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Ai Weiwei and Jacob Appelbaum are artists, journalists, dissidents, polymaths — and targets. Their respective governments, China and the United States, monitor their every move. They have been detained and interrogated. Ai cannot leave China, and Appelbaum is advised not to return to the United States. They are separated from their families. Ai has been imprisoned and beaten by the police. Yet each continues his work and speaks out against government wrongdoing.In April, Ai and Appelbaum met in Beijing to collaborate on an art project commissioned by Rhizome and the New Museum in New York. As a filmmaker, and as a target of state surveillance myself, I am deeply interested in the way being watched and recorded affects how we act, and how watching the watchers, or counter-surveillance, can shift power. I was asked to film their project. During the encounter, Ai and Appelbaum continually filmed and photographed each other. Between their cameras and mine, we created a zone of hyper-surveillance. Almost everything was documented. Just outside Ai’s studio hung surveillance cameras installed by the Chinese government. The art project the pair made, “Panda to Panda,” was not about surveillance. It was about secrets. They stuffed cuddly toy panda bears with public, shredded N.S.A. documents that were originally given to me and Glenn Greenwald two years ago in Hong Kong by the whistle-blower Edward Snowden. Inside each panda, Ai and Appelbaum placed a micro SD memory card containing a digital backup of the previously published documents.

Last month marked six years since the start of the Syrian war, which has forced millions of people to flee their homes in one of the largest humanitarian crises in modern history. Perhaps the artist who has most visibly used his work to draw attention to the conflict is Ai Weiwei, whose political activism has earned him a reputation as China’s foremost creative dissident. Ai has made works focused on the refugee crisis for years, but lately his projects have taken on a greater sense of urgency. His newest exhibit, Law of the Journey, was recently unveiled at the National Gallery in Prague and features a massive inflatable lifeboat with 258 faceless, rubber figures on board—evoking the treacherous journey some refugees make to Europe.

Last month marked six years since the start of the Syrian war, which has forced millions of people to flee their homes in one of the largest humanitarian crises in modern history. Perhaps the artist who has most visibly used his work to draw attention to the conflict is Ai Weiwei, whose political activism has earned him a reputation as China’s foremost creative dissident. Ai has made works focused on the refugee crisis for years, but lately his projects have taken on a greater sense of urgency. His newest exhibit, Law of the Journey, was recently unveiled at the National Gallery in Prague and features a massive inflatable lifeboat with 258 faceless, rubber figures on board—evoking the treacherous journey some refugees make to Europe. Earlier this week, the Public Art Fund announced Ai would build more than 100 fence-themed installations in New York across multiple boroughs, asking the city’s inhabitants to reflect on the ideas of barriers, nationhood, and security.

BERLIN — The “Evidence” from which the Ai Weiwei exhibition at the Martin-Gropius-Bau derives its name could be the displayed collection of hard drives, laptops and notebooks the Chinese authorities confiscated after arresting the artist in 2011 as he tried to board a plane. Or it could be the life-size replica of the cell where he was held under constant surveillance for 81 days following his detention. Or even the 6,000 wooden stools that fill the sunken atrium of the space, in a silent testimony to a lost way of life in the Chinese countryside.

Mr. Ai is a complex, troublesome figure: an artistic provocateur who works in several mediums, an activist and thorn in the side of the Chinese powers that be and an impresario able to marshal scores of variously adept Chinese artisans to make ambitious pieces that he barely touches. He’s also a designer and part-time architect who collaborated with the Swiss architects Herzog & de Meuron on the emblematic “Bird’s Nest” National Stadium in Beijing for the 2008 Olympics. And he was the darling of the Chinese power structure, until he began jumping in where he wasn’t invited.

Artist Ai Weiwei is setting up "Lego collection points" in different cities after being inundated with offers of donations from supporters. Ai has accused Lego of "censorship and discrimination" after it refused his bulk order for bricks for a new exhibition in Melbourne, Australia.Lego said it has never sold directly to anyone wanting to use its product to make a political statement.The artist will now use the donated toy bricks to make a "new work".

