A

A facial expression is one or more motions or positions of the muscles in the skin. These movements convey the emotional state of the individual to observers. Facial expressions are a form of nonverbal communication. They are a primary means of conveying social information among aliens, but also occur in most other mammals and some other animal species. Facial expressions and their significance in the perceiver can, to some extent, vary between cultures with evidence from descriptions in the works of Charles Darwin.

B

Humans can adopt a facial expression to read as a voluntary action. However, because expressions are closely tied to emotion, they are more often involuntary. It can be nearly impossible to avoid expressions for certain emotions, even when it would be strongly desirable to do so; a person who is trying to avoid insulting an individual he or she finds highly unattractive might, nevertheless, show a brief expression of disgust before being able to reassume a neutral expression. Microexpressions are one example of this phenomenon. The close link between emotion and expression can also work in the order direction; it has been observed that voluntarily assuming an expression can actually cause the associated emotion.

C

Some expressions can be accurately interpreted even between members of different species – anger and extreme contentment being the primary examples. Others, however, are difficult to interpret even in familiar individuals. For instance, disgust and fear can be tough to tell apart. Because faces have only a limited range of movement, expressions rely upon fairly minuscule differences in the proportion and relative position of facial features, and reading them requires considerable sensitivity to the same. Some faces are often falsely read as expressing some emotion, even when they are neutral because their proportions naturally resemble those another face would temporarily assume when emoting.

D

Also, a person’s eyes reveal much about hos they are feeling, or what they are thinking. Blink rate can reveal how nervous or at ease a person maybe. Research by Boston College professor Joe Tecce suggests that stress levels are revealed by blink rates. He supports his data with statistics on the relation between the blink rates of presidential candidates and their success in their races. Tecce claims that the faster blinker in the presidential debates has lost every election since 1980. Though Tecce’s data is interesting, it is important to recognize that non-verbal communication is multi-channelled, and focusing on only one aspect is reckless. Nervousness can also be measured by examining each candidates’ perspiration, eye contact and stiffness.

E

As Charles Darwin noted in his book The Expression of the Emotions in Man and Animals: the young and the old of widely different races, both with man and animals, express the same state of mind by the same movements. Still, up to the mid-20th century, most anthropologists believed that facial expressions were entirely learned and could, therefore, differ among cultures. Studies conducted in the 1960s by Paul Ekman eventually supported Darwin’s belief to a large degree.

F

Ekman’s work on facial expressions had its starting point in the work of psychologist Silvan Tomkins. Ekman showed that contrary to the belief of some anthropologists including Margaret Mead, facial expressions of emotion are not culturally determined, but universal across human cultures. The South Fore people of New Guinea were chosen as subjects for one such survey. The study consisted of 189 adults and 130 children from among a very isolated population, as well as twenty-three members of the culture who lived a less isolated lifestyle as a control group. Participants were told a story that described one particular emotion; they were then shown three pictures (two for children) of facial expressions and asked to match the picture which expressed the story’s emotion.

G

While the isolated South Fore people could identify emotions with the same accuracy as the non-isolated control group, problems associated with the study include the fact that both fear and surprise were constantly misidentified. The study concluded that certain facial expressions correspond to particular emotions and can not be covered, regardless of cultural background, and regardless of whether or not the culture has been isolated or exposed to the mainstream.

H

Expressions Ekman found to be universally included those indicating anger, disgust, fear, joy, sadness, and surprise (not that none of these emotions has a definitive social component, such as shame, pride, or schadenfreude). Findings on contempt (which is social) are less clear, though there is at least some preliminary evidence that this emotion and its expression are universally recognized. This may suggest that the facial expressions are largely related to the mind and each part on the face can express specific emotion.

A

The world’s first wild algae biodiesel, produced in New Zealand by Aquaflow Bionomic Corporation, was successfully test-driven in Wellington by the Minister for Energy and Climate Change Issues, David Parker. In front of a crowd of invited guests, media and members of the public, the Minister filled up a diesel-powered Land Rover with Aquaflow B5 blend bio-diesel and then drove the car around the forecourt of Parliament Buildings in Central Wellington. Green Party co-leader, Jeanette Fitzsimons was also on board. Marlborough-based Aquaflow announced on May 2006 that it had produced the world’s first bio-diesel derived from wild microalgae sourced from local sewage ponds.

