
Politics? This scientist thinks we shouldn't think too much about it
Zmigrod, a young Cambridge neuroscientist, studies 'cognitive rigidity'. What does that look like in the real world? Jimmy McGill, hero of the TV series Better Call Saul, can give us a handle on one of its manifestations: 'The fallacy of sunk costs. It's what gamblers do. They throw good money after bad thinking they can turn their luck around. It's like, 'I've already spent this much money, or time, whatever. I got to keep going!'' And as Jimmy adds: 'There's no reward at the end of this game.'
Zmigrod's ambition has been to revive the project of 18th-century French nobleman Antoine Destutt de Tracy, whose science of 'ideologie' sought a rigorous method for discovering when ideas are faulty and unreliable. (This was my first warning signal. If a man in a white coat told me that my ideas were 'objectively unreliable', I would snatch up the biggest stick I could find. But let's run with the idea.)
A second, happier lodestar for Zmigrod's effort is Else Frenkel-Brunswik, an Austrian refugee in America who spent the 1950s testing children to see whether or not she could predict and treat 'machine minds'. Frenkel-Brunswik found it easy to distinguish between the prejudiced and unprejudiced, the xenophobic and the liberal child. She found that an upbringing steeped in obedience and conformity not only fostered authoritarianism; it made children cognitively less flexible, so that they had a hard time dealing with ordinary, everyday ambiguities. Even sorting colours left them vexed and unhappy.
Zmigrod argues that the dogmatic mind's information processing style isn't restricted to dealing with ideological information. It's 'a more generalised cognitive impairment that manifests when the dogmatic individual evaluates any information, even at the speed of under a second.' Cognitive rigidity thus goes hand-in-hand with ideological rigidity. 'This may seem obvious to some,' Zmigrod writes. 'A rigid person is a rigid person. But in fact, these patterns are not obvious.'
But they are, and that's the problem. Nearly 200 pages into The Ideological Mind, they're even more obvious than they were when Zmigrod first said they weren't. She reveals, with no little flourish, that in one of her studies, 'obedient actions evoked neural activity patterns that were markedly different from [those produced by] free choices.' Well, of course. If the mind can differentiate between free action and obedience, and a mind is a property of a brain at work, then a good enough scanner is bound to be able to spot 'differences in neural activity' at such times. Again and again, Zmigrod repackages news about improved brain-scanning techniques as revelations about the mind. It's the oldest trick in the neuroscientific writer's book.
Zmigrod began work on The Ideological Brain as Donald Trump became US president for the first time and Britain voted to leave the EU. Her prose is accomplished, and she takes us on an entertaining ramble past everything from demagoguery to dopamine uptake, but the fresh alarm of those days bleeds too consistently through her views. She's unremittingly hostile towards belief systems of all kinds; when she writes of a 2016 study she conducted that it showed 'the extreme Right and the extreme Left were cognitively similar to each other', I wondered whether proving this truism in the lab really contributed to an understanding of the actual merits, or otherwise, of such ideologies. Zmigrod seems, sometimes, to mistrust belief per se. In her last chapter, we get her idea of the good life: 'No pressure, no predestination, no ancestors on your shoulders or rituals to obey, no expectations weighing you down or obstructing your movement.' I had to read this several times before I could believe it. So her alternative to dogmatism is being Forrest Gump?
Zmigrod's thesis assumes that people are a unity. They aren't. (In the course of my work, I've met members of far-Right militias, and they remain the most open-minded people with whom I've ever argued.) She also seems to assume that the workings of mind can be read by a scanner. I'm not against hard materialism per se, but imagine explaining the workings of a computer chip by describing the icons on a computer screen: that's more or less how Zmigrod describes thought.
Besides, the evident fact that brains age, and minds with them, is never a factor in Zmigrod's argument. Variations in cognitive flexibility can be explained by the ageing process, without any recourse to machines that go 'bleep'. Is it unreasonable to expect a young mind to be more liberal and open to exploration, and an old mind to be more conservative, more dedicated to wringing value from what it already knows? Few of us want to be old before our time; few want to be a 90-year-old adolescent.