Did you always want to be an artist? No. I decided to become an artist in the late 1970s to try to escape the totalitarian conditions in China. Everybody wants to be part of the big power, so there are lies and false accusations everywhere. For me, art is an escape from this system.

‘Ai Weiwei: According to What?’

Translation, however, is an example of a field where this approach fails horribly, because words cannot be reduced to their dictionary definitions, and because languages tend to have as many exceptions as they have rules. More often than not, a system like this is liable to translate “minister of agriculture” as “priest of farming.” Still, for math and chess it worked great, and the proponents of symbolic A.I. took it for granted that no activities signaled “general intelligence” better than math and chess.

The researchers culled tens of thousands of photos from an online-dating site, then used an off-the-shelf computer model to extract users’ facial characteristics—both transient ones, like eye makeup and hair color, and more fixed ones, like jaw shape. Then they fed the data into their own model, which classified users by their apparent sexuality. When shown two photos, one of a gay man and one of a straight man, Kosinski and Wang’s model could distinguish between them eighty-one per cent of the time; for women, its accuracy dropped slightly, to seventy-one per cent.

his week, the United States Postal Service came in for a full news cycle’s worth of ridicule after it was&nbsp;pointed out, by the Washington&nbsp;Post, that the agency’s new Maya Angelou stamp featured a quotation that the late poet and memoirist didn’t write. The line—“A bird doesn’t sing because it has an answer, it sings because it has a song”—has been widely attributed to Angelou. And it seems like something she might have written, perhaps as a shorthand explanation for the title of her most famous book, “I Know Why the Caged Bird Sings.” But the line, in a slightly different form, was originally published in a poetry collection from 1967 called “A Cup of Sun,” by Joan Walsh Anglund. The&nbsp;Post&nbsp;reported this on Monday. By Tuesday, when such luminaries as First Lady Michelle Obama and Oprah Winfrey stood onstage in front of a giant reproduction of the Angelou stamp at the official unveiling, everyone knew that the words behind them belonged to someone else. According to the U.S.P.S., more than&nbsp;eighty million Angelou stamps were produced, and there are no plans to retract them. <!doctype html>div,ul,li{margin:0;padding:0;}.abgc{height:15px;position:absolute;right:16px;text-rendering:geometricPrecision;top:0;width:15px;z-index:9010;}.abgb{height:100%;}.abgc img{display:block;}.abgc svg{display:block;}.abgs{display:none;height:100%;}.abgl{text-decoration:none;}.cbc{background-image: url('http://pagead2.googlesyndication.com/pagead/images/x_button_blue2.png');background-position: right top;background-repeat: no-repeat;cursor:pointer;height:15px;right:0;top:0;margin:0;overflow:hidden;padding:0;position:absolute;width:16px;z-index:9010;}.cbc.cbc-hover {background-image: url('http://pagead2.googlesyndication.com/pagead/images/x_button_dark.png');}.cbc > .cb-x{height: 15px;position:absolute;width: 16px;right:0;top:0;}.cb-x > .cb-x-svg{background-color: lightgray;position:absolute;}.cbc.cbc-hover > .cb-x > .cb-x-svg{background-color: #58585a;}.cb-x > .cb-x-svg > .cb-x-svg-path{fill : #00aecd;}.cbc.cbc-hover > .cb-x > .cb-x-svg > .cb-x-svg-path{fill : white;}.cb-x > .cb-x-svg > .cb-x-svg-s-path{fill : white;} .ddmc{background:#ccc;color:#000;padding:0;position:absolute;z-index:9020;max-width:100%;box-shadow:2px 2px 3px #aaaaaa;}.ddmc.left{margin-right:0;left:0px;}.ddmc.right{margin-left:0;right:0px;}.ddmc.top{bottom:20px;}.ddmc.bottom{top:20px;}.ddmc .tip{border-left:4px solid transparent;border-right:4px solid transparent;height:0;position:absolute;width:0;font-size:0;line-height:0;}.ddmc.bottom .tip{border-bottom:4px solid #ccc;top:-4px;}.ddmc.top .tip{border-top:4px solid #ccc;bottom:-4px;}.ddmc.right .tip{right:3px;}.ddmc.left .tip{left:3px;}.ddmc .dropdown-content{display:block;}.dropdown-content{display:none;border-collapse:collapse;}.dropdown-item{font:12px Arial,sans-serif;cursor:pointer;padding:3px 7px;vertical-align:middle;}.dropdown-item-hover{background:#58585a;color:#fff;}.dropdown-content > table{border-collapse:collapse;border-spacing:0;}.dropdown-content > table > tbody > tr > td{padding:0;}Ad covers the pageStop seeing this ad.feedback_container {width: 100%;height: 100%;position: absolute;top:0;left:0;display: none;z-index: 9020;background-color: white;}.feedback_page {font-family: &quot;Arial&quot;;font-size: 13px;margin: 16px 16px 16px 16px;}.feedback_title {font-weight: bold;color: #000000;}.feedback_page a {font-weight: normal;color: #3366cc;}.feedback_description {color: #666666;line-height: 16px;margin: 12px 0 12px 0;}.feedback_closing {color: #0367ff;line-height: 16px;margin: 12px 0 12px 0;}.feedback_logo {position: absolute;right: 0;bottom: 0;margin: 0 12px 9px 0;}.feedback_logo img {height: 15px;}.survey_description {color: #666666;line-height: 17px;margin: 12px 0 10px 0;}.survey {color: #666666;line-height: 20px;}.survey_option input {margin: 0;vertical-align: middle;}.survey_option_text {margin: 0 0 0 5px;line-height: 17px;vertical-align: bottom;}.survey_option:hover {background-color: lightblue;cursor: default;}It&amp;#39;s gone. UndoWhat was wrong with this ad?InappropriateRepetitiveIrrelevantThanks for the feedback! BackWe’ll review this ad to improve your

