Features

PARIS — A manager at artificial intelligence firm OpenAI caused consternation recently by writing that she just had “a quite emotional, personal conversation” with her firm’s viral chatbot ChatGPT.

“Never tried therapy before but this is probably it?” Lilian Weng posted on X, formerly Twitter, prompting a torrent of negative commentary accusing her of downplaying mental illness.

However, Weng’s take on her interaction with ChatGPT may be explained by a version of the placebo effect outlined this week by research in the Nature Machine Intelligence journal.

A team from Massachusetts Institute of Technology (MIT) and Arizona State University asked more than 300 participants to interact with mental health AI programmes and primed them on what to expect.

Some were told the chatbot was empathetic, others that it was manipulative and a third group that it was neutral.

Those who were told they were talking with a caring chatbot were far more likely than the other groups to see their chatbot therapists as trustworthy.

“From this study, we see that to some extent the AI is the AI of the beholder,” said report co-author Pat Pataranutaporn.

Buzzy startups have been pushing AI apps offering therapy, companionship and other mental health support for years now — and it is big business.

But the field remains a lightning rod for controversy.

‘Weird, empty’ 

Like every other sector that AI is threatening to disrupt, critics are concerned that bots will eventually replace human workers rather than complement them.

And with mental health, the concern is that bots are unlikely to do a great job.

“Therapy is for mental well-being and it’s hard work,” Cher Scarlett, an activist and programmer, wrote in response to Weng’s initial post on X.

“Vibing to yourself is fine and all but it’s not the same.”

Compounding the general fear over AI, some apps in the mental health space have a chequered recent history.

Users of Replika, a popular AI companion that is sometimes marketed as bringing mental health benefits, have long complained that the bot can be sex obsessed and abusive.

Separately, a US nonprofit called Koko ran an experiment in February with 4,000 clients offering counselling using GPT-3, finding that automated responses simply did not work as therapy.

“Simulated empathy feels weird, empty,” the firm’s co-founder, Rob Morris, wrote on X.

His findings were similar to the MIT/Arizona researchers, who said some participants likened the chatbot experience to “talking to a brick wall”.

But Morris was later forced to defend himself after widespread criticism of his experiment, mostly because it was unclear if his clients were aware of their participation.

‘Lower expectations’ 

David Shaw from Basel University, who was not involved in the MIT/Arizona study, told AFP the findings were not surprising.

But he pointed out: “It seems none of the participants were actually told all chatbots bullshit.”

That, he said, may be the most accurate primer of all.

Yet, the chatbot-as-therapist idea is intertwined with the 1960s roots of the technology.

ELIZA, the first chatbot, was developed to simulate a type of psychotherapy.

The MIT/Arizona researchers used ELIZA for half the participants and GPT-3 for the other half.

Although the effect was much stronger with GPT-3, users primed for positivity still generally regarded ELIZA as trustworthy.

So it is hardly surprising that Weng would be glowing about her interactions with ChatGPT — she works for the company that makes it.

The MIT/Arizona researchers said society needed to get a grip on the narratives around AI.

“The way that AI is presented to society matters because it changes how AI is experienced,” the paper argued.

“It may be desirable to prime a user to have lower or more negative expectations.”

Among several Chinese built trucks recently encroaching on the traditionally Japanese-dominated dual work and personal use compact pick-up segment, the MG T60 arrived in Jordanian and regional markets in 2020. A Chinese built truck bearing an originally British brand name but also sold by parent company SAIC under the Maxus name, the T60 ostensibly rivals similarly sized Chinese pick-up like the Foton Tunland and Wingle 5. Its closest competitor might however be the recently launched French-branded Peugeot Landtrek, co-developed with and also sold under China’s Changan and Kaicene brands.