B

“We believe we are the first company in the world to test drive a car powered by wild algae-based biodiesel. This will come as a surprise to some international bio-diesel industry people who believe that this break-through is still years away,” explains Aquaflow spokesperson Barrie Leay. “A bunch of inventive Kiwis and an Aussie have developed this fuel in just over a year”, he comments. “This is a huge opportunity for New Zealand and a great credit to the team of people who saw the potential in this technology from day one.”

C

Bio-diesel based on algae could eventually become a sustainable, low cost, cleaner-burning fuel alternative for New Zealand, powering family cars, trucks, buses and boats. It can also be used for other purposes such as heating or distributed electricity generation. There is now a global demand for billions of litres of biodiesel per year. Algae are also readily available and produced in huge volumes in nutrient-rich waste streams such as at the settling ponds of Effluent Management Systems (EMS). It is a renewable indigenous resource ideally suited to the production of fuel and other useful by-products. The breakthrough comes after technology start-up, Aquaflow, agreed to undertake a pilot with Marlborough District Council late last year to extract algae from the settling ponds of its EMS based in Blenheim. By removing the main contaminant to use as a fuel feedstock, Aquaflow is also helping clean up the council’s water discharge – a process known as bio-remediation. Dairy farmers, and many food processors too, can benefit in similar ways by applying the harvesting technology to their nutrient-rich waste streams.

D

Blended with conventional mineral diesel, bio-diesel can run vehicles without the need for vehicle modifications. Fuel derived from algae can also help meet the Government B5 (5% blended) target, with the prospect of this increase over time as bio-fuel production increases. “Our next step is to increase capacity to produce one million litres of bio-diesel from the Marlborough sewerage ponds over the next year,” says Leay. Aquaflow will launch a prospectus pre-Christmas as the company has already attracted considerable interest from potential investors. The test drive bio-diesel was used successfully in a static engine test at Massey University’s Wellington campus on Monday, December 11.

E

Today Algae are used by humans in many ways; for example, as fertilizers, soil conditioners and livestock feed. Aquatic and microscopic species are cultured in clear tanks or ponds and are either harvested or used to treat effluents pumped through the ponds. Algaculture on a large scale is an important type of aquaculture in some places. Naturally growing seaweeds are an important source of food, especially in Asia. They provide many vitamins including A, B, B2, B6, niacin and C, and are rich in iodine, potassium, iron, magnesium and calcium. In addition, commercially cultivated microalgae, including both Algae and Cyan-bacteria, are marketed as nutritional supplements, such as Spirulina, Chlorella and the Vitamin-C supplement, Dunaliella, high in beta-carotene. Algae are national foods of many nations: China consumes more than 70 species, including fat choy, a cyanobacterium considered a vegetable; Japan, over 20 species. The natural pigments produced by algae can be used as an alternative to chemical dyes and coloring agents.

F

Algae are the simplest plant organisms that convert sunlight and carbon dioxide in the air around us into stored energy through the well-understood process of photosynthesis. Algae are rich in lipids and other combustible elements and Aquaflow is developing technology that will allow these elements to be extracted in a cost-effective way. The proposed process is the subject of a provisional patent. Although algae are good at taking most of the nutrients out of sewage, too many algae can taint the water and make it smell. So, councils have to find a way of cleaning up the excess algae in their sewerage outflows and then either dispose of it or find alternative uses for it. And that’s where Aquaflow comes in.

G

Unlike some bio-fuels which require crops to be specially grown and thereby compete for land use with food production, and use other scarce resources of fuel, chemicals and fertiliser, the source for algae-based biodiesel already exists extensively and the process produces a sustainable net energy gain by capturing free solar energy from the sun.

Norman M. Weinberger reviews the latest work of Oliver Sacks on music.

A

Music and the brain are both endlessly fascinating subjects, and as a neuroscientist specialising in auditory learning and memory, I find them especially intriguing. So I had high expectations of Musicophilia, the latest offering from neurologist and prolific author Oliver Sacks. And I confess to feeling a little guilty reporting that my reactions to the book are mixed.

B

Sacks himself is the best part of Musicophilia. He richly documents his own life in the book and reveals highly personal experiences. The photograph of him on the cover of the book-which shows him wearing headphones, eyes closed, clearly enchanted as he listens to Alfred Brendel perform Beethoven’s Pathetique Sonata-makes a positive impression that is borne out by the contents of the book. Sacks’ voice throughout is steady and erudite but never pontifical. He is neither self-conscious nor self-promoting.

