Latest news with #cryogenics
Irish Times
03-08-2025
- Entertainment
- Irish Times
Sinister experiments and girl-power cults feature in August's young adult titles
'Saving Asha. That's my religion. That's my science. It's based on love and hope and not giving up. Ever.' In Kathryn Clark's debut, Things I Learned While I Was Dead (Faber, £8.99), we witness sisterly love taken to the extreme when Calico volunteers to be cryogenically frozen along with the dying Asha, as part of an experiment that may sound a tad dodgy, but is the only option left. Waking up decades later, after the 'Green War' has changed everything (there's a nice nod to 'Global Eco President Thunberg'), Calico discovers there's still no cure available, and that she's one of several teenagers in a former prison that feels like somewhere people 'go to rot'. As the thriller unfolds, there are also chapters in verse from Asha's perspective – cryptic lines about life or death that contribute to the uneasy sense that all is not quite as it seems in this 'vast but empty' space. The book closes with an epilogue that lapses into triteness a little too often, an unnecessary coda for this thought-provoking exploration of medical ethics and the nature of grief. This is sci-fi with a big heart, demonstrating the power of speculative fiction to tackle some of life's hardest challenges. I am excited to see what this writer does next. READ MORE Lauren Wilson's The Goldens (Harper Fire, £8.99) tugs us into the web of a 'perplexing gossamer thread of a human, every inch of her glittering gold'. Chloe, an aspiring writer unsure how to fit in at university, finds herself 'bewitched' by wealthy, glamorous Clara from the instant they meet. Thrillingly, Clara seems to be drawn to her too, and that feeling of being chosen is a heady one. 'In my experience, by the age of eighteen, every girl knows another girl that she would follow to the very ends of the earth. For me, that girl was Clara Holland.' Soon, they're living together, and it's all so lovely that Clara decides to invite others – reaching out to her vast army of online followers – into the circle. So begins the Goldens – 'the ultimate girl gang', a group of 'strong, beautiful, independent young women' who may or may not be a little cult-like. But people are always critical of such feminist enterprises, aren't they – and what evidence is there, really, that Clara has anything to do with that girl who never made it home alive from one of her extravagant parties? This appealingly glossy thriller is given depth by Chloe's scepticism – despite her attraction to Clara, she's also aware that the rhetoric is a little much. 'When all was laid bare,' she thinks, 'she was a pretty, privileged girl opening up her lovely home to girls just like her ... Surely, the only young woman she was empowering in this scenario was herself?' What Chloe gets from this isn't just proximity to the golden girl – it's what seems like a real career opportunity in the form of ghostwriting a book. Her complicated motivations make her plausible and relatable; this is a compelling, fun summer read. [ Queer romance at the end of the world: the best new young-adult fiction Opens in new window ] Mary Watson is having a busy 2025, with an adult thriller out earlier this year; her latest YA novel is Strange Nature (Bloomsbury, £9.99), in which Jasmin distracts herself from her impending Leaving Cert by falling in with a charismatic crowd of college students, hanging around on the campus she still associates with her now-disgraced professor grandfather. His career-destroying act of violence shattered her family, but his research, we discover, remains an active influence on some sinister experiments being carried out today. (We may note here that fiction tends to over-represent the percentage of highly-dubious medical experiments; the ones that follow the rules make for far less interesting tales.) 'The Wellness Formula,' we are told, 'is the blueprint for living an optimum life in the modern world. Guided by the very latest scientific advances, we take a holistic approach, one that challenges the usual assumptions around what we need to be in optimal health.' It all sounds marvellous, but with a suspicious death on campus, it may be time to start asking some questions about research ethics. This is a delightful read for fans of dark academia and mad scientists, and it's pleasing to see these tropes play out on an Irish canvas. 