Seriously... Folgen

"When I was in primary school, I remember being asked to draw our house. I drew our temporary accommodation, which back then was just an ordinary house. And I think about children living in these office blocks - what would they draw?"When Immie was growing up, she lived in emergency and then temporary accommodation with her mum and three sisters. Temporary can be permanent for many people, but today she feels much more secure. Then one day something odd happened. She was on the bus, on the to deck, looking into the first floor of an ugly office block on the side of the busy A12 in north east London. She could see it had been converted, and there were people living up and down all seven floors. In tiny flats. Some of them were much smaller than the government's minimum space standard.Immie wanted to know how this was possible.We often hear that there is a national housing crisis, but don't always understand what that means. Immie, who is just 22, has made over 80 freedom of information requests to find out how many people are being temporarily housed in office blocks. She discovers that it is perfectly legal to do this - developers can bypass normal planning regulations thanks to Permitted Development Rights or PDR. She meets an architect and a council leader who both say it's wrong, though their reasons are not the same. Features interviews with architect Julia Park of Leviit Bernstein; and Joseph Ejiofor, the head of Haringey Council ... plus some dramatic location recordings too.The producer in Bristol is Miles Warde

Eddie was set to become another statistic, another teenager killed by rising levels of knife crime.But Eddie’s life was saved by the new field of trauma science. It is revolutionising the way people are treated after shootings, traffic accidents or any injury that causes catastrophic bleeding.The doctors that pioneered the work call it Code Red. Your chances of surviving major bleeding are now higher than ever before.So what changed? Quite simply trauma medicine has been turned on its head. Before 2007, doctors would have treated Eddie’s catastrophic bleeding by trying to replace the fluid leaking out of his stab wounds. Salty water, called saline, and just one component of our blood – the oxygen carrying red blood cells – would be put back into Eddie’s body - in what's called a massive transfusion.It seemed like a good idea. Keep the blood pressure up, keep oxygen moving round the body and keep the patient alive. But that’s not what happened - around half of people died on the operating table. The principles were wrong. They were damaging the body’s natural way of stemming blood loss – clotting.It was around 2003 that the ideas behind the Code Red protocol started to take shape. The poster child of the new field of trauma science was revealing the vital role of clotting. Karim Brohi, Professor of Trauma Sciences at Queen Mary, University of London, discovered that major trauma could disrupt the blood’s ability to clot within minutes of the injury, and patients affected were more likely to die. What's more, saline was diluting the blood and making the bleeding worse.Over a decade ago, the Royal London Hospital decided to do something radical. It introduced Code Red, also known as damage control resuscitation, and shifted the focus from blood pressure to blood clotting - get blood products into patients to get on top of any abnormalities there first.Making that happen took a huge culture shift. This is not a normal research environment. There’s no time to ponder, patients are hovering between life and death; and every second counts. But now the innovation has been accepted across the NHS, and recent research reveals a massive drop in the death rate of patients with catastrophic bleeding.Producer: Beth Eastwood

In the hands of artists, smog, landfill and sewage become beautiful, witty and challenging statements. As the scale of pollution intensifies, Emma meets the artists who are finding original and compelling ways to make us understand and feel the crisis of filth. Zack Denfeld and Cat Kramer harvest air pollution in cities around the world, whipping up egg whites on street corners. They bake them into meringues and hand them out to the public who can’t help but react to eating the city’s pollutants. Mexican collective Tres guide Emma through their studio, piled high with collected rubbish: they’ve filled a gallery with 300,000 stinking cigarette butts, taken over the streets to preserve fossilized chewing gum and crawled for months on Australian beaches filtering through marine plastic. Nut Brother has courted controversy with his performance of dragging 10,000 bottles of polluted water from Shaanxi to Beijing while John Sabraw wades through Ohio’s filthy streams, capturing iron oxide from unsealed mines and turning sludge into glorious paints. Emma delves through rails of Kasia Molga’s costumes which glow red in response to carbon, she listens to an orchestra of Lucy Sabin’s breath and takes us down under the River Thames to meet her collaborator Lee Berwick: they're working on an installation about underwater sound pollution, experimenting with sounds in the Greenwich foot tunnel for an installation opening in March. These provocative and entertaining artists discuss the relationship between art and activism, taking us beyond the facts and figures to face head on and experience the contamination we are inflicting on the planet. Producer: Sarah Bowen