Exploring the Evolution of Bonds: Insights from Paul Eastwick

Celebrating German unification at the Brandenburg Gate in Berlin on October 3, 1990

We are more likely to find love with someone we know

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Bonds through Evolution

By Paul Eastwick, Cornerstone Press

Most everyone has tales of lost love or romantic rejection, and psychologist Paul Eastwick is no exception. As an undergraduate at the turn of the millennium, he fell for a student named Anna—a stunning, tall aspiring poet fluent in Russian. While he may have seen himself as more of a “6” to her “9,” they did spend some time together before he was “friend-zoned,” and ultimately she pursued relationships elsewhere.

Eastwick, who has coined a term “EvoScript” to describe a prevalent view in the dating world, explains that rejection often seems inevitable. In this “marketplace” of dating, individuals possess unique “mate values” based on various factors like looks, intelligence, and social status, selectively pairing with the highest-value partners for the best possible offspring. He notes, however, that navigating this marketplace often leads to a hierarchy of potential partners. Reflecting on his findings, he emphasizes, “Either find your place and stay put, or run wild like Icarus,” his observations now part of his role as a psychology professor at the University of California, Davis.

While Eastwick’s theory rests on psychological literature, it has become widely accepted in popular culture. In his informative new book, Bonds through Evolution: What We Get Wrong About Love and Connection, he refutes this narrative, asserting that it is fundamentally flawed.


Passion tends to fade merely weeks after potential romantic partners connect

Many experiments supporting EvoScript evaluated mate value based on participants rating images of unfamiliar individuals. In these instant assessments, people often agree on attraction, suggesting an innate ranking based on genetic traits. However, this approach disregards the reality that first impressions can easily diminish after personal interaction. Although such studies require time and effort, Eastwick and his team demonstrated that as people genuinely connect, the perceptions of their mate value rapidly shift.

In essence, supposed mate value can be fleeting. As Eastwick summarizes, “Even if I find you attractive, there’s only a 53% chance that others will concur.” This could be disheartening news for those who consider themselves physically appealing. He continues by stating that “Potential romantic partners seem to lose their allure just weeks following their meeting.”

Eastwick proposes that compatibility ultimately plays a crucial role in determining who we love, albeit challenging to foresee. Although individuals can readily articulate preferences—such as being drawn to extroverted or adventurous people—his research indicates these traits have minimal impact on actual relationship choices. Intriguingly, we are more likely to be content with partners exhibiting three unrelated traits: being friendly, intelligent, and successful. “What truly counts,” he notes, “is not matching a worn-out checklist, but rather the feelings stirred within you,” which are fostered through chaotic conversations.

Similarly, Justin Garcia, executive director at the Kinsey Institute, reaches a comparable conclusion in his recent publication, Intimate Animals. Although Garcia employs the market-based vocabulary Eastwick challenges, he acknowledges that first impressions surrounding dating abilities can mislead. “We quickly judge partnerships appearing mismatched at first sight, yet the overall value of each partner is considerably more intricate than we assume,” he argues.

Both authors highlight the significance of “self-aggrandizement” in intimate relationships. Garcia emphasizes that personal growth, new experiences, and fresh viewpoints often prove attractive in partnerships.

These insights resonate with both seasoned and novice daters. While online dating has broadened the pool of potential partners, choices often stem from superficial evaluations that evolve once mutual acquaintance deepens. Consequently, many face disappointments prior to finding “the one” (or at least “the right one”).

Considering compatibility’s importance, Eastwick suggests giving most individuals at least three chances before forming a judgment about whether to continue dating. He states, “Third impressions generally offer a more reliable predictor than much of the currently tested information.” He also encourages creative encounters beyond traditional settings like dinners or drinks, urging couples to explore diverse activities such as roller skating, karaoke, or chocolate tastings as a means of assessing compatibility.

Continuing to nurture real-life friendships is equally important. Evidence shows that we are significantly more inclined to find love with someone we are familiar with rather than a total stranger. Social connections, at the very least, can yield numerous advantages, enhancing both physical and mental wellness.

For these reasons, Eastwick recommends maintaining a positive relationship with dating partners. Reflecting on his experiences with Anna, he realized that platonic relationships are indeed attainable. After a difficult period, his emotions for her faded, paving the way for friendship and an expanded social circle. “The joy of broadening your connections is incredibly fulfilling, and Anna appreciated that,” he concluded. It appears that the friend zone may not be such a negative space after all.

After numerous books advocating cynical strategies for “playing” the dating game, it’s refreshing to encounter two works that present evidence-based optimism regarding our chances of discovering love that resonates with our true selves. Embrace opportunities to connect with others, remain honest and respectful, and observe how feelings evolve. It’s straightforward, yet these simple strategies might just elevate your love life.