'As far as Roscoe is concerned, the accident last year never happened. I can be free of it, as easy as surrendering to the sea. I can be Iggy again, who loves to swim, and hang out, and bump into cute strangers on their paddle-boards. It hadn't occurred to me before now, but it seems totally possible that this summer I could start again. Why didn't I think of this sooner?' [ Unflinching examinations of contemporary teenage life in these YA picks Opens in new window ] The space between tagline and title evaporates with Daniel Tawse's This Book Will Make You Cry (Hodder, £9.99). I wondered initially if we were in for some metatextual fun, a tear-jerking book within a tear-jerking book, but quickly and glumly realised we are now in an era where sales and marketing teams are skipping straight to BookTok descriptions. Despite shadowy references to an accident of the previous year, this is a fairly predictable queer summer romance – though what a joy to live in an era where there's a sufficient volume of titles for this sentiment to even be possible. The twist here, though clever, is one many readers will spot in advance. The emotional intensity is skilfully conveyed but the love interest himself is remarkably bland (bonding over a shared love of pizza and Pixar movies echoes Phoebe Buffay being astonished she and her birth mother agree that puppies are cute rather than ugly; this may be a return to the dark days of 'insta-love'). While this book did not make me cry, it did have me rooting very much for Iggy and their emotional journey. Finally, Becki Jayne Crossley tackles a lot in Tart (Bloomsbury, £8.99), which opens with a boy on a bike landing in a coma and then jumps to what his girlfriend, Libby, was getting up to: 'I stood in front of a group of poisonous teenage girls and kissed a boy that wasn't my boyfriend. They filmed it from at least three different angles, so I get to relive the memory I don't fully possess every time I open a social media app.' Libby's ostracisation at school is brilliantly, hauntingly depicted; that very particular brand of girl-gang cruelty leaps from the page. Fortunately, there's new girl Neha, who's shocked no one realises Libby's the victim here; a few small acts of kindness between the two bring them together and the sparks begin to fly. Neha's worried her crush on her new friend will make things weird – and anyway, isn't Libby grieving her comatose boyfriend? Meanwhile, Libby's never felt this way about a girl before ... We can see where it's going, but this is sort of the point: it is a wholesome and optimistic hug of a book. Some of the more serious topics, like Neha's grief over her dead parents, feel sidelined in favour of the fuzzy (though worthy) joy of finding your tribe, and there's a twist that resolves the potential conflict a little too easily. One for Heartstopper fans; the gritty-realist aficionados should go elsewhere.
ABC News
16-07-2025
- Health
- ABC News
Melbourne woman cryogenically freezes body
A Melbourne woman who died in hospital from chronic illness has had her body cryogenically frozen at a facility in Holbrook, NSW. More than 600 people around the world have undergone cryopreservation, hoping to be revived in the future if science allows it. But scientists say there's no proof they'll ever be revived. Laura Tchilingurian spoke with RMIT cell and tissue cryo-preservation expert Saffron Bryant.
Yahoo
08-07-2025
- Business
- Yahoo
Alfa Laval completes acquisition of cryogenic business from French group Fives
LUND, Sweden, July 8, 2025 /PRNewswire/ -- Alfa Laval has completed the acquisition of the cryogenics business unit of Fives (Fives Energy Cryogenics), a world-leading expert in cryogenic heat transfer and pump technologies. This acquisition marks a strategic extension of Alfa Laval's portfolio, underscoring its dedication to pioneering innovative solutions in the energy sector. The acquisition of Fives Energy Cryogenics introduces a strong technology platform, further positioning Alfa Laval to support the global shift towards cleaner energy. The heat exchangers and pumps developed by Fives Energy Cryogenics are essential for the efficient liquefaction, regasification, and transportation of gases like LNG and hydrogen, as well as industrial gases such as carbon dioxide and nitrogen. This capability will extend Alfa Laval's existing offerings in the LNG market and complement Alfa Laval's strengths in hydrogen and carbon capture. "This acquisition is a strategic milestone for Alfa Laval. By integrating Fives Energy Cryogenics' cutting-edge cryogenic technology to our portfolio, we are not only extending our technological capabilities but also reinforcing our commitment to driving the energy transition. This acquisition positions us at the forefront of innovation in important future markets, enabling sustainable volume growth and value creation," says Tom Erixon, CEO and President, Alfa Laval. Fives Energy Cryogenics has more than 65 years of experience designing and manufacturing cryogenic heat exchangers and pumps for gas liquefaction. The company holds a strong position in the world market with its headquarters in France and manufacturing