe forms from taking hold.

Nearly a century later, the curious observation that Chevigny and Braverman had accidentally made continues to shape how scientists think about one of the most complex and least understood medical conditions.

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. People who are blind from birth never develop schizophrenia – what this tells us about the psychiatric condition – https://theconversation.com/people-who-are-blind-from-birth-never-develop-schizophrenia-what-this-tells-us-about-the-psychiatric-condition-281369

Source: The Conversation – UK – By Matt Jacobsen, Senior Lecturer in Film History in the School of Society and Environment, Queen Mary University of London

We are used to seeing the excellent Adam Scott (Severance, Parks and Recreation) in likeable nice guy roles. In Hokum, however, he plays a curmudgeonly and prickly bestselling novelist called Ohm Bauman. Deliberating over the ending to his series of popular novels, Bauman has decided to take a trip to the rural Irish inn where his parents stayed on their honeymoon, to scatter their ashes.

The remote Bilberry Woods Hotel in the off-season is a fantastically eerie horror location. Irish writer and director Damian McCarthy populates the hotel and its surroundings with excellent, likably eccentric locals who recount the spooky lore of the area to the sceptical writer.

Jerry (David Wilmot) lives in the woods, tinkers with moonshine and psychedelics and says he sees ghosts. Bellboy Alby (Will O’Connell) is a starstruck wannabe author treated with disdain by his hero. Fiona (Florence Ordesh) is the bartender whose disappearance motivates Bauman’s exploration of the twisty hotel and its grounds.

“Hokum,” says Bauman dismissively when he is told about the witch who supposedly haunts the honeymoon suite where his parents stayed. The film performs the neat trick of making us warm to this horribly flawed and unlikeable character as he is inevitably proven wrong.

A film with a fiction writer protagonist set in a haunted hotel inevitably suggests the influence of Stephen King, not just via The Shining but the short story 1408, made into a memorable film starring John Cusack in 2007. That story similarly features a sceptical writer staying in a supposedly haunted guest house who, like Hokum’s Bauman, experiences disturbing visions from his past. Hokum also recalls horror impresario Ti West’s brilliantly eerie New England-set The Innkeepers (2011), with which this film shares the atmosphere of an off-season haunted guesthouse.

Hokum is, at its core, a classic ghost story in the mode of English writer MR James. But it throws a lot of extra horror elements into the pot at the risk of becoming unwieldy and bloated.

McCarthy’s ambiguous film has a witch, a ghost or two, a missing woman, flashbacks of Bauman’s traumatic past and, in the weirdest and scariest scene, a nightmarish televised vision of a half-bunny, half-person creature. With so much in the mix, this could be a formless mess, so it is surprising that Hokum holds together as well as it does. With one or two stumbles where things get a touch convoluted, this is an enormously effective, well-crafted and proudly old-fashioned gothic chiller.

With a focus on character and mood, Hokum is an intelligent and, by the end, emotionally satisfying film. The strength of the film is not in its originality but in the execution of familiar conventions and plot points. How much you will enjoy the film depends on your tolerance and enthusiasm for old fashioned jump scares. An overused device in modern horror that can signal a sub-par film, it is hard here not to admire McCarthy’s commitment to making his audience gasp.

McCarthy’s talent is in building the hotel’s atmosphere of mystery with carefully placed light from lamps and candles that cast long shadows before leading to controlled scares carried out with technical skill and pinpoint timing. Strongly recalling the well-executed horror trickery of the now-classic stage adaptation of Susan Hill’s novel The Woman in Black, shocks are strongly telegraphed and built towards with inevitability. The director is telling the audience clearly what’s about to happen at every turn, but the film is no less effective for it.

The film was made in West Cork, and the Irish countryside is a beautiful, eerie backdrop for the maze-like guesthouse. Nevertheless, there is little in the film’s depiction of ghosts and witches in the Irish woodland that relies on culturally specific mythology or history.

Hokum is Irish writer and director Damian McCarthy’s third horror film after the critically acclaimed low-budget ghost stories Caveat (2020) and Oddity (2024). Those first two films were shown at film festivals before being released on horror streaming channel Shudder. This is McCarthy’s first full cinema release. Each of his films is better than the last, with the filmmaker sharpening his writing and directing a little more each time. Here he is aided considerably by the consistently brilliant Adam Scott.

Hokum is a horror film made by a director working to carry out horror conventions as well as he possibly can. The film is full of tongue-in-cheek, knowing nods to the genre. It doesn’t matter that all the major late-film plot reveals are telegraphed to the audience with a nod and a wink early in the film. Hokum has fun telling you what it’s going to do well ahead of time and remains scary and entertaining regardless.