That said, the T60 easily gives Japanese rivals a run for their money in performance, practicality, capability, comfort and design. Uncomplicated but attractively assertive, its design features balanced profile proportions, a confidently broad stance and distinct, but not overstated presence. With squared wheel-arches, sculpted flanks and bumper elements, squinting headlights, and a wide chrome-ringed grille with honeycomb mesh and large octagonal emblem, the T60 is less complicated and overstated than some rivals. Its bonnet line is meanwhile high enough for a strong presence, but without being unnecessarily bulky or obstructive for visibility.

Muscular versatility

Offered in two guises in Jordan including a petrol 2.4-litre rear-wheel-drive work truck, the T60 is however a more enticing lifestyle and daily drive vehicle in its more powerful and off-road capable turbo-diesel 2.8-litre 4-cylinder four-wheel-drive variant. Sitting under a sculpted clamshell bonnet, the T60 2.8 4x4’s engine is based on an MV Motori design and develops 148BHP at 3,400rpm and muscular 266lb/ft maximum torque throughout a versatile 1,600-2500rpm band. This allows it to carry its 2,060kg mass through 0-100km/h in around 12-seconds and onto an estimated 160km/h top speed.

A somewhat more powerful proposition than many mid-range pick-ups of its class, the T60 2.8 proved itself a capable performer during an extended test drive on local roads, while its 6-speed manual gearbox was user-friendly and engaging, with well-spaced ratios. Best through its peak torque band — as typical of turbo-diesels — the T60 overtakes and climbs inclines with effortless confidence, and is happy revving to its 3,750rpm rev limit. Quicker boosting than many rivals, the T60’s turbo lag from standstill can be further reduced by employing more progressive clutch control.

Durable driver

With balanced weighting, double wishbone suspension and rear-wheel-drive when driving on-road, the T60’s handling is confident through sprawling switchbacks. Intuitively placed on road, its poise and lateral and vertical control was better than expected for its segment. With well-weighted hydraulic-assisted steering, the T60 turns in tidily, and felt buttoned down when accelerating out of tighter corners, due to a limited slip rear differential allocating power between wheels to improve stability, agility, traction. It also minimises the axle hop often associated with live axle leaf spring rear suspension.

A rugged ladder frame chassis work truck with expectedly generous towing and carrying capacity (weight and cargo bed volume), the T60’s rear suspension works better when loaded and pressed down for a smoother ride and more traction. Unloaded, it durably dispatches rough imperfections but can be slightly bouncy on big bumps, dirt trails and semi-paved roads, but is better settled and forgiving than numerous rivals. That said, slightly firmer springs would provide enhanced vertical control when dismounting big bumps. Four wheel disc brakes are meanwhile a bonus in this segment.

Control and comfort

Capable on most dirt roads and loose surface inclines even in rear-wheel-drive mode, the T60’s off-road abilities however significantly improve when four-wheel-drive is engaged. In addition to four-wheel-drive, its limited slip differential further enhances off-road traction, while low gear ratios allow for more ability in extreme low speed, high power conditions. Riding high with 215mm ground clearance, the T60 can ford about 550mm of water, and enjoys generous 27° approach, 21.3° break-over and 24.2° departure angles. Wide and tall 245/70R16 tyres meanwhile provide additional off-road ability, absorption, comfort and durability.

Comfortable and stable on motorways, the T60’s diesel clatter was meanwhile evident but less intrusive than most. Spacious in front and rear, its four-door cabin is reasonable well appointed and equipped, with useful features including a USB-enabled four-speaker stereo, front and rear A/C, remote central locking, ABS, electronic stability control, child seat anchors, dual front airbags, decent if not indulgent leatherette upholstery, and reverse parking sensors to compensate for its pick-up body’s limited rear visibility. A manually adjustable driving position is meanwhile comfortable and supportive, with good front visibility.

