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The last rhinos

9 minutes

Poetry of perception: ‘We Grow Accustomed to the Dark’

2 minutes

Tusalava

9 minutes

How ISPs violate the laws of mathematics

6 minutes

How hairworms highjack a cricket

5 minutes

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Can the market save an endangered species? South Africa’s rhino horn conundrum

Rhinoceros horns are worth more than their weight in gold – literally, about $65,000 per kilo. This is due to strong black-market demand in China and South Asia, where beliefs about the horn’s healing and aphrodisiac properties persist. The species is on the brink of extinction, with a global population under 30,000 and shrinking, while poaching increases in response to growing demand. As of late 2015, the extraordinary creature’s fate rests largely in the hands of the Constitutional Court of South Africa, the country’s highest judicial authority, which is considering a case brought by two rhino breeders, John Hume and Johan Kruger, to overturn the domestic ban on selling rhino horn. Supporters of a legalised horn trade argue that it would encourage investment in rhinos, spurring an increase in the population and more security to protect the valuable property the animals represent. Moreover, they say, the horns can be removed largely painlessly and grow back at a rate of a kilo a year. Critics counter that leaving the rhino’s fate to market forces is irresponsible, unethical and unlikely to succeed. Legalisation, they believe, would create more unsustainable demand, encourage false ideas about the horn’s medicinal value, and set an untenable precedent for conservation of all species based solely on their economic utility.

Nuanced and evenhanded, The Last Rhinos is a thought-provoking exploration of what it means to protect and live alongside wildlife in the 21st century.

Director: Brian Dawson

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‘Then – fit our Vision to the Dark’: exploring sight with Emily Dickinson

Written by Emily Dickinson during the depths of the US Civil War, the untitled poem known as ‘We Grow Accustomed to the Dark’ conjures hope and perseverance amid waves of chaos and uncertainty. In this animation, the UK filmmaker and illustrator Hannah Jacobs visualises the poem in fleeting scenes that oscillate between vibrant colour and darkness, through which human figures careen. Beginning with an epigraph drawing a parallel between artistic and scientific discovery, the video was created for an online neuroscience course at Harvard University as part of a series that explores the human sensory experience through poetry and animation.

Animator: Hannah Jacobs

Producer: Nadja Oertelt

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Life emerges, evolves and fights for supremacy in this 1929 avant-garde classic

The New Zealand-born artist Leonard Charles Huia Lye (1901-80), better known as Len Lye, is renowned for his work in kinetic sculpture and experimental film, and is widely considered one of the most innovative modernists of the 20th century. Lye’s first film, Tusalava (1929), produced over two years following a move to London, was born of the city’s emerging experimental film scene and Lye’s abiding interest in Maori, Aboriginal and Samoan art. Composed of some 7,000 hand-drawn images, the abstract animation synthesises modern and ancient art as it depicts simple life forms emerging, evolving and coming into conflict. As with the influence of African art on Pablo Picasso, Lye’s use of so-called ‘primitivism’ has been both praised for introducing non-Western perspectives to Western art, and criticised for cultural appropriation. The film was originally paired with a now-lost piano score from the UK-born composer Jack Ellitt. This version features the UK composer Eugene Goossens’s composition Rhythmic Dance (1928), which Lye later suggested as an alternative accompaniment.

Director: Len Lye

Score: Eugene Goossens

Websites: The Len Lye Foundation, Ngā Taonga Sound & Vision

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If simple logic isn’t working with your internet company, try Zermelo-Fraenkel set theory

This tongue-in-cheek animation from the US YouTuber Henry Reich – the mind behind MinutePhysics – is a creative exercise in how not to lose your cool when faced with the abyss of illogic. Recalling the mundane, mindnumbing tribulations of trying to get a straight answer on billing from his internet service provider (ISP), Reich concludes that the company isn’t just guilty of subpar customer service – their policies also break nearly every fundamental law of modern mathematics. Reich’s clever excoriation of telecommunication companies was created for The Festival of Bad Ad Hoc Hypotheses (BAHFest), an annual ‘celebration of well-argued and thoroughly researched but completely incorrect scientific theories’.

Video by MinutePhysics

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Mind control and zombification do exist. Just look at these crickets

Warning: this video is not for the squeamish.

Mayflies make a quick and nutritious snack for crickets. But, rather unfortunately for the cricket population of California, some mayflies are home to hairworms (nematomorphs) – parasitic creatures that will stop at nothing to make their way back to water. Once consumed, hairworms feed off crickets from the inside, absorbing all of their lipids, and eventually putting the cricket in a state of developmental and reproductive limbo. Worse still, once these fast-growing parasites reach their adult length of one to two feet, they zombify their hosts, unleashing brain chemicals that make the infected crickets wander aimlessly until they hit water, where the worms make their final escape and start the whole cycle anew. By studying this process, scientists hope to learn more about how brain parasites might affect human behaviour. The ordeal is captured in microscopic detail in this episode of the often creepy, always fascinating science documentary series Deep Look. Read more about the video at KQED Science.

Video by KQED Science

Producer and Writer: Gabriela Quirós

Narrator and Writer: Lauren Sommer

Cinematographer: Josh Cassidy

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Can the market save an endangered species? South Africa’s rhino horn conundrum

Rhinoceros horns are worth more than their weight in gold – literally, about $65,000 per kilo. This is due to strong black-market demand in China and South Asia, where beliefs about the horn’s healing and aphrodisiac properties persist. The species is on the brink of extinction, with a global population under 30,000 and shrinking, while poaching increases in response to growing demand. As of late 2015, the extraordinary creature’s fate rests largely in the hands of the Constitutional Court of South Africa, the country’s highest judicial authority, which is considering a case brought by two rhino breeders, John Hume and Johan Kruger, to overturn the domestic ban on selling rhino horn. Supporters of a legalised horn trade argue that it would encourage investment in rhinos, spurring an increase in the population and more security to protect the valuable property the animals represent. Moreover, they say, the horns can be removed largely painlessly and grow back at a rate of a kilo a year. Critics counter that leaving the rhino’s fate to market forces is irresponsible, unethical and unlikely to succeed. Legalisation, they believe, would create more unsustainable demand, encourage false ideas about the horn’s medicinal value, and set an untenable precedent for conservation of all species based solely on their economic utility.

Nuanced and evenhanded, The Last Rhinos is a thought-provoking exploration of what it means to protect and live alongside wildlife in the 21st century.

Director: Brian Dawson

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Essay/
History
How the poor became blessed

Greco-Roman gods had no interest in the poor nor was organised charity a religious duty. How was Christianity different?

Pieter van der Horst

Essay/
Human rights and justice
A survivor speaks

Victims of sexual assault are commonly judged by the consistency of their story. But consistency is not a high road to truth

Linda Martín Alcoff