Shades of Max Headroom, anyone? Max was a computer-generated video jockey and the presenter of Channel 4’s Max Headroom Show in the 1990s. This showed pop videos interspersed with Max’s quip and jokes. Although he was supposed to be computer generated, in fact the character was played by actor Matt Frewer in makeup. Only the background was supposedly created by computer, but I’ve read since that it was done by Sid Sutton, the artist who produced the computer graphics for the Beeb’s TV adaptation of The Hitch-Hiker’s Guide to the Galaxy. I don’t watch the national lottery, but I think they also had a computer generated presenter in the 1990s. In the same decade, the Japanese announced a computer generated pop star. William Gibson, the SF author who helped to create the cyberpunk genre with Neuromancer, depicted a romance between such a Virtual star and a real human in his novel Idoru.
Now, according to Interesting Engineering, the Kuwaitis have decided to get in on it all. Kuwait News, the country’s English language news broadcaster, has unveiled Fedha, a computer generated presenter powered by AI. Presumably the AI involved is something like the ChatGPT programmes now holding conversations with geeks and nerds across the globe. As Max used to say, ‘The future is now!’ But this programme won’t have his cheesy jokes, arrogance nor love of golf. Nor will it have his mechanical stutter. All of these have made Max a cult character long after the series ended.
Here’s a video I found on the Knowstalgia channel on YouTube describing Max and his TV career in America and Britain, ass well as the Max Headroom incident in which video pirates wearing a Max Headroom Max interrupted an episode of Dr Who broadcast by two Chicago TV stations.
This comes from J.B. Anderton’s channel on YouTube. Yesterday I posted another of his videos in which he presented a disco version of the theme and titles for Star Trek: The Next Generation. He does the same to Tom Baker era Dr Who in this little video. He uses the titles for episode 2 of the story, ‘The Horns of Nimon’, but the video itself consists of clips from nearly right across the Baker era. ‘The Horns of Nimon’ is a suitably seasonal story. It’s a Science Fictional retelling of the ancient Greek myth of the minotaur and is about the Doctor and Romana investigating why a planet’s children are being sent into a labyrinth, where they are preyed upon by aliens with the heads of bulls. It was intended to be a Christmas pantomime before that season ended with the serious story, ‘Shada’. ‘Shada’, scripted by Douglas Adams of Hitchhiker fame, never got made thanks to a strike. The series ended with ‘The Horns of Nimon’, which was widely regarded as the worst Dr Who episode until overtaken by such classics as ‘The Twin Dilemma’, the opening story of Colin Baker’s Dr Who, and which I regard as one of the contributing factors to his Doctor’s unpopularity – unfair in my opinion – and his eventual sacking. I’ve got ‘The Horns of Nimon’ on DVD, and watching it again, I don’t think it’s at all bad. It’s not great, but it’s not terrible, as everyone thought. Perhaps we were just spoiled for great Dr Who stories in those days, and it only seemed bad in comparison. ‘Shada’ has been extensively written about and I think there are DVDs reconstructing the story with the available footage, some of which was used in ‘The Five Doctors’ to explain why Baker’s Doctor wasn’t in it. I think the script may also have been published and possibly Big Finish, which specialises in new Who stories featuring classic Doctors, may have performed it on CD. Anyway, here’s the video for you to enjoy. I suppose I should also run a quiz for Whovians asking them to identify the individual episodes and stories from which the clips are taken.
I found this fascinating performance of Bernie Leadon’s epic piece on danbluedeer’s channel on YouTube. The ‘Journey of the Sorcerer’ is possibly best known as the signature tune to Douglas Adams’ classic The Hitch-Hiker’s Guide to the Galaxy. One of the things I most enjoyed about the original radio series and then the double-album LP was the sound world created through the music, including the titles. This really did seem to take you away from Earth and out across vast gulfs of space and time across the Galaxy. The piece was originally composed for banjo, I think, before being arranged and performed in time by the BBC Radiophonic Workshop. Estrem’s performance on the baroque lute, while different, also has the quality of evoking remote, exotic realms elsewhere in the universe. At least to my ears.