'Repeating rules and rituals, rules and rituals, has stultifying effects on our minds,' Zmigrod insists. 'With every reiteration and rote performance, the neural pathways underpinning our habits strengthen, whereas alternative mental associations – more original yet less frequently rehearsed – tend to decay.' I see this as a picture of learning; Zmigrod sees a slippery slope ending in extremism. You can look at the world that way if you want, but I can't see that it'll get you far.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Daily Mirror
2 hours ago
- Daily Mirror
Romeo Beckham soaks up the sun with sister Harper as Brooklyn feud worsens
Former footballer and model Romeo Beckham has made sure to spend time with his family as he chilled out with sister Harper on their summer holiday while Brooklyn stays away Romeo Beckham has been lapping it up on his summer holiday as he continues to surround himself with family amid the ongoing Brooklyn fallout. The former footballer, 22, shared snaps from his parents' £16million yacht as they sailed into St Tropez. He joined David and Victoria as well as sister Harper, 14, and brother Cruz, 20, for the luxury trip. They have remained tight knit following the breakdown of Brooklyn's relationship with the famous family. Brooklyn has not been seen with his family in months following a series of painful snubs over the past year. It comes after David Beckham speaks 'as a father' in 'family' announcement after latest Brooklyn snub. Cruz Beckham 'steals' his dad's tiny white trunks and family have epic response While the eldest Beckham child stays away, Romeo shared snaps of the family trip abroad. He stripped down to his swim trunks as he stood on the end of the yacht with his hands in the air, while his sister Harper sipped on a bottle of water. Romeo also hopped into the driving seat as he beamed while in control of the vessel as they approached a stunning port. The Beckhams were in St Tropez just days after Brooklyn had arrived with his wife, Nicola Peltz. They had enjoyed a summer holiday on her billionaire dad's rented yacht after they skipped David's 50th birthday celebrations in May. Brooklyn went on to issue a series of snubs when it came to Father's Day and David's long awaited knighthood achievement. He sailed into Saint-Tropez on an £85million, 80 metre yacht called Project X as he lapped up the luxury getaway. It had been rented by Nicola's parents, Nelson and Claudia Peltz, andit set them back a staggering £1.2million a week. Brooklyn avoided a run-in with his parents as they arrived in the same French dock just two days later, which he reportedly was unaware of. He appeared keen to share snaps of his own trip as he drank a bottle of beer next to Nelson. One moment showed Brooklyn leaning towards Nelson, who had his arm around his son-in-law, whilst another showed the in-laws embracing in a hug by a table. However, things took another turn this month when Brooklyn and Nicola decided to renew their vows without his family. The couple reaffirmed their love at a lavish bash held at her family's country estate near New York. Nicola wore her mother, Claudia's, 1985 vintage wedding dress, while her billionaire father, Nelson, officiated at the ceremony. 'Victoria's heart is breaking behind closed doors,' a source told us. 'Brooklyn is her firstborn and she's worried she's never going to get him back. Seeing him and Nicola renew their vows without her and David was tough. "They have missed out on some big family moments already, and Victoria is afraid that the longer this goes on, the less chance there is of it being resolved. Victoria has been posting smiley pictures on Instagram and it looks like they were having a great holiday, but that doesn't mean Brooklyn isn't on her mind." While sources have claimed Brooklyn is "heartbroken" over the way Nicola is being betrayed. A source said: 'It's so rooted in misogyny that all of the heat for his parents not being invited is on Nicola. "Everyone seems to forget that Brooklyn is an adult man and fully capable of speaking out. Nicola would have respected all that he chose. It breaks Brooklyn's heart to see his wife being painted as this vixen and viper.'


