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markfrankel18

Why the One Appealing Part of Creationism Is Wrong : The New Yorker - 0 views

www.newyorker.com/...t-of-creationism-is-wrong.html

TOK science creationism prediction

shared by markfrankel18 on 21 Feb 14 - No Cached
  • In the first place, science doesn’t involve merely telling stories about history. If it did, scientific explanations might not have any claim to a higher level of veracity than religious stories. The stories that science does tell have empirical consequences, and make physical predictions that can be tested. In this sense, all science is historical science. We make observations about past events, based on everything from data gathered in the laboratory yesterday to remnants of phenomena, like meteor impacts or stellar explosions, which may have happened billions of years ago. We then use them to make predictions about the future, about experiments or observations that have not yet taken place. To quibble about how long ago the original data was generated is to miss the point
Lawrence Hrubes

Joshua Foer: John Quijada and Ithkuil, the Language He Invented : The New Yorker - 1 views

www.newyorker.com/...121224fa_fact_foer

TOK language linguistic determinism

shared by Lawrence Hrubes on 19 Dec 12 - No Cached
  • Lawrence Hrubes on 19 Feb 14
     
    "Languages are something of a mess. They evolve over centuries through an unplanned, democratic process that leaves them teeming with irregularities, quirks, and words like "knight." No one who set out to design a form of communication would ever end up with anything like English, Mandarin, or any of the more than six thousand languages spoken today. "Natural languages are adequate, but that doesn't mean they're optimal," John Quijada told me. Quijada had spent three decades inventing in his spare time. Ithkuil had never been spoken by anyone other than Quijada, and he assumed that it never would be. In his preface, Quijada wrote that his "greater goal" was "to attempt the creation of what human beings, left to their own devices, would never create naturally, but rather only by conscious intellectual effort: an idealized language whose aim is the highest possible degree of logic, efficiency, detail, and accuracy in cognitive expression via spoken human language, while minimizing the ambiguity, vagueness, illogic, redundancy, polysemy (multiple meanings) and overall arbitrariness that is seemingly ubiquitous in natural human language." Ithkuil has two seemingly incompatible ambitions: to be maximally precise but also maximally concise, capable of capturing nearly every thought that a human being could have while doing so in as few sounds as possible. "
markfrankel18

A legal battle about the Klingon language could affect the future of computer programmi... - 0 views

qz.com/...future-of-computer-programming

TOK language

shared by markfrankel18 on 11 May 16 - No Cached
  • In a document written partly in Klingon, the society argued that while Paramount commissioned the creation of the language in 1984 from linguist Marc Okrand, the language “has taken on a life of its own.” There are groups of fans whose only shared language is Klingon. People have tried to raise children as native Klingon speakers. If a language is copyrighted, the group argued, then all ideas subsequently expressed in it could be too. Owning a language would mean having the right to block any future work in that language.
Lawrence Hrubes

What's Behind Big Science Frauds? - NYTimes.com - 3 views

www.nytimes.com/...behind-big-science-frauds.html

science ethics lies

shared by Lawrence Hrubes on 23 May 15 - No Cached
  • Remember that study showing vaccines were linked to autism? The time scientists claimed to have cloned human embryonic stem cells? Or that simple, easy way that was supposed to revolutionize the creation of such stem cells?Those were all frauds published in the world’s top scientific journals — The Lancet, Science and Nature. The vaccine scare has been associated with a surge in cases of measles, some of them deadly.Every day, on average, a scientific paper is retracted because of misconduct. Two percent of scientists admit to tinkering with their data in some kind of improper way. That number might appear small, but remember: Researchers publish some 2 million articles a year, often with taxpayer funding. In each of the last few years, the Office of Research Integrity, part of the United States Department of Health and Human Services, has sanctioned a dozen or so scientists for misconduct ranging from plagiarism to fabrication of results.
markfrankel18

The Dangers of Certainty: A Lesson From Auschwitz - NYTimes.com - 1 views

mobile.nytimes.com/...the-dangers-of-certainty

TOK history ethics certainty

shared by markfrankel18 on 08 Feb 14 - No Cached
  • The ascent of man was secured through scientific creativity. But unlike many of his more glossy and glib contemporary epigones, Dr. Bronowski was never reductive in his commitment to science. Scientific activity was always linked to artistic creation. For Bronowski, science and art were two neighboring mighty rivers that flowed from a common source: the human imagination. Newton and Shakespeare, Darwin and Coleridge, Einstein and Braque: all were interdependent facets of the human mind and constituted what was best and most noble about the human adventure.
  • For Dr. Bronowski, the moral consequence of knowledge is that we must never judge others on the basis of some absolute, God-like conception of certainty.
  • At this point, in the final minutes of the show, the scene suddenly shifts to Auschwitz, where many members of Bronowski’s family were murdered. Then this happened. Please stay with it. This short video from the show lasts only four minutes or so.[Video: Dr. Jacob Bronowski's argument against certainty, made at Auschwitz for his show "The Ascent of Man." Watch on YouTube.]It is, I am sure you agree, an extraordinary and moving moment. Bronowski dips his hand into the muddy water of a pond which contained the remains of his family members and the members of countless other families. All victims of the same hatred: the hatred of the other human being. By contrast, he says — just before the camera hauntingly cuts to slow motion — “We have to touch people.”
Lawrence Hrubes

