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As part of mammoth celebrations of the 200th anniversary of Norway’s constitution, the government is funding two artists to re-enact a "human zoo", which will open to the public on 15 May. Oslo’s original human zoo or Kongolandsbyen was central to Norway’s world fair in 1914. The artists claim that the new project, which they named European Attraction Limited, is meant to provoke a discussion on colonialism and racism in a post-modern world, engaging with Norway’s racist past in the process. Some anti-racism organisations and commentators have labelled the project offensive and racist. Is there any artistic value in the re-enactment of such a dehumanising spectacle, especially in a world not yet fully healed of racism? Is this an abuse of art? Or will the re-enactment reverse the modest gains of the equality struggles, especially when the world engages with the subject of race so superficially?

When the artist Peggy Weil first learned about the National Ice Core Laboratory, a few years ago, she was captivated. She contacted Geoffrey Hargreaves, the lab’s curator, and soon found herself inside a giant freezer, bundled in an Arctic-ready parka. (The temperature was minus thirty-eight degrees Fahrenheit.) With the help of lab assistants, she loaded up a cart with cannisters made of thick cardboard, each containing a small segment of a two-mile-long core from the Greenland ice sheet. Weil trundled her specimens to a cylindrical scanner and photographed them in high resolution. Eventually, she strung together eighty-eight scans, top to bottom. Then she animated them and added an accompanying score, creating a four-and-a-half-hour video, designed to be projected onto a wall.

The malleable nature of facts is a particular preoccupation in one field of philosophy. “Social constructivism” argues that there are simply no objective facts. Instead, every “fact” we believe is a reflection of our socially constructed values, and how we choose to perceive the world. This is not a new theory, and develops many of its ideas from Karl Marx and Friedrich Nietzsche, who examined shifting human values from a historical perspective in the 19th century. But the current political debate offers a vivid demonstration of these ideas. Jesse Prinz, a philosophy professor at City University of New York, explains that facts are always subjective. Even something as foundational as the periodic table. “When you look closely, you realize that it could have been organized very differently. It could be ordered by atomic weight, rather than atomic number, it could include isotopes, it could exclude elements that don’t exist in nature, and so on,” he says. “The way we classify things is always a function of both mind and world.”

One of the more benign aspects of Chinese medicine is acupuncture, a practice deemed superstitious in China in the 17th century until Mao Zedong reemployed it for political purposes in the fifties. Two decades later it infiltrated the American imagination. A myth was reborn. As Jeneen Interlandi writes, research results have been murky at best—one 2013 report of over 3,000 studies showed acupuncture to be no more effective than placebos.

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.

What, really, would Maria Montessori have made of this scene? The 30 or so children here were not down at the shore poking their fingers in the sand or running them along mossy stones or digging for hermit crabs. Instead they were all inside, alone or in groups of two or three, their faces a few inches from a screen, their hands doing things Montessori surely did not imagine. A couple of 3-year-old girls were leaning against a pair of French doors, reading an interactive story called Ten Giggly Gorillas and fighting over which ape to tickle next. A boy in a nearby corner had turned his fingertip into a red marker to draw an ugly picture of his older brother. On an old oak table at the front of the room, a giant stuffed Angry Bird beckoned the children to come and test out tablets loaded with dozens of new apps. Some of the chairs had pillows strapped to them, since an 18-month-old might not otherwise be able to reach the table, though she’d know how to swipe once she did.

The golden ratio's aesthetic bona fides are an urban legend, a myth, a design unicorn. Many designers don't use it, and if they do, they vastly discount its importance. There's also no science to really back it up.

"Strictly speaking, it's impossible for anything in the real-world to fall into the golden ratio, because it's an irrational number," says Keith Devlin, a professor of mathematics at Stanford University.

You Don't Really Prefer The Golden Ratio In the real world, people don't necessarily prefer the golden ratio.

Over the years, he said, many hypotheses about the secret properties of Stradivari and Guarneri instruments have come and gone. Advertisement Continue reading the main story For a while, people suggested that luthiers had simply used trees that have since gone extinct — but in fact those trees still exist. In 2003, Dr. Grissino-Mayer and a colleague said Stradivari’s secret had to do with the fact that he had lived during an extremely cold period, known as the little ice age, and that the trees around him were growing differently. How exactly that may have produced better instruments, however, remains unclear. Another popular theory — that Stradivari was using a varnish with magical sound properties — has not been substantiated by any chemical analyses.

Bees find nectar and tell their hive-mates; flies evade the swatter; and cockroaches seem to do whatever they like wherever they like. But who would believe that insects are conscious, that they are aware of what’s going on, not just little biobots?Neuroscientists and philosophers apparently. As scientists lean increasingly toward recognizing that nonhuman animals are conscious in one way or another, the question becomes: Where does consciousness end?Andrew B. Barron, a cognitive scientist, and Colin Klein, a philosopher, at Macquarie University in Sydney, Australia, propose in Proceedings of the National Academy of Sciences that insects have the capacity for consciousness.

As biological research races forward, ethical quandaries are piling up. In a report published Tuesday in the journal eLife, researchers at Harvard Medical School said it was time to ponder a startling new prospect: synthetic embryos.In recent years, scientists have moved beyond in vitro fertilization. They are starting to assemble stem cells that can organize themselves into embryolike structures.Soon, experts predict, they will learn how to engineer these cells into new kinds of tissues and organs. Eventually, they may take on features of a mature human being.

Harvard philosopher Michael Sandel in conversation with Nigel Warburton outlines 3 answers to the question 'What is Justice?', Jeremy Bentham's, Immanuel Kant's, and Aristotle's. Listen to Michael Sandel on Justice Philosophy Bites is made in association with the Institute of Philosophy.