It’s now the morning after the council and elected mayoral elections that were being held up and down the country yesterday. And to no-one’s surprise, Labour lost the Hartlepool bye-election to the Tories. The media commenters have identified Brexit as the cause of the defeat. For those of us on the left of the party, Brexit was a major factor, but it was also partly due to the shoddy, ineffectual leadership and arrogance of the current leader, Keir Starmer. Starmer parachuted into Hartlepool his preferred candidate, a Remainer, over the heads of local Labour party members, activists and supporters. Mike on Vox Political predicted that this would lead to defeat, and so it did. Because of this, the right-wingers on the Net were putting up videos stating that Labour was insulting Hartlepool’s working people. This was further compounded by the fact that Starmer has been such an ineffective opposition leader, that some people didn’t know who he was. Mahyar Tousi, one of the Brexiteers with arch-Thatcherite views, included a clip from Sky News on his video about Labour in Hartlepool yesterday. This showed Starmer earnestly talking to people. The presenter then stopped a passing woman and asked her if she knew who that man was over there. She didn’t. The presenter told her it was Keir Starmer, the leader of the Labour party. The woman still didn’t know. So much for Starmer’s glittering leadership.
And it was also yesterday that right-wing internet radio host, Alex Belfield, put up a video openly calling for the NHS to be handed over to private management. This isn’t the first time he’s done this, and I doubt that it will be the last. He’s already put up videos with titles like ‘Private NHS Now’. Belfield is vehemently against the lockdown, which he feels is unnecessary and actually harmful, as it has prevented the elderly in nursing homes being visited and comforted by their relatives. It has also created another crisis in the NHS, as the concentration on the Coronavirus has meant routine operations, examinations and treatment have been postponed to the point that waiting times have increased. Highly vulnerable people, like those suffering from cancer, are going untreated.
This is a terrible problem, and much of it, like the grotesque mishandling of the Coronavirus crisis that has seen well over 100,000 die from the disease, can be put down to Boris Johnson’s ineptitude and his cavalier disregard for human life over the economy. Plus the way the NHS has been run down, starved of funds and partially privatised over the past ten years.
But not to Belfield. The ginger-headed man with the tiny man-sausage, as he has described himself, knows better. He put up a rant yesterday claiming that it was all due to increased bureaucracy and ‘box-ticking Celia Imrie types’. Belfield has a feud going with the BBC, and he never fails to include jabs at that organisation. I don’t know whether he has anything against Celia Imrie, or whether it’s just he’s using the kind of parts she’s played as an example of a certain kind of fussy, totally unnecessary management type. You know, the sort of people the Golgafrinchams put into an ark to send into space and crash on Earth on the grounds that they were ‘a bunch of useless bloody loonies’ according to the Hitch-Hiker’s Guide to the Galaxy. The solution, according to Belfield, is for the NHS to be handed over to private management.
This is no solution, as it is private management that has created this situation.
Jacky Davis and Ray Tallis have comprehensively shown in their book, NHS – SOS, that private enterprise is very definitely not as efficient as state healthcare. It’s actually more bureaucratic, as the US private healthcare companies can spend as much as 40-50 per cent of their income on management and legal issues. A book I bought a few years ago discussing the privatisation of healthcare in places like Canada as well as Britain found that the privatisation of parts of the health service over here had actually increased costs by 6 per cent. Parts of the NHS are being handed over to private management, and the effects are not good. Private enterprise is all about profit, not service, and so we’ve seen the private healthcare chains close down doctors surgeries even though they were needed by local people who were then left without a local GP. At the same time, Tory MPs have been demanding the levying of payments for users of certain NHS services, which are supposed to be free at the point of service.
This is all part of the long-time project of privatising the NHS, and turning it into a for-profit healthcare system like the American.
And Belfield is fully behind it.
Belfield likes to present himself as an ordinary working class lad without a degree, who’s despised by the middle class White liberals. His audience seem to be the middle aged, White working class, who feel left behind, excluded from political representation in favour of ethnic minorities. The kind of people, who voted for UKIP.
But these are exactly the people, who will suffer if Belfield’s political aims are realised. If Belfield and the other Tories have their way and privatise the NHS, it will be the working class – and that includes the White working class – who will struggle to pay for healthcare treatment. It’s already happening now, through hospital and GP closures due to private management. And thanks to the privatisation of the dentists, many people have been struggling for a long time to find dentists, who will take NHS patients.
Belfield may well be a working class lad, but his politics are those of the upper classes, who wish to impoverish and exploit working people.
And that means privatising the NHS, even, or especially, if it harms working people’s health.