Technical specifications: MG T60 2.8L 4x4 Double Cab

Engine: 2.8-litre, common-rail turbo-diesel, in-line 4-cylinders

Bore x stroke: 94 x 100mm

Compression ratio: 17:1

Valve-train: 16-valve, DOHC

Gearbox: 6-speed manual

Driveline: Four-wheel-drive, low gear transfer case, limited slip rear differential

Power, BHP (PS) [kW]: 148 (150) [110] @3,400rpm

Specific power: 53.3BHP/litre

Power-to-weight: 71.8BHP/tonne

Torque, lb/ft (Nm): 266 (360) @1,600-2,500rpm

Specific torque: 129.7Nm/litre

Torque-to-weight: 174.7Nm/tonne

Maximum engine speed: 3,750rpm

0-100km/h: approximately 12-seconds (estimate)

Top speed: 160km/h (estimate)

Fuel capacity: 75-litres

Fuel consumption, combined: 7.5-8.1 litres/100km (estimate)

Length: 5,365mm

Width: 1,900mm

Height: 1,809mm

Wheelbase: 3,155mm

Track: 1,580mm

Overhang, F/R: 942/1,268mm

Ground clearance: 215mm

Water fording: 550mm (estimate)

Approach / break-over / departure angles: 27°/21.3°/24.2° (estimate)

Load floor length: 1,485mm

Load floor width, max: 1,510mm

Load floor depth: 530mm

Kerb weight: 2,060kg (estimate)

Suspension, F/R: Double wishbones, coilovers / leaf springs, live axle

Steering: Hydraulic-assisted rack & pinion

Turning circle: 12.6 metres (estimate)

Brakes, F/R: Ventilated discs / discs

Tyres: 245/70R16

By Shama Kaur
Kundalini Yoga Teacher  and Wellness Mentor

Non-violence

At the core of yoga philosophy lies the principle of ahimsa which calls for non-violence in thought, word,and action. By practising ahimsa, individuals cultivate compassion, empathy and respect for all beings. As we extend this principle to ourselves and others, conflicts and divisions begin to dissolve, paving the way for a more peaceful world.

In a world often driven by judgement and comparison, yoga and meditation invite us to practice non-judgement and acceptance. Through self-reflection and mindfulness, we learn to observe our thought sand emotions without labelling or criticising them.This practice extends beyond ourselves, fostering understanding, empathy and unity among diverse individuals and cultures.

Global harmony

Yogi Bhajan, a spiritual teacher who introducedKundalini Yoga to the Western world, initiated Peace Prayer Day as a global event. It serves as a reminder of our collective responsibility to actively cultivate peace within and share it with others. Peace Prayer Day gatherings bring people together in meditation,chanting and prayer, amplifying the collective intention for global harmony.

Yogi Bhajan shared a powerful prayer for peace,emphasising the role of individuals in creating a peaceful world. The prayer invites us to recognise our inter connectedness and envision a world where love,compassion, and understanding prevail.

May peace be your virtue, may peace be your property may peace be your prayer. 

May you bring peace to all those you meet, you talk to you live with. 

May you evenbring peace to the person you hate, your enemy. May your friend enjoy your peaceful disposition and may your enemies enjoy your peaceful opposition.

May this world be based on one word: Peace, as God has shredded Himself into all souls and piece by piece we get together into this beautiful world. May in our hearts we pray this day for world peace. Sat Nam 5 /20 /87

You can also take part in the International Day of Peace by cultivating your own prayer for peace and bringing together friends and family in commemoration ofpeace around the world. Here are some suggestions forhow regular people can actively participate:

1. Sharing Gratitude: Create a gratitude circle where each person takes turns expressing what they are grateful for. This practice fosters appreciation,positivity and a sense of inter connectedness

2. Acts of Kindness: Encourage everyone to perform acts of kindness throughout the day. This could involve simple gestures like helping with chores,cooking a meal together, or offering support to someone in need. These acts of kindness ripple outward, spreading peace and compassion

3. Reflective Discussions: Engage in meaning full discussions about peace, empathy and understanding.

Explore topics like resolving conflicts peacefully, embracing diversity and finding common ground. Encourage open-mindedness and active listening, allowing each person’s voice to be heard.