David Robson is the author of The Laws of Connection: 13 Social Strategies that Will Change Your Life.

3 Essential Reads on Relationships

Find Love:
Navigating modern relationships and discovering your ideal partner by Paul C. Brunson

Is it increasingly challenging to find romance in the 21st century? Tinder’s scientific advisor elaborates on evolving ideals and highlights common pitfalls in our search for love.

All or Nothing Marriage:
Understanding how the best marriages thrive, author Eli J. Finkel

This book provides evidence-based techniques for fostering mutual growth in long-term relationships, including strategies for enhancing communication and tackling inevitable challenges.

Single at Heart:
Embracing the power, freedom, and joy of single living by Bella DePaolo

Society often emphasizes the need to pair up; however, as social psychologist DePaolo illustrates, an increasing number of individuals find joy in singlehood. This myth-busting exploration stands as a counter to the frenzy surrounding Valentine’s Day.

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Source: www.newscientist.com

Top New Science Fiction Books to Read in February 2026: Featuring Brandon Sanderson and Paul McCauley

New Scientist: A premier source for comprehensive science news, expert insights on technology, health, and environmental issues.

Mars: The backdrop of two new science fiction novels launching in February

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If you dream of traveling to Mars, an alternate 1939 London, or into the distant future, February’s lineup of science fiction books is sure to excite you. Among the intriguing titles is Forest at the End of Time, which explores the theme of time travel to combat climate change. Another captivating read, All We Have is Time, tells the romantic tale of a time traveler offering solace to a lonely immortal woman. Plus, fans of fungal horror won’t want to miss Vast Pedro. Join the debate about whether these titles truly belong in the science fiction genre!

One of the standout novels is marketed as a time-travel thriller. It follows Echo and Hazel, recruited by a secret organization to alter history and combat climate change. Set in ancient Athens and a dystopian future, their paths converge in a shared dream as they uncover the choices that could save humanity.

Brandon Sanderson’s anticipated new book is coming this month

Provided by: Dragon Steel

Set in the expansive Cosmere universe, Sanderson’s work falls under the science fantasy category. It follows the Twilight Six, a group of supernatural bird trappers known as Avials who must modernize to fend off threatening invaders called the “Things Above.”

The author of Hamajan Rack returns with the story of Maria, the ultimate hacker bored after achieving the coveted Atlas heist. Her ordinary life takes a thrilling turn when she attracts the attention of a dangerous gang on the Kepler space station.

Mark Winters, a dedicated wildlife ranger, grapples with climate change on a remote island, battling a cult that believes in a “psychotropic mushroom-fueled collective dream” as a solution. They think he possesses vital knowledge.

Additionally, five-time Hugo Award winner Michael Swanwick shares a collection of thought-provoking short stories. These tales range from a scientist evading capture for his dangerous fusion of human intelligence and sentient AI to an aging military veteran acquiring a virtual reality robot.

The film adaptation delves into the life of an immortal woman, haunted by love lost to death, who encounters a time traveler in 1605 London. The publisher likens it to Karian Bradley’s remarkable Time Saving, making it a must-read.

Frances Spafford’s latest novel set against the backdrop of an alternate London during the Blitz

Bettman Archive/Getty Images


It’s Not

Written by Frances Spafford

Frances Spafford, an award-winning author, presents a tale steeped in fantasy yet laced with science fiction themes, featuring time travel. Set in an alternate London of 1939, ambitious city worker Iris realizes that time can indeed bend and history can be rewritten. As she grapples with the realities of the Blitz, she learns that time-traveling fascists are also on the hunt.

This book is perfect for romantics and fans of STEM-themed romances, reminiscent of works by Ali Hazlewood. In Hannah Blohm’s debut novel, neuroscientist Frances Silverstein faces her past at a prominent conference and finds herself on a fake date with her charming competitor, Lewis North. The intriguing tagline: “For any worthy scientist, falsifying data is out of the question. But what about fake dating?” Sounds like a delightful read!

Sakunja Salazar, a prominent interviewer on Earth, embarks on a journey to Mars while battling her past as an alcoholic. Her mission takes an unexpected turn when she is tasked with documenting the first human encounter with rain on Mars—an enticing prospect for any space enthusiast!

Mars also serves as the backdrop for the adventure of a stowaway girl and a wealthy hunter, stranded amidst a mercenary threat. Clearly targeted at a younger audience, this young adult novel offers a refreshing dive into teen-focused science fiction—a genre that’s often overlooked.


Vast Pedro

Written by Simon López Trujillo (translated by Robin Myers)

A mysterious fungal disease is ravaging workers on a barren eucalyptus farm in Chile, but one survivor, Pedro, draws attention from local priests and foreign mycologists alike. The publisher suggests it appeals to fans of Jeff VanderMeer, whose work I adore, especially Extinction, making this a must-read for me.

