Showing posts with label radio. Show all posts
Showing posts with label radio. Show all posts

Friday, 21 August 2015

The BBC respondeth ...

Further to an earlier rant, I actually got a response from the BBC. And one where they actually half-agreed with me - which is more than I got when I complained about the excreable ''The Great Global Warming Swindle''. As they say, it's true that the BBC does "stick to the script" on climate change almost all of the time, but they overlook how damaging it is to go "off piste". Both to general public understanding of the non-debate that is climate science (actually, there's no shortage of debate - just not of the baseless "sceptic" sort), and to their reputation as factual broadcasters. Yes, there's a superficial sense in which it's "balanced" to present climate sceptic views, but only when the nature of that balance is plain. One doesn't see many science programmes that counter geologists with creationists, or medical scientists with HIV-deniers, or even historians with holocaust-deniers, but somehow climate change is fair game for this sort of treatment - despite both its science base and its potentially disastrous implications the world over. Anyhow, this is what they had to say ...


Dear Andrew

Reference CAS-3433921-5SPGSZ

Thanks for contacting us about What’s the Point of...The Met Office? broadcast on 5 August.

In What's the Point of ...?, Daily Mail columnist Quentin Letts questions the continued relevance of British traditions and institutions, with an irreverent approach offering alternatives to well-established views. There is a long tradition on Radio 4 of columnists having licence to explore controversial subjects from a personal viewpoint and the light hearted tone of this series allows Quentin Letts to question even the most admired of organisations. Nevertheless we accept that in this episode about the Met Office, while there are legitimate questions to be raised about the accuracy of long-term predictions over the past 10-15 years and funding, the programme should have been more clear about where the balance of the argument currently lies on climate change and, in particular, would have benefitted from clarifying that the Met Office’s underlying views are in line with the scientific consensus.

The omission on these points is regrettable. Climate change is a recurrent theme on Radio 4 programmes and more mainstream views have been, and will continue to be, properly reflected in our output - for example, the following day’s BBC Inside Science included an interview referring to how the release of carbon dioxide may have had a significant effect on the atmosphere and this week’s Fry’s English Delight on weather also reflects the scientific consensus.

We do appreciate this feedback and your concerns have been sent to the programme team, and senior BBC management via our daily report, which means they have been seen by the right people.

Thank you for taking the time to bring this matter to our attention and giving us the opportunity to review it.

Kind regards

Ciaran Hanna

BBC Complaints www.bbc.co.uk/complaints

Monday, 10 August 2015

Yours, Seething in Southampton ...

While I've come to expect misrepresentation of science from the likes of Channel 4, the BBC is typically the sanest of media commentators. So it was something of a surprise when one of their long-running (but, hitherto, unlistened to by me) programmes took unwarranted pot shots at that bastion of UK climate science, the Met Office. The programme, "What is the point of ...?", ostensibly takes to task long-standing and seemingly venerable institutions, with the aim of cutting to the core of whether they're out of touch or even a nuisance. While there are many reasons to ponder how the Met Office fits into the modern world, what the programme served up did nothing to address this. Cue a "Seething from Southampton" shot across the BBC's bows ...


Dear Sir or Madam,

I am writing to complain about the Radio 4 broadcast “What is the Point of the Met Office?” (5th August 2015).

As a long-standing part of the British establishment, one whose work features in both our daily lives (the weather) and the longer-term fate of the Earth (climate change), the Met Office is ripe for an evaluation of both its role and its performance in this role, and I tuned in to the programme hoping for such an appraisal. However, rather than investigating how well the Met Office actually performs in its role (e.g. how accurate it is, whether this accuracy has improved with time, is this level of accuracy cost-effective), the programme makers instead chose the lazy journalism route of setting “climate sceptic” cranks onto meek and mild Met Office spokespeople.