Metro
11 hours ago
- Metro
I can't stand when people put ice in their wine — it's so uncouth
Hands down, the question I get asked most often as a drinks writer is: 'Can I add ice to my wine?' Some see it as an inexcusable faux pas, the wine equivalent of blowing your nose into a napkin at a fine dining restaurant. Others are calling it 'Vin Piscine', aka 'swimming pool wine'. This is after the southwestern French trend of serving white or rosé in a large round glass filled with so much ice, it looks like the wine is taking a dip in a pool. In my opinion, this chic name has given ice-droppers a get out of jail free card to avoid looking uncouth. A few of my mates slip ice cubes into their wine when they think I'm not looking. They used to have the decency to look embarrassed, now they say, 'ahh, Vin Piscine!' But it's not just them – even some drink experts do it. Master of Wine and Wine Consultant to Aldi supermarkets, Sam Caporn, admits that she started off 'an ice denier', but then something happened to change her mind. 'A friend came over for dinner and we tried out rosé both without and then with ice, and I was a convert! 'Ice in rosé is one of my guilty pleasures, don't knock it until you've tried it!' You've probably gathered that I'm an ice-in-wine snob. As I see it, plonking a melty iceberg into a glass of carefully crafted wine is a form of vandalism; like watching someone slowly key a vintage Aston Martin. You see, as the ice thaws, it dilutes the wine and reduces the concentration of the beautiful flavour expression, throwing off the carefully curated balance of acids, aromatics and texture. You might as well top up your glass of Château Petrus with Coke Zero – it's basically the same thing. This isn't just me throwing ice out of my pram though, Dr Ian Whitehead, a flavour scientist who has more than 20 years' of experience in the industry, agrees that for higher-quality wines, it's a no-no. He tells Metro: 'There's no doubt that adding ice changes the experience, often not for the better – especially with higher quality bottles. If you value craftsmanship and intended flavour of your wine, skip the ice and use smarter chilling methods.' One of the chilling methods Dr Whitehead is referring to is an ice bucket filled with cold water, ice and salt (to fast-track the chilling process). Or, you could always pop a bottle in the freezer, wrapped in a wet paper towel for 25 minutes. Having said all that, there are a few exceptions to the rule. If you're drinking a fruity, off-dry white or rosé on a really hot day, adding a couple of ice cubes is acceptable. Why? Because slightly dilute, cold wine wins over warm wine, as it's closer to how the wine was intended to be served. Typically, wines with more sweetness work best with ice-chilling, as Dr Whitehead explains: 'Sugar is a flavour buffer, in sensory science, residual sugar (unfermented sugar left in the wine), counterbalances both the acidity and dilution, allowing the wine to retain an impression of body and fruit even when significantly chilled.' With that in mind, sweet or off-dry wines are the ideal match for ice, think Moscato d'Asti, Demi Sec Champagne, German Riesling, Gewurztraminer and Californian blush wines. These have higher sugar levels and bolder aromatic flavour compounds to counter the dilution. Do yourself a favour and avoid heavily-oaked Chardonnays or ultra-dry wines like Picpoul de Pinet, Pinot Grigio or Provence Rosé. Ice will turbo-chill them, drown out their delicate fruit flavours and put their acidity and bitterness on blast. As luck would have it, I'm currently on holiday near Toulouse where Vin Piscine was born. And while I was at a Leclerc supermarket, I noticed a wine called Rosé Piscine. You couldn't miss it, cases of the stuff were stacked up in a gigantic tower display. But here's the kicker, its strapline is, 'ABSOLUMENT AVEC LES GLACONS' (in caps), translated as 'ABSOLUTELY WITH ICE' Boom. I was triggered. But I ended up buying a bottle. I taste tasted Piscine Rosé against a dry rosé from Lidl, Chevalier de Fauvert Syrah Rosé. Both were unchilled (this was important) and ice free. Piscine Rosé was instantly off-dry with pronounced flavours of cantaloupe melon, apricot and peach, while Lidl's was significantly dryer with delicate notes of nectarine and tangerine. After adding two medium-sized ice cubes to each glass, I tasted them to assess the immediate effect. Piscine Rosé had been softened in flavour, still delivering melon and stone fruit flavours while Lidl's had all but disappeared, leaving a muted aroma and only a lightly fruity acidity on the palate. Having waited for five minutes for the ice to partially melt, Piscine Rosé had soft and refreshing nuances of melon and peach, while Lidl's had turned into acidic-tasting water. In conclusion, this experiment was a win for Piscine Rosé. Wines that are built for ice accompaniment must start off naturally more pronounced in sweetness and fruit flavours, with less zestiness to them to stand up to turbo-chilling and dilution In addition to picking the right wine, it's also important to use the right kind of ice in your drink. More Trending Bigger ice cubes melt more slowly and