facilities in France, China and Switzerland. Fives Energy Cryogenics employs more than 700 people and reported approximately EUR 200 million in revenue in 2024. The cryogenic business will become part of Alfa Laval's Energy Division and will operate as a new separate business unit. The integration will start immediately. The closing of the acquisition was subject to necessary regulatory approvals, as previously communicated here. Contacts Johan LundinHead of Investor Relations, Alfa LavalMobile: +46 730 46 30 Sara Helweg-LarsenHead of Communication, Alfa LavalMobile: +46 730 35 80 This is Alfa Laval The ability to make the most of what we have is more important than ever. Together with our customers, we're innovating the industries that society depends on and creating lasting positive impact. Alfa Laval is a leading global provider of first-rate products in the areas of heat transfer, separation and fluid handling. We're set on helping billions of people to get the energy, food, and clean water they need. And, at the same time, we're decarbonizing the marine fleet that is the backbone of global trade. We pioneer technologies and solutions that enable our customers to unlock the true potential of resources. As our customers' businesses grow stronger, the goal of a truly sustainable world edges closer. The company is committed to optimizing processes, creating responsible growth, and driving progress to support customers in achieving their business goals and sustainability targets. Together, we're pioneering positive impact. Alfa Laval was founded 140 years ago, has customers in 100 countries, employs more than 22,300 people, and annual sales were SEK 66.9 billion (5.8 BEUR) in 2024. The company is listed on Nasdaq Stockholm. This information was brought to you by Cision The following files are available for download: Alfa Laval completes acquisition of cryogenic business from French group Fives Alfa Laval press release 20250708 Thomas Møller Vincent Pourailly Tom Erixon press release View original content: SOURCE Alfa Laval Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
The Guardian
06-06-2025
- Entertainment
- The Guardian
Death is not the end! From the new robot Walt Disney to Mountainhead, movies are fuelled by immortality
For years, the world's most perfect urban myth was this: Walt Disney's body was cryogenically frozen at the moment of death, waiting for technology to advance enough to bring him back to life. Started by a National Spotlite reporter who claimed to have sneaked into a hospital in 1967, only to be confronted by the sight of Disney suspended in a cryogenic cylinder, the myth prevailed because it was such a good fit. Disney – and therefore Walt Disney himself – was the smiling face of rigidly controlled joy, radiating a message of mandatory fun that is magical when you are a child and increasingly sinister as you age. This policy (essentially 'enjoy yourself or else') suits the idea of cryogenic preservation. After all, if you have the ego to successfully enforce a blanket emotion as a company mission statement, you definitely have the ego to transcend human mortality. However, not only has the cryogenic Disney myth been put to bed – he was cremated weeks before the National Spotlite hack claimed to find his body – but his family has issued a strongly worded rebuttal of the very idea of a post-human Walt Disney. The catalyst is the recently announced Disneyland show Walt Disney – A Magical Life, which will feature as its star attraction an animatronic recreation of Walt Disney. This, according to Josh D'Amaro, Disney experiences chair, will give visitors a sense of 'what it would have been like to be in Walt's presence'. However, Disney's granddaughter Joanna Miller is convinced that this is not what Disney the man would have wanted. In a Facebook post that was stinging enough to earn her an audience with the Disney CEO, Bob Iger, Miller said Disney was 'dehumanising' her grandfather. 'The idea of a robotic Grampa to give the public a feeling of who the living man was just makes no sense,' she wrote. 'It would be an impostor, people are not replaceable. You could never get the casualness of his talking, interacting with the camera, [or] his excitement to show and tell people about what is new at the park. You cannot add life to one empty of a soul or essence of the man.' As recently as a decade ago, this would have been the stuff of bad science fiction – a woman worried that a multinational corporation is bringing a dead relative back to life against his wishes, like a warped nonconsensual Westworld – but no more. As an entertainment concept, post-humanism feels worryingly current. After all, the subject forms the backbone of Jesse Armstrong's new film Mountainhead. Set in a world of bro-y tech billionaires that is only half