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stilettos and a tailored expensive-looking suit. This wasn’t a case of a low-cut blouse or a thigh-revealing skirt

uniform

Much of the moral case for bodycams, that they reduce police violence, rests on a single experiment: the 2012 Rialto study

was in my late forties when I finally admitted to myself that I would never love wine. As other women fake orgasms, I have faked hundreds of satisfied responses to hundreds of glasses—not a difficult feat, since my father schooled my brother and me in the vocabulary of wine from an early age. Confronted with another Bordeaux or Burgundy, I could toss around the terms I had learned at the dinner table (Pétillant! Phylloxera! Jeroboam!), then painstakingly direct the wine straight down the center of my tongue, a route that limited my palate’s exposure to what it perceived as discomfiting intensity.

People have long seen faces in the Moon, in oddly-shaped vegetables and even burnt toast, but a Berlin-based group is scouring the planet via satellite imagery for human-like features. What's behind our desire to see faces in our surroundings, asks Lauren Everitt. Most people have never heard of pareidolia. But nearly everyone has experienced it. Anyone who has looked at the Moon and spotted two eyes, a nose and a mouth has felt the pull of pareidolia. It's "the imagined perception of a pattern or meaning where it does not actually exist", according to the World English Dictionary. It's picking a face out of a knotted tree trunk or finding zoo animals in the clouds.

Last October we introduced a new feature in which, each Monday morning this school year, we posted a New York Times photograph without a caption, then invited students to answer three deceptively simple questions about it: What’s going on in this picture? What do you see that makes you say that? What more can you find? As student answers poured in to the blog each week — this shows someone learning a back-flip; I think he’s in the military because of his camouflage shirt; The background makes it look like a movie set — our collaborators for the feature, Visual Thinking Strategies, acted as live moderators, linking thoughts and posting further questions intended to help them go deeper and see more. Most weeks that created a lively debate in our comments section, as students of all ages, backgrounds and places pushed each other to find detail and defend interpretations.

Along the way, Spence has found that a strawberry-flavored mousse tastes ten per cent sweeter when served from a white container rather than a black one; that coffee tastes nearly twice as intense but only two-thirds as sweet when it is drunk from a white mug rather than a clear glass one; that adding two and a half ounces to the weight of a plastic yogurt container makes the yogurt seem about twenty-five per cent more filling, and that bittersweet toffee tastes ten per cent more bitter if it is eaten while you’re listening to low-pitched music. This year alone, Spence has submitted papers showing that a cookie seems harder and crunchier when served from a surface that has been sandpapered to a rough finish, and that Colombian and British shoppers are twice as willing to choose a juice whose label features a concave, smile-like line rather than a convex, frown-like one.

We are accustomed to thinking of food and its packaging as distinct phenomena, but to a brain seeking flavor they seem to be one and the same.

y and large, faces are made up of the same, consistent features – two eyes, a nose, a mouth, some ears, and so on. One way in which our brains could process faces is to analyse them as a collection of these separate, individual features. If that were the case though, we might expect to be easier to pick out any discrepancies in an upside-down face. The fact that we don’t suggests that we process and recognise faces in a more holistic manner – in other words, we don’t just process individual features, but also the positions and relationships between those features.

focused on policy, rather than discovery of fundamentals

We judge economics by what it can produce

In 2011, Martin Kemp, an Oxford art history professor, ran an experiment referenced in Ragai’s book, in which 14 non-specialists were shown genuine and fake “Rembrandt” paintings while undergoing brain scans. A painting was shown to them and they were told it was by Rembrandt. Another painting was shown to them and they were told it was a fake. By measuring the pleasure centers of the brain, Kemp concluded that “the way we view art is not rational.” Being told a work was authentic (whether or not it actually was) activated pleasure centers when it was shown, which was not the case when the viewer was told it was inauthentic (even if it was actually the real deal). It’s all about anticipation. If you’re poured a glass of wine and told it’s a 1955 Chateau Lafite Rothschild, you’ll enjoy it much more than if you’re told it’s a 2015 Trader Joe’s wine-in-a-box, whichever it truly happens to be. (For more on this, see my eBook single on wine forgery).

But while non-experts are led by being told what is authentic and what is not, clever forgers do a more elaborate version of the same thing to snare specialists. Rather than telling them “this is authentic,” which would summon a defensive reaction on the part of the expert (“Oh yeah, I’m the expert here, I’ll tell you what’s authentic and what isn’t”), they lay a trail of traps by scattering subtle clues that lead the expert into following a carefully plotted trail, but to come to their own conclusion about the authenticity of the work in question.

But, no matter how closely you watched the news reports or ogled Pantone’s Web site, you never actually saw the color Emerald: the vast majority of televisions, computer monitors, and mobile devices are unable to display it, as Jeff Yurek, a communications manager at Nanosys, a company that makes color-display technology, revealed in a blog post. That’s not the only color we’re missing. If you watched this year’s Super Bowl on television, you never really saw the true shade of the Broncos’ blue helmets (Pantone No. 289). And viewing online photos of London’s famous red double-decker buses (Pantone No. 485) while you plan your vacation falls far short of experiencing that color in person. It’s easy to assume that our constantly proliferating digital devices can easily generate any color we want. But, in fact, our screens paint from a depressingly small palette: most can only recreate about a third of all the colors that our eyes can perceive.

Polls show a gradual improvement in perceptions of Stalin, who led the Soviet Union from the late 1920s until his death in 1953. A survey released on March 1 by the Levada Center, a research organization based in Moscow, found that 40 percent of Russians thought the Stalin era brought “more good than bad,” up from 27 percent in 2012. In an annual Levada survey published in January 2015, a majority of Russians (52 percent) said Stalin “probably” or “definitely” played a positive role in the country.

Public frustration with policing has led to calls nationwide for more cameras worn by officers. But what do those cameras actually reveal?

Does painting still have the power to stop us in our tracks, let alone save our lives? India’s transport ministry is counting on it.