We first had an amateur meteorologist who, while noting the complexity of climate science, seemed inexplicably interested in replacing computers with humans in matters of weather prediction. Next up was Piers Corbyn, brother of the currently newsworthy Jeremy, a fellow of the not-showing-my-working school of weather prediction, and a long-term opponent of non-sunspot-related climate change. This was all topped off by the Rt. Hon. Peter Lilley, spouting as fact the ridiculous claim that climate change stopped in 2004 – something that would come as a surprise to all of the jobbing scientists far outside the Met Office who make it their job to measure and analyse the Earth’s climate.

There are plenty of reasons to wonder whether a large, centralised and bureaucratic “weather service” still has a place in the modern world, but these simply weren’t touched on in this programme. When privatisation was raised, it was less in the context of whether it could actually work, and more in the service of a threat to rein in the Met Office’s climate projection work. But rather than investigate whether said projections were outlandish as claimed, the programme boiled down to the usual climate sceptic bluster which any fact-checker could easily have punctured. Did it not, for instance, even occur to the programme makers to check whether the Met Office’s climate projections lie outside the range of those of their international peer organisations? (They don’t – as recent IPCC reports show.)

By way of summary, “What is the Point of ‘What is the Point of …?’” was my final thought about this programme. This edition was my first time with this programme, and will doubtless be my last. A listener hitherto unaware of what the Met Office did, or how well it did it, would most likely exit the programme with the view that it (a) blows money on seemingly expensive computers, and (b) produces extreme “doomsday” predictions to justify its continued existence. As such, it left me thinking that, if one can’t trust the programme on institutions which deal with scientific matters that can easily be fact-checked, how can one possibly trust it on those where the arguments for and against are more qualitative and open to interpretation.

Yours faithfully ...

Please note: For full disclosure, while I do not work at or for the Met Office, my work as a professional oceanographer does involve periodic collaboration with fellow researchers there, including with climate projection.

Friday, 6 January 2012

Hawking dodging

Just heard Stephen Hawking answering questions for Radio 4's Today programme. In one he was asked whether there was a time (presumably pre-big bang) when there was nothing. Annoyingly, he answered in that traditional and unhelpful way, namely that since time as we experience it started with the big bang, it makes no sense to talk of "before" then. Thanks Stephen. He went on to illustrate his answer with the (also traditional) example of what's south of the South Pole, that is, nothing. How about he actually try to address the spirit of the question, namely discuss wider physical theories concerning pre-big bang "time" and extra-universe "space"? As it happens, he went on to answer another question with reference to multiple universes, but he was happy to answer this initial question with a trite put-down about the obvious limits of time.

It reminds me of when biologists, often eminent ones, respond dismissively to the suggestion that we are descended from chimpanzees by pointing out that both chimpanzees and humans are descended from an extinct precursor species. While, yes, this is obviously true, it obscures what the questioner was asking, namely were our ancestors hairy tree-dwellers, to which the answer is clearly yes. And they probably didn't look wildly different to chimpanzees to the untrained eye either.

Thursday, 2 June 2011

Desert Island Discs

In spite of the recent receipt of some scandalous information, we've still been sufficiently intrigued by Desert Island Discs' listener survey to establish the nation's Desert Island Discs to have a go ourselves (not least because I've touched on this before).