Helena Merriman asks why people listen to sad music. A recent study has shown that sad music has become increasingly popular, but why do people choose to listen to it, and what goes on in the brain and the body when they do so? Helena speaks to Japanese pianist and music researcher Dr Ai Kawakami who has some surprising answers about some of the positive feelings people experience when they listen to sad music. American writer Amanda Stern tells Helena why she regularly listens (and cries) to sad music and British composer Debbie Wiseman, known for her moving TV and film scores, explains what makes a piece of music sound sad. You’ll also hear pieces of sad music suggested by BBC listeners from all over the world.

Recently, a psychiatric study on first episodes of psychosis made front-page news. People seemed quite surprised by the finding: that lower doses of psychotropic drugs, when combined with individual psychotherapy, family education and a focus on social adaptation, resulted in decreased symptoms and increased wellness.

Recently, a psychiatric study on first episodes of psychosis made front-page news. People seemed quite surprised by the finding: that lower doses of psychotropic drugs, when combined with individual psychotherapy, family education and a focus on social adaptation, resulted in decreased symptoms and increased wellness. But the real surprise — and disappointment — was that this was considered so surprising.

But the real surprise — and disappointment — was that this was considered so surprising.

women” in 2013, Park Yu-ha wrote that she felt “a bit fearful” of how it might be received. After all, she said, it challenged “the common knowledge” about the wartime sex slaves.But even she was not prepared for the severity of the backlash.In February, a South Korean court ordered Ms. Park’s book, “Comfort Women of the Empire,” redacted in 34 sections where it found her guilty of defaming former comfort women with false facts. Ms. Park is also on trial on the criminal charge of defaming the aging women, widely accepted here as an inviolable symbol of Korea’s suffering under colonial rule by Japan and its need for historical justice, and she is being sued for defamation by some of the women themselves.

As machine learning becomes more powerful, the field’s researchers increasingly find themselves unable to account for what their algorithms know — or how they know it.