Sam and the plant next door

23 minutes

Multiverse

3 minutes

The mechanics of bird flight

3 minutes

Shepherd’s delight

8 minutes

We are built to be kind

5 minutes

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To fight a nearby nuclear plant, 11-year-old Sam must win his own ethical battle

Childhood offers no shortage of potential anxieties, from fitting in with peers, to succeeding in school, to dealing with parents. Eleven-year-old Sam’s hopes, fears and interests, however, are rather different from those of most of his classmates: Hinkley Point C, Britain’s largest nuclear power plant is going up next door to his home in Somerset, England, and Sam is deeply concerned about its effect on the environment – especially the marine life off the coast. Between discussing the the potential for a surprise war or the values of veganism with a friend, Sam is consumed by his dream of becoming a marine biologist. Perhaps he can protect the fish threatened by the plant? The problem is, the private schools that Sam thinks might best set him up for the profession are enormously expensive, and his parents don’t have the money. A conundrum arises for the exceedingly ethical Sam: Should he accept a contribution from the company that owns the plant to help his family offset the high cost of school? Constructed with nuance and care by the Copenhagen-based director Ömer Sami, Sam and the Plant Next Door (2019) is an affectionate exploration of a precocious childhood and what it’s like to have strong convictions at odds with the world around you.

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Time dilates and people flow in and out of each other in a hallucinatory urban commute

Warning: this film features rapidly flashing images that can be distressing to photosensitive viewers.

A commute is often judged good or bad by how long it takes, but sometimes getting from one place to another can yield wrinkles in our experience of time. The Japanese filmmaker Hiroshi Kondo explores this phenomenon in his often breathtaking video Multiverse, layering time on itself to create a hallucinatory vision of countless scooterists flowing through Taiwan’s capital Taipei. The result is a vision of a city and its people that takes an ordered freneticism and manipulates it to create a sense of time speeding up and standing still. People are momentarily discernible as individuals before morphing into strange amalgams of humanity. As the piece progresses, the pace becomes increasingly dizzying, until finally the crowd melds into an amorphous blur of light and motion. For another surreal take on the urban world from Kondo, watch his video Eye Know (2014).

Director: Hiroshi Kondo

Music and Sound design: Himuro Yoshiteru

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Flight manifest: from take-off to landing, a bird’s eye introduction to flying

It seems to be a deeply human experience to catch sight of a bird on the wing and stand there entranced, whether by a hummingbird’s frenetic zipping lines, a hawk’s graceful curves or any of the countless other forms of avian flight. Created by the US animator Stephen Cunnane as a tool to demonstrate realistic bird movements to other animators, this breezy short renders winged flights using silhouettes, detailing the key manoeuvres of avian aerodynamics. If only this how-to manual allowed us to take to the air ourselves… For more from Cunnane, watch his companion animation Animal Gaits.

Video by Stephen Cunnane

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A horse walks into a pub: on the excruciating trauma of being told a joke

You’re at a party, perhaps finding your next drink, when someone you hardly know comes up and asks: ‘Hey, want to hear a good one?’ The real answer is almost always: ‘No, thank you,’ but as a polite guest, what choice do you really have? This excerpt from the film Shepherd’s Delight (1984) drops the viewer directly into this awkward scenario, with a quip about two racehorses talking shop in a bar. As the joke-teller eagerly addresses his audience, a wry running commentary breaks down the psychological minutiae of joke-telling, including the many emotions – from discomfort to sweet relief – experienced by the audience. Infused with a peculiar, subversive sense of humour, the UK filmmaker John Smith’s short is a mad meta-comedy – clever, a bit mean and discomfitingly relatable.

Director: John Smith

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Don’t misread Darwin: for humans, ‘survival of the fittest’ means being sympathetic

One of the shockwaves from Charles Darwin’s idea that humans evolved from other animals was moral panic. If our ethics are not guided by an omnipotent and all-knowing god and, instead, life is driven by ‘survival of the fittest’ via natural selection, how could we possibly expect humans to behave with anything other than brash self-interest? Yet Darwin’s use of the phrase ‘survival of the fittest’ was hardly meant to suggest that existence was a knockdown, drag-out fight – he was very clear that generosity, sympathy and all those other traits that give us warm feelings are central to human survival. In this short video, the psychologist Dacher Keltner at the University of California, Berkeley puts kindness in evolutionary context, connecting his own recent neural-imaging work on compassion with Darwin’s view that sympathy is a cornerstone of human flourishing.

Video by Fig. 1

Aeon for Friends

Find out more

To fight a nearby nuclear plant, 11-year-old Sam must win his own ethical battle

Childhood offers no shortage of potential anxieties, from fitting in with peers, to succeeding in school, to dealing with parents. Eleven-year-old Sam’s hopes, fears and interests, however, are rather different from those of most of his classmates: Hinkley Point C, Britain’s largest nuclear power plant is going up next door to his home in Somerset, England, and Sam is deeply concerned about its effect on the environment – especially the marine life off the coast. Between discussing the the potential for a surprise war or the values of veganism with a friend, Sam is consumed by his dream of becoming a marine biologist. Perhaps he can protect the fish threatened by the plant? The problem is, the private schools that Sam thinks might best set him up for the profession are enormously expensive, and his parents don’t have the money. A conundrum arises for the exceedingly ethical Sam: Should he accept a contribution from the company that owns the plant to help his family offset the high cost of school? Constructed with nuance and care by the Copenhagen-based director Ömer Sami, Sam and the Plant Next Door (2019) is an affectionate exploration of a precocious childhood and what it’s like to have strong convictions at odds with the world around you.

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