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Source: www.newscientist.com

Paul McCartney Protests AI in the Music Industry with a Silent Track

Clocking in at 2 minutes and 45 seconds, the length is comparable to “With a Little Help From My Friends.” However, Paul McCartney’s latest release, his first new recording in five years, lacks the sing-alongs and lively guitar riffs typical of his earlier work.

The legendary Beatles member, arguably one of Britain’s most esteemed living songwriters, is unveiling a largely silent track from a recording studio. This release serves as a statement against copyright infringement by AI companies within the music industry.

Rather than showcasing a catchy tune or evocative lyrics, the track predominantly features a soft hiss and unusual sounds. This arrangement underlines the concern that if AI firms utilize musicians’ intellectual property for training generative AI models, it may lead to the erosion of the creative ecosystem and eventual silencing of original music.

Currently 83 and touring in North America, McCartney has placed this song on the B-side of his upcoming album. Is this what we want? is a collection of other silent tracks, set to be released on vinyl later this month.

Mr. McCartney’s contribution comes as musicians and artists intensify their efforts to urge the UK government to prevent tech companies from training AI models using their creative work without consent or royalty payments. This is especially pressing as Britain faces regulatory pressure from former President Donald Trump’s administration.

The album’s tracklist asserts, “The UK government must not legalize music theft for the benefit of AI companies.”

Ed Newton-Rex, a composer and advocate for copyright justice involved with the protest album, expressed his concern that the government is prioritizing the interests of American tech companies over those of British creators.

Among the artists backing this campaign are Sam Fender, Kate Bush, Hans Zimmer, and Pet Shop Boys.

McCartney’s new piece is titled (Bonus Track), and like his classic songs, it comprises a beginning, middle, and end. It opens with 55 seconds of tape hiss, transitions into 15 seconds of indistinguishable clattering, perhaps caused by someone moving about with a door ajar, and concludes with 80 seconds of rustling and intermittent hiss, fading out slowly and emotionally.

Mr. McCartney stands as a prominent voice in British music voicing concerns regarding the government’s efforts to establish new agreements between creative professionals and AI companies like OpenAI, Google, Anthropic, and Elon Musk’s xAI, which require access to extensive training data, including text, images, and music.

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“We risk having it hijacked, which is a concern, particularly for emerging composers and writers,” McCartney remarked about AI. “It would indeed be disheartening if AI wiped out creativity.” Bush, another artist on the protest album, expressed, “Will our voices not resonate in the music of the future?” Composer Max Richter added, “The government’s proposals would diminish creators, privileging those who automate creativity over true artists, writers, and visual creators.”

The government is assessing the possibility of creating an exception in UK copyright law for “text and data mining,” potentially compelling copyright owners to actively opt out if they don’t wish to have their works used for AI training. Ministers are striving to balance the interests of the creative sectors, contributing £125bn annually to the UK economy, against the demands of US tech companies advocating for minimal regulation, especially when they’ve recently announced over £30bn of investment primarily targeting data centers.


Legislation regarding AI and copyright is not anticipated to be discussed in Congress until 2026. In the interim, the government is collaborating with Open AI, Google, and human to promote AI adoption within governmental functions and the economy.

Mr. Trump has stated, “We must allow AI to utilize it.” He noted, “We can gather insights without engaging in complex contract negotiations,” urging international governments “not to implement regulations that hinder” AI companies from operating effectively.

“The government is attempting to navigate both interests,” copyright advocate and director Bivan Kidron told the Guardian. “They have demonstrated an inability to govern with the financial interests of creators in mind.”

A government representative stated that Liz Kendall, the Secretary of State for Science, Innovation and Technology, is committed to finding a balance between AI and the creative sectors, declaring, “We recognize both of these sectors are vital to the UK’s success and are engaging with both parties.”

Concerns were voiced following Kendall’s appointment of a special adviser in September, who previously argued that “regardless of philosophical beliefs about whether AI firms should compensate content creators, there is currently no legal obligation for them to do so.”

In response to Mr. McCartney’s remarks, a government spokesperson affirmed that the government prioritizes the interests of the British public and businesses.

“We have consistently emphasized the importance of collaborating with both the creative industries and the AI sector to foster AI innovation while ensuring robust safeguards for creators,” the statement read.

“We’re gathering insights from both UK and international companies and voices in the AI and creative industries to ensure we consider the broadest possible spectrum of expert opinions as we deliberate on our next steps.”