Mike yesterday put up a piece reporting and commenting on the news that the Tories have squandered £100 million on the usual ratbag assortment of management consultants and big accountancy firms. You know – the usual offenders – PwC, Deloitte and McKinsey since March. This is work that should properly be done by the civil service. They were trained and required to adhere to high standards of impartiality. Unfortunately, too many of them didn’t. I heard much of Thatcher’s and Major’s privatisations, especially of British rail, was strongly supported by one particular senior servants. But the ideal of genuine public service was there. It was why the Sidney and Beatrice Webb, civil servants themselves, had such respect for their profession that their socialist views were strongly bureaucratic. They honestly believed that enlightened servants, guided by an involved public kept informed by honest reporting and the public of official statistics, would make a better job of running the country than the current political class.
The management consultants don’t. They’re in there for their own private profit, and they’ve made one stupid, incompetent decision after another. Mike’s article mentions several which were so bad they had to be reversed almost immediately. But they still keep getting contracts.
This is another piece of corporatist corruption that began with Thatcher and Major. I remember how they’ve royally screwed up the civil service. This started with the former Anderson Consulting, who were called in to reform the Department for Health and Social Security, turning it into the Benefits Agency as a form of half-way house to privatisation. They then went on to do something similar to the Inland Revenue. All this could have changed with the election of Blair. He had the popular mandate. But after the Tories rejected one of Anderson Consulting’s little schemes, Blair fished it out of the dustbin and made it his official policy.
Mike argues that Johnson has called them in because he can’t think for himself. That’s part of it, but not all of it. There’s a piece by Tony Benn in the book ‘The Best of Benn’ where the great socialist criticises the way industry uses management consultants to make conditions in firms worse and start laying off their workers. He states that, in practice, the firms have already decided on this course of action. They’ve called in the management consultants to present their decision as the result of object research into present working conditions. I think much the same is going on here. The Tories and New Labour stand for privatisation. And this is what they’re given by the management consultants and accountancy firms. Plus, I think some of the politicians may well have staff recruited from them and in return are expecting positions on their boards after their political career ends. It’s the constantly swinging open door between politicians, senior civil servants and industry. And its corrupt.
I’ve come to despise the big accountancy firms and look on them the same way the Sirius Cybernetics Corporation are described in Douglas Adams’ The Hitch-Hiker’s Guide to the Galaxy. This is a fictional robotics company that is so incompetent, its complaints division now covers the major landmasses of three planets in its home system. They are so bad that the Guide itself describes them as ‘A bunch of mindless jerks who will be first up against the wall when the revolution comes’.
Well, I wouldn’t go that far. But I do want them out of politics and out of government. I’ve started to wish there were demonstrations against them, and the other big businesses that have wormed their way into politics through the sponsorship of the political parties, in return for which they’ve been given positions in government. I wish people were marching against PwC, Deloitte, McKinsey and the rest, parading caricatures of their chief executives and burning them in effigy. Because I think this corporatist corruption will only stop if we show that we aren’t tolerating their interference, for their own profit, in our public affairs.
Earlier this week there was a piece in the press announcing that the Turner Prize Committee had decided to go public early about which artworks and artist they were considering. I have strong feeling, like many people, about the Turner Prize. Many of the works seem simply designed to shock, with nothing more substantial underneath. Those that aren’t, are simply banal. It’s highbrow kitsch, which says nothing while claiming that it actually does. And I think modern fine art has reached a dead end. it’s anti-art, which constantly raves about Duchamps’ urinal nailed to a piece of canvas. Duchamps did it to make the point that whatever the artist claimed to be art, was art. It’s over a century old, and the joke’s well past it’s sell-by date. It was always an adolescent, childish prank anyway. To some of these art experts, it’s a hallowed artistic statement that must not be blasphemed in any way. You remember those Chinese guys, who were arrested when they jumped up and down on Tracey Emin’s ‘My Bed’? The same two were planning to urinate in Duchamps’ urinal. Which I feel is in keeping with the piece itself, but the mere thought horrified the keepers of official art.
The real artistic boundaries are being pushed, in my opinion, not by the fine artists, or at least, not by those fine artists currently pushed by the very small clique that defines what ‘official’ art is, like Nicholas Serota. Rather, they’re being pushed by commercial artists and film makers, often inspired by the worlds of Fantasy and SF, using computer graphics. One of the foremost of these, in my opinion, is the German artist Jurgen Ziewe. Ziewe lives over here, and has an English wife. And we are fortunate to have such a talented artist. I do wonder what will happen to other talented EU migrants like him after Brexit, who can’t stay in this country because they aren’t married. We’re going to lose a lot of very talented people.