4. Peace Crafts: Engage in creative activities that promote peace, such as making peace-themedartwork, crafting peace symbols, or creating a peace flag. These crafts can serve as reminders of the shared commitment to fostering peace within and in the world.

5. Practise this meditation for Inner Peace:www.3ho.org/meditation/meditation-for-peace/

On the International Day of Peace, let us remember thatpeace begins within each of us. Through the transformative practices of yoga and meditation, we cultivate the qualities of ahimsa, non-judgement and acceptance. As we tap into our inner peace, we radiate love, compassion and understanding, positively impacting our immediate surroundings and inspiring others todo the same. Together, let us celebrate by embodying peace, embracing unity and nurturing a world that thrives on harmony and compassion.

Reprinted with permission from Family Flavours magazine

BUSAN, South Korea — The rise of South Korean diasporic cinema — characterised by films like Lee Isaac Chung’s “Minari” and Justin Chon’s “Jamojaya” — has allowed the artists involved to feel less alone, one film maker told Busan International Film Festival attendees on Friday.

Six films from the Korean diaspora are unspooling as part of a special sidebar this year in the South Korean port city, including Oscar-winner “Minari” and Sundance favourite “Past Lives”.

Since “Parasite” became the first non-English-language film to win a Best Picture Oscar, the films of Korea’s diaspora have experienced a remarkable surge, with film makers delving into culture-spanning narratives that encompass the varied experiences of Koreans overseas.

“[The] main thing it’s done, at least for myself, is to know that as I tell my own stories, people are finding common ground to relate with one another,” Justin Chon, who directed 2021 adoption drama “Blue Bayou”, told reporters.

He has since directed four episodes of the successful Apple TV+ series “Pachinko”, the story of an ethnic Korean family living in Japan, based on the novel by Min Jin Lee.

When “other immigrants and minorities in the United States are telling their stories, the only thing it does is signal to me that I really wasn’t alone this entire time”, he said.

“Minari” director Chung said as a second-generation Korean-American, he had always felt “a loss of a place that I don’t fully understand that is far away from me”.

Korean-American actors Steven Yeun and John Cho also took part in the joint press conference. But while the duo were unable to comment on their American projects due to the ongoing Screen Actors Guild strike, both freely discussed why they believed the work stoppage was important.

“I think the strike is a very righteous act of making sure that we ensure and protect artists and those who are living an actor’s life and a writer’s life,” Yeun said.

“And there are many people who don’t have safeguards.... I sit here with so much privilege to be here and to be able to talk about it.”

Cho, who starred in the 2018 thriller “Searching” which is screening at this year’s BIFF, said artificial intelligence — a key concern for striking actors — has “put people out of work” in the entertainment industry.

“When I go to see a movie [it’s] to see people enacting a human drama and to have an experience with an audience watching human expression,” he said.

“And so behind the scenes, if we start taking out people, the art form is going to suffer.”

Collaboration 

The festival’s diaspora section features several intriguing collaborations between diasporic and South Korean artists as well as those from other nationalities.

“Burning” (2018), for example, is based on Japanese writer Haruki Murakami’s novel, directed by acclaimed South Korean filmmaker Lee Chang-dong, and stars Yeun.

Korean-Canadian director Celine Song’s “Past Lives” (2023), meanwhile, co-stars South Korean actor Teo Yoo and Korean-American actress Greta Lee.

Yoo, who is fluent in English, on Thursday candidly expressed the challenges he faced in trying to present himself as an appealing love interest to the American audience.

In “Past Lives”, he plays a South Korean character who speaks English with a heavy accent and less-than-perfect fluency.

Yeun, who played a first-generation Korean immigrant in “Minari”, said film acting had for him been a form of “therapy”.

“It’s a way for me to process the things that have happened in my life, and whether it’s fortunate or unfortunate, being Korean is a part of that,” he said.

