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For anyone who has endured clichéd, condescending, uncomprehending, or otherwise aggravating depictions of classical music in American TV ads—the snobs at the symphony, the sopranos screaming under Valkyrie helmets, the badly edited bowdlerizations of the “Ode to Joy”—a new ad for the Apple iPad featuring the conductor and composer Esa-Pekka Salonen may come as a pleasant shock. It is, first of all, a cool, elegant piece of work—not surprising, given Apple’s distinguished history of television propaganda. Salonen is shown receiving inspiration for a passage in his Violin Concerto and trying it out in his iPad; then, after a montage of scenes in London and Finland, we see the violinist Leila Josefowicz and the Philharmonia Orchestra, of London, digging in to the score. More notably, it is musical: the concerto dictates the rhythm of the editing, and the correlation between notation and sound is made excitingly clear.

From Amie I first heard about Yitang Zhang, a solitary, part-time calculus teacher at the University of New Hampshire who received several prizes, including a MacArthur award in September, for solving a problem that had been open for more than a hundred and fifty years. The problem that Zhang chose, in 2010, is from number theory, a branch of pure mathematics. Pure mathematics, as opposed to applied mathematics, is done with no practical purposes in mind. It is as close to art and philosophy as it is to engineering. “My result is useless for industry,” Zhang said. The British mathematician G. H. Hardy wrote in 1940 that mathematics is, of “all the arts and sciences, the most austere and the most remote.” Bertrand Russell called it a refuge from “the dreary exile of the actual world.” Hardy believed emphatically in the precise aesthetics of math. A mathematical proof, such as Zhang produced, “should resemble a simple and clear-cut constellation,” he wrote, “not a scattered cluster in the Milky Way.” Edward Frenkel, a math professor at the University of California, Berkeley, says Zhang’s proof has “a renaissance beauty,” meaning that though it is deeply complex, its outlines are easily apprehended. The pursuit of beauty in pure mathematics is a tenet. Last year, neuroscientists in Great Britain discovered that the same part of the brain that is activated by art and music was activated in the brains of mathematicians when they looked at math they regarded as beautiful.

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.

Kevin Nguyen, sixteen, set his opened eyeglasses on the floor, neatly perpendicular to a nearby wall. He and T. J. Khayatan, seventeen, then stood back to watch what ensued: viewers observing the glasses with the curiosity and respect befitting a work of art—which, under the circumstances, they were.

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.