Given that my list of musical favourites fluctuates every time I think about it, my approach was to brainstorm a long list, then thin to a shorter one. Having my iPod to hand, I was able to quickly run through the list of tracks I've listened to most times ...
  • Electrolite OR Near Wild Heaven, R.E.M.
  • Dear Hearts and Gentle People, Bob Crosby and the Bobcats
  • Pornographer’s Dream OR It Makes Me Wonder OR When Heroes Go Down, Suzanne Vega
  • Road To Nowhere OR (Nothing But) Flowers, Talking Heads
  • Wish You Were Here OR Great Gig In The Sky, Pink Floyd
  • Up On The Roof, The Drifters
  • Kanada’s Death, Pt. 2, John Murphy
  • Hey Ya!, OutKast
  • Avril 14th, Aphex Twin
  • The Other Side, Michael Nyman
  • Candy Everybody Wants, 10000 Maniacs
  • God Moving Over The Face Of The Waters, Moby
  • Hoppipolla, Sigur Ros
  • Sunday Morning, Velvet Underground
  • Sinnerman, Nina Simone
  • Learning To Fly, Tom Petty & The Heartbreakers
  • Waiting For The Great Leap Forward, Billy Bragg
  • Like A Rolling Stone, Bob Dylan
  • Waking Up, Elastica
  • Heaven Sent, INXS
  • Parklife OR Coffee And TV OR Trimm Trabb, Blur
  • Warriors Of The Wasteland, FGTH
  • Is It Like Today?, World Party
  • Modern Love, David Bowie
  • You Got The Love, Candi Staton
  • Spring (Allegro), Antonio Vivaldi [Gil Shaham & Orpheus]
  • Moonlight Sonata, Ludwig van Beethoven
Thinning down was easy at first, but got progressively more difficult as I needed three, then two, then one final track. Worse, I found myself almost subconsciously juggling priority to ensure a balance of old and new, trendy and obscure, throwaway and worthy. So in the end, I more or less brainstormed the brainstormed list, and tried to think as little as possible about each track. Doubtless the list will change by, say, tomorrow, but it's a bit more honest that what my subconscious was secretly fashioning ...
  1. Electrolite, REM
  2. When Heroes Go Down, Suzanne Vega
  3. Road To Nowhere, Talking Heads
  4. Wish You Were Here, Pink Floyd
  5. Like A Rolling Stone, Bob Dylan
  6. Spring (Allegro), Antonio Vivaldi [Gil Shaham & Orpheus]
  7. Waiting For The Great Leap Forward, Billy Bragg
  8. God Moving Over The Face Of The Waters, Moby
Meanwhile, I put C on the spot, and whittled a list out of her in just a few short minutes. The first four came easy, and while the latter ones required a bit more thought, she still got there much faster than I did. And, I suspect, much more honestly (it's certainly more interesting). One thing that we did think about was how much the resulting list should reflect musical preference, and how much the choices should reflect memories. I plumped for about 50:50, and used this to leverage C's final tracks out of her ...
  1. My Girl, The Temptations
  2. Brown Eyed Girl, Van Morrison
  3. Your Song, Billy Paul
  4. Midnight Train To Georgia, Gladys Knight and the Pips
  5. Canon in D, Johann Pachebel
  6. See My Baby Jive, Wizzard
  7. Stand Down Margaret, The Beat
  8. Don't Stop Me Know, Queen
Anyway, the survey closes tomorrow, and a special programme on the nation's choices is planned for the 11th June. So we'll soon know what the Venn diagram linking the lists above to that general public's looks like. I'm not expecting much overlap. Nessun Dorma is bound to be on it, Bohemian Rhapsody might well make it, and I live in mortal fear of Imagine making a highly-rated appearance. The horror.



P.S. Deditos - looking forwards to reading the well-crafted DID list that you alluded to previously ...

Wednesday, 11 May 2011

Desert Island Scandal

Scandalised. That's the only word for it. Via a complicated chain of contacts, I read an e-mail today that's shaken my faith in Radio 4 to the core. Responding to a reference to Desert Island Discs, C was informed, I kid you not, that ...
Ah well, my [redacted]'s friend was on a couple of weeks ago ([redacted]), and was telling my [redacted] that you initially choose 20 records - but the final choice is made by the programmers, not you. When it comes to recording, you are essentially given a 'script' just before hand - so it may be that significance you placed on one record, which doesn't make the final cut, may then be given to another of your choices...
I ask you, is nothing sacred? Sure, I figured that the programme makers might advise against certain pieces of music on grounds of duration or decency (jazz springs to mind on both counts). And, obviously, they'd edit guests down to slip neatly into the 45 minute slot. But to so comprehensively vet musical selections, and to carefully craft a faux interview? It's unconscionable is what it is. I'm not sure that I'll ever be able to listen to the programme in quite the same way ever again.