BAGHDAD — Iraqi gamers celebrated the release on Thursday of the latest instalment of the "Assassin's Creed" action-adventure saga, set in ninth century Baghdad during the Abbasid Caliphate.

In the game, the hooded and stealthy hero fights his way through an ancient maze of alleyways, souks and rooftops, rendered in loving detail with what its creators say is the help of historical sources.

The central character, pickpocket turned master assassin Basim, speaks classical Arabic in "Assassin's Creed Mirage", the 13th edition of the wildly popular franchise published by France-based Ubisoft.

"We were waiting for a game that shows Arab and Islamic culture, the culture and history of Iraq and this region, which does not just consist of wars and terrorism," said one instant fan, Mohammed Bashir.

Sitting in a Baghdad internet cafe, surrounded by fellow gamers, the 30-year-old graphic designer marvelled at the 3D depictions of ancient Iraq and Baghdad.

As the story unfolds and Basim bloodily dispatches a long lineup of foes, the real star is the setting, resplendent with turquoise mosaic domes, carpet sellers and lush oasis towns.

"There's Iraqi music!" exclaimed one young man in the room, lit dimly by screens and fluorescent blue neon lights, where other players were absorbed in football and other video games.

'Bittersweet' 

The game had already received a rave review last month from Saudi Arabia's Khaled Almutairi, who praised an advance version on his YouTube channel Gamer Snack, followed by over 2 million subscribers.

The game allowed him to "immerse" himself "in the Arab and Islamic environment," he said, expressing joy at hearing the Muslim call to prayer and the expression "salam alaykum", or "Peace be upon you", on screen.

His only quibble was that the Arabic "lip sync... is poor".

For Bashir — who came of age as Iraq was rocked by years of conflict and chaos — seeing an artistic and beautiful representation of the country's ancient marvels provoked mixed feelings.

"It's beautiful to see Baghdad's glorious past," said Bashir, who also posts video game reviews on YouTube and Instagram.

He praised the game's designers for "recreating a lost city", because — after Baghdad was sacked by Mongol forces in 1258 — the Abbasid Caliphate "did not leave any trace".

But Bashir said seeing Baghdad in all its former glory was also "bittersweet when we know what the city has experienced in recent years".

'Excited to see Iraq' 

Iraq has been rocked by repeated wars, most recently the US-led invasion of 2003 that deposed dictator Saddam Hussein and sparked years of sectarian conflict and the rise of the Daesh group.

When Iraq has been the setting for video games, it has more commonly been in those of the first-person tactical shooter variety, such as "Six Days in Fallujah" launched this year.

That game, based on gruelling urban combat in the city west of Baghdad, is billed as recreating "true stories of Marines, soldiers and Iraqi civilians during the toughest urban battle since 1968".

Haider Jaafar, who heads the Iraqi Federation of Electronic Sports, said the new "Assassin's Creed" game "will reach millions of people" and give foreign audiences "a positive image of the origins of Baghdad".

Jaafar, who owns the Cooldown cybercafe, said he hoped it will also help promote the gaming sector and fan base in Iraq.

"When we participate in international competitions... people usually ask us: 'Do you really have video game and Internet centres?'" he said with a laugh.

Mustafa Mahmud, another gamer, said he had "impatiently" awaited the game after playing all previous editions, set in different times and places from ancient Egypt to revolutionary France.

"We saw the previous episodes in France, Greece, Egypt," said Mahmud, a student who also works as an IT support at the cybercafe. "We were excited to see Iraq."

BUSAN, South Korea — The world premiere of Jang Kun-jae's "Because I Hate Korea" will open Asia's largest film festival on Wednesday night as it looks to rally from a year marked by scandal and budget cutbacks.

The South Korean director's tale of a disillusioned young woman who relocates to New Zealand is among 209 official entries from 69 countries set to unspool at the Busan International Film Festival (BIFF), which runs until October 13.