defer dilution. As, by contrast, 'finely crushed ice is the fastest route to watery wine,' explains Dr Whitehead. He also cautions us to pay attention to the type of water we use to make the ice, warning: 'Ice made from hard water will harm the flavour more than soft water, while heavily chlorinated tap water with give you a literal 'swimming pool wine', and not in a good way.' Evian it is then… If you count yourself a purveyor of the finer things in life, Metro's Drink Up column is where you need to be. Immerse yourself in the world of good drink, fronted by industry expert Rob Buckhaven – a place for readers to whet their whistle with the latest and greatest in the world of drinks. From unpacking the best supermarket wines from Aldi, Tesco and Lidl, to introducing audiences to the wallet-friendly Cremant out-bubbling the fanciest of French Champagnes (or the best wines to drink after sex), and finding out what it's like to go on a bar crawl with Jason Momoa, this is a haven for those who love to celebrate. Stay ahead of the curve as Rob plucks from the vines the wines of the season and the spirits you need to know about; speaking with experts and mixologists while unpacking the latest concoctions, finding the best non-alcoholic options for those looking to moderate, discovering the best food pairings for your drops, and going up against the latest TikTok chatter to demystify the liquid landscape. What are the best drinks to take to a summer picnic? Wine that you should never serve at a wedding And, truly, how should we be storing our wine? Read More. Do you have a story to share? Get in touch by emailing MetroLifestyleTeam@ View More » MORE: The common pub habit that marks you out as a 'nightmare' punter MORE: I stumbled across the best bar ever in Europe's newly-crowned 'safest city' MORE: Where to sip on mini cocktails in London Your free newsletter guide to the best London has on offer, from drinks deals to restaurant reviews.


Scotsman
a day ago
- Scotsman
I Fagiolini to bring 'emotional power of harmony' to the Lammermuir Festival
Acclaimed vocal ensemble I Fagiolini will take up a four-day residency at this year's Lammermuir Festival, offering opera, a mighty choral masterpiece, several other vocal works and even a discussion. David Kettle talks to the group's founding director Robert Hollingworth about what's in store Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... 'When you hear music, you mostly just hear a lot of noise, don't you? Unless you know the music really well, of course. So our job is to make the music's intentions and process as clear as possible.' It's a disarming but typically frank summing-up of our sometimes tricky relationship with unfamiliar music from Robert Hollingworth, founding director of pioneering vocal group I Fagiolini. Together, Hollingworth and his singers have been delving into choral music both ancient and modern – much of it deeply unfamiliar to listeners, hence his intent – for almost four decades now. And they've found a whole panoply of new, creative, sometimes quirky ways to do it – from theatrical concerts to concept films. I Fagiolini | Matthew Brodie Hollingworth and I Fagiolini take up a four-event residency at this year's Lammermuir Festival, offering opera, a mighty choral masterpiece, several other vocal works and even a discussion over the space of just four days ('Why do we sign up to these schedules?' Hollingworth chuckles). Advertisement Hide Ad Advertisement Hide Ad It marks the group's Lammermuir debut. Festival co-artistic director James Waters, however, was keen for them to visit East Lothian: 'I think the proof of the pudding is that Robert gets intense loyalty from his singers. It's a lot to do with the fact that they do really interesting projects, but it's also because he's just a really nice guy with great ideas.' I Fagiolini's performances form part of a particularly broad and ambitious programme this year, with some real coups for the festival, including visits from exceptional French pianist Jean-Efflam Bavouzet, fiery Concerto Italiano with director Rinaldo Alessandrini, and the Philharmonia Orchestra. But back to I Fagiolini, whose residency will surely be a highlight of the festival's opening days. Much of what they're bringing revolves around a composer Hollingworth clearly adores: Claudio Monteverdi. 'It was about 50 years ago that I heard my first Monteverdi Vespers,' he says. 'I must have been nine or ten, a chorister in Hereford Cathedral, and we were singing some of the sections of the piece. But when I heard the rest of it, I thought: hang on, what's this? It's quite extraordinary.' Robert Hollingworth | Riccardo Cavallari But what makes it so extraordinary? Monteverdi is hardly an unknown name, but there might still be trepidation about exploring music created a century or so before the composer who seems grand-daddy of them all: JS Bach. 'I think Monteverdi is very strongly aware of the emotional power of harmony,' Hollingworth argues. 