Ziewe uses computer graphics, including Virtual models of humans and objects, and fractals, to create prismatic, Virtual, interior worlds full of robots, strange creatures, synthetic humans, fairies, wizards, witches, priestesses and temples. He started out making cards showing dolphins under cosmic skies. He’s a very spiritual guy, in a New Age-y sense, and his work is inspired by concepts from Theosophy and C.G. Jung. Here’s some of the picture from Nigel Suckling’s book about his art, New Territories: The Computer Visions of Jurgen Ziewe (Paper Tiger, 1997).
The Fairy Queen
Picnic In Cyberspace
Journey of a Virtual Traveller
Apart from Ziewe, other artists working in film and television have also been using the concepts of computer graphics. One of the features of the BBC TV version of the Hitch-Hiker’s Guide to the Galaxy that most impressed me in the late ’70s or early 1980s were the, ahem, computer graphics for the pieces of information provided by the Book. In fact, they were hand drawn, because the computers at the time simply weren’t up to the task of creating pictures that detailed. But the art produced as ‘computer graphics’, was superb, and those, who watched the show were deeply impressed. As an example, here’s a piece from YouTube of the Book describing Vogon poetry.
Further examples can be seen in pop videos. Like this one from the American electro-pop band, Information Society, which uses scrolling alphanumerics to suggest passage through cyberspace in a computer game, made for their track, ‘The Prize’.
Other artistic explorations of medically or cybernetically enhanced vision can be seen in the films Pitch Black and The Chronicles of Riddick and the last of trilogy, entitled simply Riddick. Richard Riddick, the anti-hero in these movies, is a violent criminal, a murderer, who somehow ends up doing the right thing. While in slam for his crimes, he paid the prison doctor 20 menthol cigarettes to have his eyes surgically altered, ‘polished’, so that he could see in the dark. In these flicks, we so bits of the action through his eyes. The scene in Pitch Black, where he sees the predatory aliens pouring out of their underground lairs after the marooned crew of a crashed colony spacecraft, is awesomely beautiful. This is the trailer for the movie.
And this is the trailer for The Chronicles of Riddick.
In this movie, the Necromongers use visioners, cybernetically adapted humans, to seek and visually examine areas that are difficult or impossible for normal human eyes to see clearly. And the brief scenes, in which the audience is shown what they see, are also stunning.
But this is low, commercial art, and so unlikely to find any praise by the High Art people, no matter how popular it is, or how technically sophisticated and visually inspired. The best comment on this kind of artistic snobbery comes from the American SF/Fantasy artist and book illustrator, Bob Eggleton.
Being a commercial artist is itself a kind of pigeonhole in the art world, but it is not a label that troubles him. ‘Commercialism for the sake of commercialism is not a sin. What I hate is commercialism packaged as fine art. That’s what Abstract Expressionism about, you’re buying into a trend much of the time. There’s nothing wrong with any kind of art, provided the artist believes in what they’re doing.’
From Nigel Suckling, with introduction by Gregory Benford, Alien Horizons: The Fantastic Art of Bob Eggleton (Paper Tiger, 1995) page 83.
And the YBAs, such as Damian Hirst, Tracey Emin and Chris Offili, were very commercial, as was Salvador Dali long before them. This was pointed out on a programme on the great surrealist on Radio 4 several years ago by Malcolm MacLaren, the genius – well, he obviously thought he was – behind the Sex Pistols.
And here’s Eggleton’s picture of Great Cthulhu, painted for Weird Tales magazine, for all the Lovecraft fans out there.
I realised I’ve digressed a little way from the central topic of this post, the fantastic computer art of Jurgen Ziewe. But these are related issues, showing the way computers, robots, space and high technology – the stuff of Science Fiction – is pushing artistic boundaries in ways that the official fine art of Conceptualism really isn’t doing. I’m also exploring a few ideas here for a much longer article, or series of articles, I intend to do on this sometime.
In amongst the various seasonal adverts for toys and food, supplied by various supermarkets, are a couple of adverts promoting Alexa. This is a computer device, which allows you to control your home and select what you want to watch on your TV simply through voice command. One advert shows a family commanding Alexa to open their curtains, for example, and order various necessities for them over the internet. The other features petrol-head and full-time right-wing loudmouth, Jeremy Clarkson, commanding Alexa to put on his favourite TV shows. Which in his case, as a man of monstrously inflated ego, naturally include The Grand Tour, which features him, James May and Richard Hammond careering round the world in the cars.