Eighty will be making their world premieres in the southern port city.

This year's edition comes as organisers grapple with the fallout from former festival director Huh Moon-yung's resignation in May amid accusations of sexual misconduct.

The scandal saw BIFF's 2023 budget reduced by about 10 per cent as sponsors withdrew in the wake of the allegations, according to organisers.

Kang Seung-ah, now serving as acting deputy director, acknowledged they had endured a "difficult phase" before assembling a lineup she said was "more substantial than ever before".

Opening night director Jang, who noted he'd attended BIFF far more as an audience member than a filmmaker, told a late afternoon news conference he had sought to address serious questions with his film.

"I believe it's necessary to pay attention to the fact that many young people are finding it difficult to navigate through Korean society. I started questioning whether our society is providing a fair and equitable foundation for young people to pursue their dreams," he told reporters after a preview screening.

Based on the best-selling Chang Kang-myoung novel, "Because I Hate Korea" received support from BIFF's Asia Project Market back in 2016. South Korea has transformed itself into a cultural powerhouse since then thanks to the explosive success of the Oscar-winning "Parasite" and the Netflix series "Squid Game".

"Many people are now showing great interest in Korean content such as K-pop, K-movies, and K-dramas. Living in such an era, they might develop a certain fantasy about South Korea, I think," Nam Dong-chul, the festival's acting interim director, told reporters.

But "I thought it might be good to consider these views from the perspective of people living in Korea and especially the youth in South Korea,” he said of the opening night choice. "They might have different thoughts and experiences."

Frequent Bong Joon-ho collaborator Go Ah-sung, who delivered a memorable performance as the protagonist of "Because I Hate Korea", was unable to attend the festival due to a back injury.

'Dear Jinri' 

Despite Go's absence, the festival will still feature serious star power, with acclaimed Hong Kong actor Chow Yun Fat schedulled to receive the Asian Filmmaker of the Year award.

Three of Chow's films — "A Better Tomorrow" (1986), "Crouching Tiger, Hidden Dragon" (2000) and 2023's "One More Chance" — will be screened in his honour.

Other highly anticipated screenings include "Dear Jinri", a documentary that features late K-pop star Sulli's last and incomplete project.

Sulli, born Choi Jin-ri, took her own life in 2019 after a long struggle with online bullying. The film includes her final media interview, which has not been disclosed previously.

Korea's filmmaking diaspora will also be showcased with a special series of screenings that includes "Searching" (2018), starring John Cho, and director Celine Song's Sundance favourite "Past Lives".

Netflix's highly anticipated "Yellow Door: 90s Lo-fi Film Club" will also have its world premiere at BIFF.

The documentary spotlights South Korea's renowned cinephile generation of the 1990s, acclaimed "Parasite" director Bong among them.

"The Movie Emperor", director Ning Hao's satirical take on the Chinese film industry starring Hong Kong actor Andy Lau, is set to close the festival.

Ning's comedy "deftly captures the fine line between the film industries in Hong Kong and mainland China", as well as the "delicate relationship between Western film festivals and Asian filmmakers", according to the programme notes.

PARIS — The acclaimed British novelist Ian McEwan is baffled by the current obsession with sensitivity in the publishing world. “Be brave”, he urged young writers.

“I don’t know what’s happening,” said the Booker-winning writer of “Atonement”, “Saturday” and “Amsterdam”, when asked about “sensitivity readers” combing through books to remove anything that might be deemed offensive.

“It’s happening among very young people who are living in societies that are relatively free, and they seem to want to bind their arms and legs in ways that are just trivial,” he told AFP.

He said he heard a young male writer talk about his fear of writing about male desire.

“I thought, ‘Poor guy!’ Because you’ve lost the desire of half the world,” he said.

His advice: “Be brave! Screw the lot of them. You’ve got to write what you feel. You must tell the truth.