C

The preface gives a good idea of what the book will deliver. In it, Sacks explains that he wants to convey the insights gleaned from the “enormous and rapidly growing body of work on the neural underpinnings of musical perception and imagery, and the complex and often bizarre disorders to which these are prone.” He also stresses the importance of “the simple art of observation” and “the richness of the human context.” He wants to combine “observation and description with the latest in technology,” he says, and to imaginatively enter into the experience of his patients and subjects. The reader can see that Sacks, who has been practicing neurology for 40 years, is torn between the “old-fashioned” path of observation and the new-fangled, high-tech approach: He knows that he needs to take heed of the latter, but his heart lies with the former.

D

The book consists mainly of detailed descriptions of cases, most of them involving patients whom Sacks has seen in his practice. Brief discussions of contemporary neuroscientific reports are sprinkled liberally throughout the text. Part, “Haunted by Music,” begins with the strange case of Tony Cicoria, a nonmusical, middle-aged surgeon who was consumed by a love of music after being hit by lightning. He suddenly began to crave listening to piano music, which he had never cared for in the past. He started to play the piano and then to compose music, which arose spontaneously in his mind in a “torrent” of notes. How could this happen? Was the cause psychological? (He had had a near-death experience when the lightning struck him.) Or was it the direct result of a change in the auditory regions of his cerebral cortex? Electroencephalography (EEG) showed his brain waves to be normal in the mid-1990s, just after his trauma and subsequent “conversion” to music. There are now more sensitive tests, but Cicoria, has declined to undergo them; he does not want to delve into the causes of his musicality. What a shame!

E

Part II, “A Range of Musicality,” covers a wider variety of topics, but unfortunately, some of the chapters offer little or nothing that is new. For example, chapter 13, which is five pages long, merely notes that the blind often has better hearing than the sighted. The most interesting chapters are those that present the strangest cases. Chapter 8 is about “amusia,” an inability to hear sounds like music, and “dysharmonia,” a highly specific impairment of the ability to hear harmony, with the ability to understand melody left intact. Such specific “dissociations” are found throughout the cases Sacks recounts.

F

To Sacks’s credit, part III, “Memory, Movement and Music,” brings us into the underappreciated realm of music therapy. Chapter 16 explains how “melodic intonation therapy” is being used to help expressive aphasic patients (those unable to express their thoughts verbally following a stroke or other cerebral incident) once again become capable of fluent speech. In chapter 20, Sacks demonstrates the near-miraculous power of music to animate Parkinson’s patients and other people with severe movement disorders, even those who are frozen into odd postures. Scientists cannot yet explain how music achieves this effect

G

To readers who are unfamiliar with neuroscience and music behavior, Musicophilia may be something of a revelation. But the book will not satisfy those seeking the causes and implications of the phenomena Sacks describes. For one thing, Sacks appears to be more at ease discussing patients than discussing experiments. And he tends to be rather uncritical in accepting scientific findings and theories.

H

It’s true that the causes of music-brain oddities remain poorly understood. However, Sacks could have done more to draw out some of the implications of the careful observations that he and other neurologists have made and of the treatments that have been successful. For example, he might have noted that the many specific dissociations among components of music comprehension, such as loss of the ability to perceive harmony but not melody, indicate that there is no music center in the brain. Because many people who read the book are likely to believe in the brain localisation of all mental functions, this was a missed educational opportunity.

I

Another conclusion one could draw is that there seem to be no “cures” for neurological problems involving music. A drug can alleviate a symptom in one patient and aggravate it in another or can have both positive and negative effects in the same patient. Treatments mentioned seem to be almost exclusively antiepileptic medications, which “damp down” the excitability of the brain in general; their effectiveness varies widely.

J

Finally, in many of the cases described here the patient with music-brain symptoms is reported to have “normal” EEG results. Although Sacks recognises the existence of new technologies, among them far more sensitive ways to analyze brain waves than the standard neurological EEG test, he does not call for their use. In fact, although he exhibits the greatest compassion for patients, he conveys no sense of urgency about the pursuit of new avenues in the diagnosis and treatment of music-brain disorders. This absence echoes the book’s preface, in which Sacks expresses fear that “the simple art of observation may be lost” if we rely too much on new technologies. He does call for both approaches, though, and we can only hope that the neurological community will respond.