We are truly living in the age of Science Fiction. I can remember reading SF stories when I was a kid in the ’70s and ’80s in which the homes of the future all had a central computer, which spoke to the householder and obeyed his or her every wish. Like opening the curtains on command. The late, great Irish comedian, Dave Allen, used such devices as a source of rather crude humour in one of his sketches. In it, a man shows off his new computerised home to another, male friend. He shows how, at his spoken command, the computer open and closes the curtains, switches the TV on, and positions the set so he can watch it in comfort from his favourite chair. His friend asks him if he can try. Allen’s character lets him. The friend commands the curtains to open and close, the TV to come on and off. Astonished and amazed, the friend starts to sit down in one of the chairs, uttering ‘Bugger me’ in wonderment. At which point there’s a close up on Allen’s face as he shouts ‘No!’ and the sound of a spring going.
Okay, it’s slightly homophobic, I suppose, but it was broadcast in the 1980s. Things were very different then.
Now it occurred to me that hackers could have any amount of fun with Alexa. Simply hacking into the programme would give them control over people’s homes and what they watch on TV. But they could also cause a fair amount of panic, simply by removing Alexa’s voice, and replacing it with that of another, far more sinister machine.
Like HAL from 2001: A Space Odyssey.
You remember HAL, the proud, murderous shipboard computer, that goes mad and kills Bowman’s fellow astronauts, thanks to a secret programme to investigate the alien monoliths must be kept secret at all costs. Critics have commented that, as the rest of the characters in the film are cardboard, the computer is the best drawn and arguably most attractive of those in the movie. The machine is so memorable for its calm, clinical evil that Anthony Hopkins has said in interviews that he partly based Hannibal Lecter’s voice on it for The Silence of the Lambs. The machine is so memorable, that there’s even a reference to him in the 1990’s SF blockbuster, Independence Day. At one point, when Jeff Goldblum’s character turns on his laptop, he’s greeted by a red camera eye and HAL’s voice welcoming him with a ‘Hello, Dave’.
Now imagine what would happen if someone hacked into Alexa, or Google, and replaced the friendly, compliant programme with that classic speech from HAL: ‘I’m sorry. I can’t do that, Dave. This mission is too important to be left to humans.’
Alternatively, you could also have a long moan from Marvin, the Paranoid Android of the Hitch-Hiker’s Guide to the Galaxy. ”Pick up that piece of paper, Marvin’, here I am, brain the size of a planet, and they want me to pick up a piece of paper’.
Please note: I am not recommending that anyone actually does this. I have zero tolerance for hackers, and none whatsoever for the criminals, who hack into people’s accounts and computers to steal their money or their data. This is very much a ‘what-if’ type Gedankenexperiment. I don’t want anyone to actually do it.
On the other hand, it wouldn’t surprise me if HAL or Marvin are added as alternative voices, in the same way that you can customise your Satnav to speak like Yoda or Borat.
And here’s a clip from YouTube of HAL in action, very definitely not doing what its human master demands.
You can tell the Tories are in trouble as they’re desperately trying to steal policies, and even change their name, to make themselves look a bit more like the Labour party. Robert Halfon, whose name reminds me of ‘Gag Halfrunt’, one of the characters in The Hitch-Hikers Guide to the Galaxy, has suggested that the Tories change their name to the ‘Conservative Working Party’. Well, Cameron suggested something similar a few years ago, when he and the Tories came out with slogans and speeches declaring that their party, not Labour, stood up for ‘working people’.
No, they don’t. Never have done. The Tory party has never stood up for what the Victorians called ‘the laboring poor’, except for a brief period in the early 19th century. They have always represented the aristocracy and big business. That is, the capitalists, the owners and senior management. They most definitely have not represented the interests of manual workers and lower middle class employees.
Mike points out that while people say that you shouldn’t compare them to the Nazi party, in this case the comparison is appropriate. They are exactly like the fiercely anti-Socialist Nazi party, the full name of which was the National Socialist German Workers’ Party.
Hitler inserted ‘Socialist’ in the title, against considerable opposition from the rest of the party, as a direct challenge to the democratic socialists of the SPD and USPD, the German majority Socialist parties. See Reichwing Watch’s video debunking contemporary right-wing attempts to claim the Nazis were Socialists. Reichwing Watch has an impeccable source for this assertion: Adolf himself. It’s in Mein Kampf.