To Pi and Beyond - The New Yorker - 0 views

www.newyorker.com/...pi-prime-numbers-cybersecurity

math mathematics beauty technology

shared by Lawrence Hrubes on 15 Mar 15 - No Cached
  • Entertaining the idea of a peculiar long number such as pi puts me in mind of its cousins twice removed, prime numbers, which have so many strange properties. Prime numbers are those numbers, such as 3, 5, 7, 11, and so on, that can be cleanly divided only by one and themselves. Primes and pi suggest a benign infinity, a pleasing order—pi because of its endlessness and its relation to the circle, and primes because no matter how far you travel on the number line you will always encounter a prime, as Euclid proved in 300 B.C. Recently, Yitang Zhang solved a problem involving prime numbers called bounded gaps that had been open for more than a hundred years. Zhang proved that no matter how far you go on the number line, even to the range where the numbers would fill many books, there will, on an infinite number of occasions, be two prime numbers within seventy million places of each other. (Other mathematicians have reduced this gap to two hundred and forty six.) Before, it had not been known whether any such range applied to prime numbers, which seem to behave, especially as they get larger, as if they appear at random.
  • Number theory is a discipline done for no purpose. It is practiced by people who believe that numbers have properties that exemplify an orderliness and beauty in the universe. The story of numbers is a story of creation not directly contained in the Scriptures, but if a divinity didn’t create numbers and their properties, what accounts for them? The necessity of counting doesn’t entirely explain pi or primes. A breakthrough in number theory is called a discovery, not an invention. There isn’t yet any explanation for the properties of pi or for primes. There is only the sense of wonder that the world contains such extravagant mysteries so close at hand.
markfrankel18

You Can't Educate People Into Believing in Evolution - The Atlantic - 2 views

www.theatlantic.com/...382983

TOK evolution science biology

shared by markfrankel18 on 24 Nov 14 - No Cached
  • According to a new report by Calvin College assistant professor Jonathan Hill, many Americans do not think it's that important to have the "correct beliefs" on the origins of human life.
  • "No creationist wakes up in the morning and says, 'I have really strong opinions about whether Archaeopteryx is the ancestor of modern birds,'" he said.* "Who are we as people? That’s the question that they think evolution is answering. What does it mean to be a person? What does it mean to be an animal?"
  • What that means is that "debates" about evolution and creationism actually might not be that effective
Lawrence Hrubes

An Artist with Amnesia - The New Yorker - 2 views

www.newyorker.com/...an-artist-with-amnesia

memory arts psychology cognition neuroscience

shared by Lawrence Hrubes on 24 Mar 15 - No Cached
  • Lately, Johnson draws for pleasure, but for three decades she had a happily hectic career as an illustrator, sometimes presenting clients with dozens of sketches a day. Her playful watercolors once adorned packages of Lotus software; for a program called Magellan, she created a ship whose masts were tethered to billowing diskettes. She made a popular postcard of two red parachutes tied together, forming a heart; several other cards were sold for years at MOMA’s gift shop. Johnson produced half a dozen covers for this magazine, including one, from 1985, that presented a sunny vision of an artist’s life: a loft cluttered with pastel canvases, each of them depicting a fragment of the skyline that is framed by a picture window. It’s as if the paintings were jigsaw pieces, and the city a puzzle being solved. Now Johnson is obsessed with making puzzles. Many times a day, she uses her grids as foundations for elaborate arrangements of letters on a page—word searches by way of Mondrian. For all the dedication that goes into her puzzles, however, they are confounding creations: very few are complete. She is assembling one of the world’s largest bodies of unfinished art.
  • Nicholas Turk-Browne, a cognitive neuroscientist at Princeton, entered the lab and greeted Johnson in the insistently zippy manner of a kindergarten teacher: “Lonni Sue! We’re going to put you in a kind of space machine and take pictures of your brain!” A Canadian with droopy dark-brown hair, he typically speaks with mellow precision. Though they had met some thirty times before, Johnson continued to regard him as an amiable stranger. Turk-Browne is one of a dozen scientists, at Princeton and at Johns Hopkins, who have been studying her, with Aline and Maggi’s consent. Aline told me, “When we realized the magnitude of Lonni Sue’s illness, my mother and I promised each other to turn what could be a tragedy into something which could help others.” Cognitive science has often gained crucial insights by studying people with singular brains, and Johnson is the first person with profound amnesia to be examined extensively with an fMRI. Several papers have been published about Johnson, and the researchers say that she could fuel at least a dozen more.
Lawrence Hrubes