Source: www.theguardian.com

Paul McCartney and Dua Lipa Join Forces to Challenge Starmer’s AI Copyright Proposals

Numerous prominent figures and organizations from the UK’s creative sector, such as Coldplay, Paul McCartney, Dua Lipa, Ian McKellen, and the Royal Shakespeare Company, have called on the Prime Minister to safeguard artists’ copyright rather than cater to Big Tech’s interests.

In an open letter addressed to Keir Starmer, many notable artists express that their creative livelihoods are at risk. This concern arises from ongoing discussions regarding a government initiative that would permit artificial intelligence companies to utilize copyrighted works without consent.

The letter characterizes copyright as the “lifeline” of their profession, cautioning in a highlighted message that the proposed legislative change may jeopardize the UK’s status as a key player in the creative industry.

“Catering to a select few dominant foreign tech firms risks undermining our growth potential, as it threatens our future income, our position as a creative leader, and diminishes the value and legal standards we hold dear,” the letter asserts.

The letter encourages the government to accept amendments to the data bill suggested by crossbench peers and prominent advocate Beavan Kidron. Kidron, who spearheaded the artists’ letter, is advocating for changes that would necessitate AI firms to disclose the copyrighted works they incorporate into their models.

A united call to lawmakers across the political spectrum in both houses is made to push for reform: “We urge you to vote in favor of the UK’s creative sector. Supporting our creators is crucial for future generations. Our creations are not for your appropriation.”

With representation spanning music, theater, film, literature, art, and media, over 400 signatories include notable names like Elton John, the Isiglo River, Annie Lennox, Rachel Whitehead, Janet Winterson, the National Theatre, and the News Media Association.

The proposed Kidron amendment is set for Senate voting on Monday, yet the government has already declared its opposition, asserting that the current consultation process is adequate for discussing modifications to copyright law aimed at protecting creators’ rights.

Under current government proposals, AI companies are permitted to utilize copyrighted materials without authorization unless copyright holders actively “opt out” by demonstrating their refusal to allow their work to be utilized without proper compensation.

Giles Martin, a music producer and son of Beatles producer George Martin, mentioned to the Guardian that the opt-out proposal may be impractical for emerging artists.

“When Paul McCartney wrote ‘Yesterday’, his first thought was about ‘how to record this,’ not ‘how to prevent people from stealing it,'” Martin remarked.

Kidron pointed out that the letter’s signatories are advocating to secure a positive future for the upcoming generation of creators and innovators.

Supporters of the Kidron Amendment argue that this change will ensure that creatives receive fair compensation for the use of their work in training AI models through licensing agreements.

Generation AI models refer to the technology powering robust tools like ChatGPT and SUNO music creation tools, which require extensive data training to produce outputs. The primary sources of this data encompass online platforms, including Wikipedia, YouTube, newspaper articles, and digital book archives.

The government has introduced an amendment to the data bill that will commit to conducting economic impact assessments regarding the proposal. A source close to technology secretary Peter Kyle indicated to the Guardian that the opt-out system is no longer his preferred approach.

The official site is evaluating four options. The other three alternatives to the “opt-out” scenario include requiring AI companies to obtain licenses for using copyrighted works and enabling AI firms to utilize such works without creators or individuals needing to opt out.

A spokesperson for the government stated: “Uncertainty surrounding the copyright framework is hindering the growth of the AI and creative sectors. This cannot continue, but it’s evident that changes will not be considered unless they thoroughly benefit creators.”

Source: www.theguardian.com

Paul McCartney warns that AI law revision may deceive artists

In a recent statement, Sir Paul McCartney cautioned that artificial intelligence could potentially become an artist if copyright laws were to be revised.

Speaking to the BBC, he expressed concerns that such a proposal might diminish the incentives for writers and artists, ultimately stifling creativity.


The issue of using copyrighted materials to train AI models is currently a topic of discussion in government talks.

As a member of the Beatles, McCartney emphasized the importance of copyright protection, stating that anyone could potentially exploit creative works without proper compensation.

He raised concerns about the financial ramifications of unauthorized use of copyrighted materials for AI training, urging the need for fair compensation for creators.

While the debate continues within the creative industry over the usage of copyrighted materials, some organizations have entered into licensing agreements with AI companies for model training.

McCartney has previously voiced apprehensions about the impact of AI on art, co-signing a petition alongside other prominent figures to address concerns about the unauthorized use of creative works for AI training.

In light of these developments, the government is conducting consultations to address the balance between AI innovation and protecting creators’ rights.

McCartney urged the government to prioritize the protection of creative thinkers and artists in any legislative updates, emphasizing the need for a fair and equitable system for all parties involved.

The intersection of AI technology and creative industries remains a complex and evolving space, with stakeholders advocating for clarity and fairness in policy making.

Source: www.theguardian.com