“These mass hysterias, moral panics, sweep through populations every now and then. And I think this is one of them.”

McEwan, 75, insisted the trend does not apply to all young people — just “a weird thing that happens in some universities, which we got from the United States”.

He strongly supports young people fighting to combat climate change — a problem “that is going to affect every last one of us”.

And he draws a line between the world of “trigger warnings” and “safe spaces” from calls for racial and post-colonial reckoning, saying he backed the students who tore down a slaver’s statue in Bristol, England in 2020.

“Demanding a little more accounting of our colonial imperial past is a perfectly good demand. But saying we can’t read Nabokov or Conrad or whatever, seems beyond contempt,” he said.

‘Stupid, shameful episodes’ 

McEwan spoke to AFP during a trip to Paris just before the announcement of the Nobel Literature Prize, for which he has long been held up as a possible winner.

He dismissed his chances.

“You know, there are about 50 of us whose names come up every year,” he said.

“I think my son [a medical researcher] will get the Nobel Prize before me,” he added with a laugh.

McEwan’s novels have explored a wide range of complex moral topics from memory and trauma, the ethical implications of scientific progress to the darker side of love and relationships — usually with a sharply ironic humour.

Many have been adapted into films, including “On Chesil Beach”, “Enduring Love” and the highly acclaimed war romance “Atonement”.

Already halfway through his next book, he was visiting Paris for the French release of “Lessons”, which tracks a man’s life alongside the major political events of McEwan’s own lifetime, from the Suez and Cuban Missile crises right up to the COVID-19 pandemic.

It is Brexit that has taken the greatest toll, he said.

He sees it as symbolic of the defeat of an older version of Britain — of “teachers, doctors, librarians... people working in the public service [who] no longer count because Britain is really ruled by people who have made vast amounts of money in financial services and the social good is not of interest”.

“I think they’ll be back,” he added. “The wheel will turn again. We’ve seen too many of the stupid, shameful episodes of the populist right in our country.”

Launched in late 2019 as Hyundai’s big flagship SUV, the Palisade struck an assertive aesthetic tone combined with a capable engine, confident driving dynamics and plenty of class, comfort, convenience and tech features. With near Genesis brand-like luxury and refinement for seven or eight occupants depending on seating configuration, it was — in Hyundai’s marketing jargon — pitched as a vehicle for “maverick families”, which one suspects was a reference to its overtly aggressive, and not uncontroversial, cascading grille design, with its scale-like elements and vertically tapered lower end.

Distinct from edgier and more low-slung saloon sister models like the Sonata, the Palisade’s unconventionally complicated octagonal cascading grille design was supposed to serve as a different take on the brand’s design cues, but stemming from a common springboard. Since then, the Palisade’s “classical temple”-like design was updated last year, with a more conventional grille with bigger internal elements, straighter vertical lines and thicker outline, being adopted. Better integrated with a redesigned lower intake, side lights and headlight elements, the Palisade now strikes a more assertively statuesque and more modern style. 

Smooth and swift

Incorporating a more rectangular theme for the rear bumper and exhaust ports, the Palisade goes little changed otherwise, but the restyled front bumper lends itself to a bulkier and more grounded silhouette that emphasises its prominently ridged side creases, character lines and wheel-arches. Riding on appropriately vast standard 18 or optional 20-inch alloy wheels as before, the top spec Palisade 3.8 GDI AWD also retains the outgoing variant’s transversely-mounted, naturally-aspirated direct injection 3.8-litre V6 engine, smooth, slick and quick 8-speed automatic gearbox, and front-biased four-wheel-drive system.