'He sets up things that you expect to be delivered, then holds them back – it's sometimes like a kind of written-out jazz. It's hugely expressive, and the thing is, anyone can listen to it. Someone once told me that they may not know much about how music works, but they know the real thing when the hear it.' Advertisement Hide Ad Advertisement Hide Ad Hollingworth and I Fagiolini have two big Monteverdi concerts, covering the rich devotional settings of the 1610 Vespers and the far earthier, more human concerns of some of the composer's madrigals. But, explains Hollingworth, Monteverdi's sacred and secular musics are more similar than you might think. 'The language is pretty much the same,' he says. 'In fact, in 1606-7 he reworked his fourth book of madrigals – some of which are quite erotic – as sacred pieces, just putting sacred words to them. He worked with a priest in Milan on it, and they had no qualms about doing it. To us, it might feel extraordinary, but it isn't really if you think about the intensity of Catholic religious passion at the time.' Coming closer to home – and, perhaps, into more familiar repertoire – I Fagiolini's operatic offering is Purcell's iconic classical tragedy Dido and Aeneas. 'But as much fun as that will be,' Hollingworth smiles, 'it's almost the first half of the concert which is more interesting, because we're going to be singing about seven or eight Purcell pieces that are absolute treasures. I spent a year and a half of my life just before the pandemic going through every single piece that Purcell wrote, and this little collection is what I think are the very finest bits.' I Fagiolini are renowned for their sense of theatricality – no doubt put to good effect in Purcell's opera – but elsewhere, Hollingworth explains, they'll be letting the music speak for itself. 'If you're going to be theatrical, you need a good reason – if it gets in the way of the music, you're doing the music a disservice.' It all goes back to clarity, he explains – in terms of ensuring that audiences understand and feel connected with music that's possibly unfamiliar to them, and probably written centuries earlier. 'I always think of my mother – she'd be in the audience, and she'd have no specific knowledge of the music. So I'd always think to myself: how is she going to understand this music? How can I help her?' Advertisement Hide Ad Advertisement Hide Ad It's perhaps hardly surprising that Hollingworth is pursuing his passions in I Fagiolini's Lammermuir Festival concerts. 'Co-artistic director Hugh MacDonald and I have this terribly naive theory,' Waters explains. 'Don't mess about with artists' programmes if they're really serious. They know what they perform best – let them do it. You don't need to have all the ideas yourself as artistic director – you need to know how those ideas fit together, but they don't all have to come from you.' James Waters | Contributed This sense of freedom and a focus on artists' individual strengths is particularly evident in 2025's programme. British cellist Laura van der Heijden, for example, appears several times across the festival's 12 days as a concerto soloist and a chamber musician, while Dutch pianist Hannes Minaar devotes two late-night concerts to Shostakovich's 24 Preludes and Fugues - his own suggestion. One unnamed artist with a particularly challenging programme even queried the wisdom of pressing ahead with it, Waters confides. 'They said: if we do that, will we sell any seats? I just sent a note back saying: well, what are festivals for?' It's a strong position for the Lammermuir Festival to be in at its 16th outing, and having developed trust among its participating musicians and audiences, Waters and MacDonald are able to take risks. But despite all the warm feelings of nurturing a network of artists who can do their own thing, the festival is clearly far more analytical and hard-headed about its audiences, where they're coming from, and how to attract even more people. Advertisement Hide Ad Advertisement Hide Ad 'We know we have about five or six different audiences,' explains Waters. 'A lot of people go to everything, but many don't, and we try to cover those audiences' tastes.' He also draws attention to growing international interest in the event. 'I've had a couple of emails from the USA saying they couldn't come this year, so could we let them know our 2026 dates? We'd love to increase our international reach – partly because it's good for our artists, but also because it does a really good job for the county. I do profoundly believe that top-line culture helps the people who live in the county, and also brings economic benefits to the area.' So at its 16th outing, the Lammermuir Festival is a complex mix of deep creativity and canny expertise - and that mixture is clearly working, judging by the richness of this September's programme. There's even a repeat of last year's young people's initiative – Front Row – giving up-front seats as well as offering valuable internships to youngsters. 'If we thought we'd be where we are now when we launched in 2010, we'd have burst out laughing,' admits Waters. 'But I think we can say we're now one of the UK's major classical music festivals. We've sort of come up quietly on the rails, but now I think there's virtually no classical artist we wouldn't pick up the phone to.' Advertisement Hide Ad Advertisement Hide Ad