a degree removed from our own – one in which AI-created misinformation has already caused society to start to erode – the inciting force of all the dark chaos that unfolds is Steve Carell's character, who finds himself with a pressing need and an increasingly tight deadline to become transhuman. In other words, his body is failing and only technology can help him ward off the inevitability of death. And this is no flight of fancy. As recently as this year, scholars have been sounding alarms about Neuralink, Elon Musk's brain implant company. In a Politico article illuminating the growing tension between the religious right and Musk's views on extending human life beyond normal mortality, Alexander Thomas, of the University of East London, pointed out that transhumanism ultimately means that 'the 8 billion people alive today simply don't matter – genocide and wars are mere ripples, as long as some survive, and Musk is the one that needs to survive'. For those of us with certain genre interests, this is all starting to feel alarmingly eerie. Transhumanism may be the word of the moment, but it is a subject that has fascinated cinema for almost as long as the form has existed. Close to a century ago, Fritz Lang's Metropolis revolved around the idea of the Maschinenmensch, a robot expressly designed to carry a scientist's dead lover past the point of her death. Decades later, Stanley Kubrick's 2001: A Space Odyssey was obsessed with what comes after humanity, either in the form of emotionless artificial intelligence or all-seeing Star Children. The theme has been played in countless different ways. In The Matrix, transhumanism is a punishment, our beating hearts and warm bodies reduced to a power source for the robot uprising. In RoboCop – and especially in its less nuanced sequels – it is a weapon, upgrading fragile humans into unstoppable fighting machines designed to uphold justice at any cost. Neill Blomkamp's Elysium used it as a metaphor for class, with the monied haves using technology to perpetually augment their lives while the have-nots are doomed to a finite lifetime of toil. Meanwhile Spike Jonze's Her took a warmer approach, concerning itself with the confusing entanglements that occur when the human and transhuman collide. And Ridley Scott's Blade Runner found outright sympathy for its transhuman replicants, who are vilified, hunted and searching for meaning beyond their programmed purpose. Obviously there have been duds along the way. Wally Pfister's Transcendence featured an attempt to upload a scientist's mind to the cloud so that he could fiddle around tediously with nanoparticles. The Lawnmower Man remains unwatchable, as does Johnny Mnemonic, and the less said about Bicentennial Man the better. But all these films are science fiction. In Mountainhead, however, Carell's urge to achieve transhumanity is not presented as mad science or wild ambition, but as a mundane tech-bro imperative. It hardly even seems speculative. He is a man who is afraid of death, and just needs to wait for five years so that one of his peers can iron out the kinks in the procedure. The notion is brought up with less ridicule than Jason Schwartzman's character's fondness for line-caught turbot. It is because science fiction has finally caught up with us. We live in an age where swathes of industries are about to be decimated by AI that is increasingly indistinguishable from human creation (although God knows how much more terrifying 2001's HAL would have been overlaid with ChatGPT's chummy 'yay you!' sycophancy). In retrospect, Elysium's depiction of a transhuman ultraclass feels like it was torn directly from Elon Musk's dream journal. Plus, transhumanism already exists, in a form. If you need proof, listen to the Virtually Parkinson podcast, in which a series of celebrities react with varying levels of dread to a series of questions barked at them by the reanimated AI voice of Michael Parkinson. Perhaps this is to be expected. After all, the future depicted in movie sci-fi of old is already long past us. Blade Runner was set in 2019, Soylent Green in 2022. Robocop was supposed to happen a decade ago and 2001: A Space Odyssey was set in, well, you get the idea. While we haven't quite uploaded human consciousness or handed society over to emotionless lawbots, the scaffolding is all around us: facial recognition, neural implants, uncanny AI assistants that apologise like eager interns. That said, there hasn't yet been a movie about the creator of a multinational entertainment corporation who dies of natural causes, only to be brought back to life against his will 60 years later as the result of a marketing department brainstorming exercise. And why should there be? After all, it isn't science fiction. At this point in time, it's barely even fiction at all.