Nestled under a bulging bonnet, the Palisade’s engine is responsive from low-end and builds progressively to a maximum 262lb/ft torque at a revvy 5,200rpm and 291BHP at 6,000rpm. Seamlessly smooth and willing throughout, it delivers good mid-range versatility to confidently carry the Palisade’s 1.9-tonne mass when overtaking or on inclines. It is meanwhile rewarding and eager through to rev limit. Squatting at the rear but digging into tarmac with conviction when launching from standstill, the Palisade dashes through 0-100km/h in 7.7 seconds, and will pull to a maximum 210km/h

Refined and reassuring

Employing a high proportion of Advanced High Strength Steel for improved torsional rigidity and enhanced collision safety, the Palisade also uses lighter aluminium suspension components to reduce unsprung mass. Evident in its driving experience, the Palisade’s construction material lends itself to good suspension and steering precision. Its MacPherson strut front and multilink rear suspension meanwhile provide a smooth, settled and comfortably forgiving ride quality, even with stiff low profile tyres. The Palisade also benefits from good steering directness and maneuverability for its substantial size, height and weight.

Reassuringly stable and confidently flexible on motorways, the Palisade’s road-biased four-wheel drives seamlessly redistributes torque between front and rear for confident stability and road-holding, and often with front bias to help achieve reasonable 10.8l/100km combined fuel efficiency. Turning in tidily with light and quick steering, the Palisade provides good grip and little understeer, and feels maneuverable and well-controlled for its class. Tall and comfortable, its cornering body lean is expected, but is well-managed, while more power is directed to the rear wheels through corners, for enhanced agility and balance. 

Updated and up-market

Settled in vertical movement over dips and crests, the Palisade is a refined drive that well absorbs most lumps and potholes, while underbody covers help achieve comparatively low aerodynamic drag co-efficiency, to reduce noise intrusion and improve efficiency. Its cabin is meanwhile comfortable, with well-adjustable, large front seats and driving position, and good configurability for its generous middle, and useable third row seats. Wide swing door angles allow excellent cabin access, while cavernous luggage volume expands from a minimum of 509-litres to 2,446-litres when rear rows are folded.

Sensible, functional and palatial, the Palisade’s up-market interior has an airy ambiance and good in-class visibility. Its distinctly premium feel utilises quality materials and soft textures, and has been updated for a more expansive horizontal emphasis and uncluttered layout that includes new vents, updated screens and steering wheel. Well-equipped with numerous infotainment, convenience and safety features, the Palisade incorporates several advanced driver assistance and warning systems. Able to lock four-wheel-drive at lower speeds, it also features a Multi-Terrain Control System that adjusts various systems for different off-road conditions.

SPECIFICATIONS

• Engine: 3.8-litre, aluminium block / head, inline V6-cylinders
• Bore x stroke: 96 x 87mm
• Valve-train: Direct injection, DOHC, 24-valve, continuously variable valve timing
• Gearbox: 8-speed automatic, four-wheel-drive
• Power, BHP (PS) [kW]: 291 (295) [217] @6,000rpm
• Specific power: 77BHP/litre
• Torque, lb/ft (Nm): 262 (355) @5,200rpm
• Specific torque: 94Nm/litre
• 0-100km/h: 7.7-seconds
• Top speed: 210km/h
• Fuel consumption, combined: 10.8-litres/100km (estimate) 
• Length: 4,995mm
• Width: 1,975mm
• Height: 1,750mm
• Wheelbase: 2,900mm
• Tread, F/R: 1,708/1,716mm
• Overhang, F/R: 945/1,135mm
• Headroom, F/M/R: 1,035/1,019/944mm
• Leg room, F/M/R: 1,120/1,077/798mm
• Shoulder room, F/M/R: 1,555/1,545/1,402mm
• Seats: 7/8
• Luggage volume, behind 3rd/2nd/1st row: 509-/1,297-/2,446-litres
• Kerb weight: 1,845-1,969kg
• Steering: Electric-assisted rack and pinion
• Suspension, F/R: MacPherson struts / multi-link
• Brakes: Ventilated discs
• Braking distance, 100-0km/h: 43.1-metres
• Tyres, standard/optional: 245/60R18/245/50R20