Matt Jacobsen 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. Hokum review: a gothic chiller set in a creepy Irish hotel that expertly weaves horror tropes – https://theconversation.com/hokum-review-a-gothic-chiller-set-in-a-creepy-irish-hotel-that-expertly-weaves-horror-tropes-281921

Source: The Conversation – UK – By Peter Coppola, Visiting Researcher, Cambridge Neuroscience, University of Cambridge

As we go through life, our brains run different processing modes. Some – the attention and sensory systems – result in very similar experiences of the world: what colour the sky is, how warm the day feels.

But there is another, deeper side to the brain which weaves together your memories, goals, beliefs and emotions into a continuous sense of self. This allows you to experience the world not as it is, but as it matters to you personally.

This unique inner world is supported by the brain’s default mode network (DMN). This links together several areas including in the prefrontal cortex (at the very front of the brain) and the parietal lobe (at the back).

These areas of the DMN are, in evolutionary terms, relatively recent. As human brains expanded dramatically between around 800,000 and 200,000 years ago, those regions grew in size and complexity compared with our closest primate relatives. They are more likely to express genes that are uniquely human, related to brain development and function.

Our latest research explores to what extent the DMN explains what makes each of us unique. Put another way, we are attempting to understand what makes you “you”.

What makes us human?

While ancient deep regions of the brain, shared with all vertebrates, support basic experiences such as fear and thirst, the more recent and complex DMN is important for what makes us human.

To better understand the differences, we asked 16 adult volunteers to listen to an excerpt from the Hollywood film Taken (2009) while we recorded their brain activity. Using the audio alone enabled us to compare each person’s activity when both conscious and unconscious. Our volunteers were scanned using functional magnetic resonance imaging (fMRI) while awake and under general anaesthetic, as the same story was played to them.

Each time, we tracked the shifting patterns of communication between brain regions. In particular, we monitored changes in each person’s attention, sensory and default mode networks, and compared these with changes in subjective experience that participants reported.

When participants were conscious, we found their DMN activity patterns became both more complex and more dissimilar to each other as they listened to the story. In contrast, when unconscious, their individual signatures diminished – becoming simpler and more similar to those of the other volunteers.

But their attention and sensory networks showed the opposite pattern. These were more similar when awake, reflecting common mechanisms for gathering sensory information and interpreting the external world through sight and sound.

Our results reinforce that the DMN carries the more personal side of consciousness, changing from moment to moment to reflect each person’s thoughts, memories and inner experiences.

However, different parts of the DMN contribute in different ways. Some subregions, both deep in the back of the cortex and in the front of the brain, help us reflect on ourselves, imagine possibilities, and weave experience into a personal story. Others, especially those linked to memory in the deep temporal lobe regions, help reconstruct scenes and recall past events, and make sense of ideas and how they connect.

Understanding our uniqueness

Why does the DMN vary so much from person to person? Because it underpins deeply personal characteristics that define us, such as personality and values.

This echoes ideas like that of pioneering psychologist William James, who wrote: “Every brain-state is partly determined by the nature of this entire past succession … It is out of the question, then, that any total brain-state should identically recur.”

The DMN interacts with the rest of the brain to enable us move fluidly between the world as it is, and the world as we conceive it. Some studies suggest that disrupting DMN activity can blunt originality in creative tasks.

Altered DMN connectivity has been linked to many mental health conditions, particularly those involving self-narrative, memory and social cognition. If we can map a person’s DMN dynamics, we may be able to better understand their specific difficulties – for example, with memory or socialising – in a way that could one day lead to more personal forms of therapy.

But achieving high-quality brain maps requires lengthy scans and complex analytics. That is where precision functional mapping (combining a variety of methods including fMRI) and artificial intelligence come in.

Precision mapping can handle large amounts of data per person to chart individual networks. Machine learning models may then be able to combine these maps with genetics and symptoms to guide diagnosis and treatment.

But deeper questions need answering too. Humans are highly social animals living in complex societies. If every person’s inner world is unique, what does that mean for ethical decisions such as managing criminality or prioritising treatments?

The DMN is key to enabling our ability to imagine different futures. This includes the precise role that brain science can and should play in them.

Peter Coppola received funding from Cambridge Trust.
Peter Coppola is currently part of the University of East Anglia and an employee of Cambridgeshire and Peterborough NHS Foundation Trust. He is also a Visiting Researcher at the University of Cambridge

Emmanuel A Stamatakis received funding related to this work from the Canadian Institute for Advanced Research (CIFAR; RCZB/072 RG93193) and the Stephen Erskine Fellowship at Queens’ College, Cambridge.

– ref. How individual consciousness works – and makes us unique – https://theconversation.com/how-individual-consciousness-works-and-makes-us-unique-281512