Richard Serra in the Qatari Desert : The New Yorker - 1 views

www.newyorker.com/...erra-in-the-qatari-desert.html

arts TOK sculpture culture

shared by Lawrence Hrubes on 22 Apr 14 - No Cached
  • Richard Serra’s new sculpture, “East-West/West-East,” is a set of four standing steel plates rolled in Germany, shipped via Antwerp, and offloaded, trucked, and craned into place in the middle of the western Qatari desert. It’s his second public commission in Qatar—the first, a towering sculpture titled “7,” is his tallest ever—and it is being unveiled, together with a new work, at the Al Riwaq exhibition space, in Doha. “East-West/West-East,” which spans the greatest area of any of Serra’s creations, is yet another grand piece of public art purchased by the Gulf nation. The Qatar Museums Authority is estimated to spend about a billion dollars per year on art. At its head is the young Sheikha al-Mayassa Hamad bin Khalifa al-Thani, a sister of the Emir of Qatar and a Duke University graduate, who was recently named the most powerful person in the art world by ArtReview.
markfrankel18

Banksy Releases New Works on Gaza - NYTimes.com - 1 views

artsbeat.blogs.nytimes.com/...ksy-releases-new-works-on-gaza

TOK arts

shared by markfrankel18 on 27 Feb 15 - No Cached
  • The graffiti artist Banksy unveiled his latest politically charged creation online on Thursday, posting on Instagram a photograph of a weeping figure, which the artist tagged with the hashtags “Banksy” and “Gaza.” A two-minute movie was also posted on his website, with short clips of Palestinian citizens standing amid rubble and what appear to be armed Israeli soldiers. The clip is peppered with captions, like “the locals like it so much they never leave…. (Because they’re not allowed to).”
markfrankel18

Creativity Creep - The New Yorker - 3 views

www.newyorker.com/...creativity-creep

creativity TOK arts language

shared by markfrankel18 on 04 Sep 14 - Cached
  • How did we come to care so much about creativity? The language surrounding it, of unleashing, unlocking, awakening, developing, flowing, and so on, makes it sound like an organic and primordial part of ourselves which we must set free—something with which it’s natural to be preoccupied. But it wasn’t always so; people didn’t always care so much about, or even think in terms of, creativity.
  • It was Romanticism, in the late eighteenth and early nineteenth centuries, which took the imagination and elevated it, giving us the “creative imagination.”
  • How did creativity transform from a way of being to a way of doing? The answer, essentially, is that it became a scientific subject, rather than a philosophical one.
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  • All of this measuring and sorting has changed the way we think about creativity. For the Romantics, creativity’s center of gravity was in the mind. But for us, it’s in whatever the mind decides to share—that is, in the product. It’s not enough for a person to be “imaginative” or “creative” in her own consciousness. We want to know that the product she produces is, in some sense, “actually” creative; that the creative process has come to a workable conclusion. To today’s creativity researchers, the “self-styled creative person,” with his inner, unverifiable, possibly unproductive creativity, is a kind of bogeyman; a great deal of time is spent trampling on the scarf of the lone, Romantic genius. Instead, attention is paid to the systems of influence, partnership, power, funding, and reception that surround creativity—the social structures, in other words, that enable managers to reap the fruits of creative labor. Often, this is imagined to be some sort of victory over Romanticism and its fusty, pretentious, élitist ideas about creativity.
  • But this kind of thinking misses the point of the Romantic creative imagination. The Romantics weren’t obsessed with who created what, because they thought you could be creative without “creating” anything other than the liveliness in your own head.
  • It sounds bizarre, in some ways, to talk about creativity apart from the creation of a product. But that remoteness and strangeness is actually a measure of how much our sense of creativity has taken on the cast of our market-driven age
  • Thus the rush, in my pile of creativity books, to reconceive every kind of life style as essentially creative—to argue that you can “unleash your creativity” as an investor, a writer, a chemist, a teacher, an athlete, or a coach.
  • Among the many things we lost when we abandoned the Romantic idea of creativity, the most valuable may have been the idea of creativity’s stillness. If you’re really creative, really imaginative, you don’t have to make things. You just have to live, observe, think, and feel.
Lawrence Hrubes

The Pentagon's 'Terminator Conundrum': Robots That Could Kill on Their Own - The New Yo... - 1 views

www.nytimes.com/...l-intelligence-terminator.html

ethics technology robots war military

shared by Lawrence Hrubes on 27 Oct 16 - No Cached
  • Just as the Industrial Revolution spurred the creation of powerful and destructive machines like airplanes and tanks that diminished the role of individual soldiers, artificial intelligence technology is enabling the Pentagon to reorder the places of man and machine on the battlefield the same way it is transforming ordinary life with computers that can see, hear and speak and cars that can drive themselves.
  • The debate within the military is no longer about whether to build autonomous weapons but how much independence to give them. Gen. Paul J. Selva of the Air Force, the vice chairman of the Joint Chiefs of Staff, said recently that the United States was about a decade away from having the technology to build a fully independent robot that could decide on its own whom and when to kill, though it had no intention of building one.
  • Armed with a variation of human and facial recognition software used by American intelligence agencies, the drone adroitly tracked moving cars and picked out enemies hiding along walls. It even correctly figured out that no threat was posed by a photographer who was crouching, camera raised to eye level and pointed at the drone, a situation that has confused human soldiers with fatal results.
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  • Today’s software has its limits, though. Computers spot patterns far faster than any human can. But the ability to handle uncertainty and unpredictability remain uniquely human virtues, for now.
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