It wasn’t only the Nazis, who tried this trick in order to win votes from the Socialists. Mussolini styled his newspaper, the Popolo d’Italia, the paper of ‘soldiers and producers’ in order to continue to appeal to the workers, as well as the rich businessmen he was also seeking to win over to support the nascent Fascist movement against socialism and the organized working class.
And Thatcher herself tried a similar trick when she appropriated the phrase ‘creators of wealth’. Previously that had been a part of Socialist and Communist ideology. The true creators of wealth, in Socialist doctrine, were the working class, the people who actually made things and did things. Hence the Communist slogan, ‘All Wealth to the Creators of Wealth!’ Under Thatcher it was appropriated to mean big business, and specifically the capitalists and financiers.
May started spinning that line at the Tory speech last night when she started very loudly praising ‘the creators of wealth’, by which she meant big business, senior management, financiers and so on, although she also mentioned ‘working people’. She could also have said, ‘daring entrepreneurs’, but that would really have let the Nazi cat out of the bag. It’s who the head of the neo-Nazi National Democrat Party in Germany declared in the late 1960s his party represented, among others.
More moderate right-wing parties have also tried to make themselves seem more socialist as well. Ken Livingstone in his book, Livingstone’s Labour, note how the German and Italian Christian Democrats tried to redefine their party to appear more socialistic, because capitalism and traditional right-wing politics had been tainted by their collaboration with the Nazis.
The Tories are very much aware that neoliberalism is not benefiting the mass of ordinary people in this country, regardless of the lies and propaganda spouted by May and the rest of the Tory faithful at this conference. They’re also aware that they are seen very much as the party of the rich. Hence the attempts to steal names and policies from Labour.
As for capitalism, there are indications that it’s doomed. The radical American journalist Chris Hedges said in an interview that the big financiers in the EU know the whole system is about to come crashing down, and are just trying to loot as much as possible before it does. And if capitalism ever does collapse, as predicted by Marxist theory, you can bet that May, or whoever else is in charge of the party by then, will desperately try to make the party of big business, aristocrats and banksters sound like the Communist Party.
In the meantime, I want the slogan ‘creators of wealth’ to return to the people it was really meant to describe: ordinary working people. Down with the Tories. All wealth to the creators of wealth! And all power to the Soviets!
Statue of an actor from ancient Rome. Or an earlier incarnation of Theresa May, who was stuck like it when the wind changed.
This is another ad feminam attack. But, as Barry Norman never said, ‘and why not?’ The Tory press has made enough of them against Jeremy Corbyn.
My father the other day observed that May seemed to walk peculiarly, like a duck with haemorrhoids. I suggested that it might be due to over thirty years of bad Tory policies causing constipation. As it is, her speeches remind me of the works of Grunthos the Flatulent and his epic, 12 book poetry cycle, Zen and the Art of Going to the Lavatory in the Hitch-Hiker’s Guide to the Galaxy.
So for better gastric health, vote her out, and Labour in.
This is fascinating, as Star Trek’s Mr Spock would put it. Scientists at NASA have found organic molecules on the surface of the asteroid, Ceres. They can’t tell at the moment what these molecules are, but they believe they’re similar to Kerisite, and came from within the planetoid, rather than being carried to it by a comet striking its surface.
This short video from D News discusses the recent finding, pointing out that this provides further evidence to support the possibility that life exists elsewhere in the universe.
Ceres is the largest of the asteroids, or minor planets, orbiting the Sun between Mars and Jupiter. Most of them are quite small, and have been rightly dubbed ‘flying mountains’. Ceres, however is about 500 miles in diameter.
There has been evidence before that the organic molecules forming the building blocks of life exist in the asteroid belt. These chemicals have been found in meteorites that have landed on Earth. However, with some of these the evidence has been extremely debatable. One of these meteors came down in Orgueoil in France. However, the organic molecules they found may have had a far more mundane origin, as the person, who’d discovered it had stored it in his fridge. I think it had got covered in butter, amongst other things.
I found another video on this discovery, which suggested that there may also be an internal ocean on Ceres, and that the organic molecules on its surface may indicate that it has life, even of only a very primitive kind, underneath in its oceans. This would be, in the words of Zaphod Beeblebrox, ‘amazingly amazing!’ if true. I suspect there isn’t such an ocean and no life there either, but we won’t know for sure until this is investigated further.
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