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It’s an intuitive claim, but also a profound one. It asserts that the benefits of bilingualism extend well beyond the realm of language, and into skills that we use in every aspect of our lives. This view is now widespread, heralded by a large community of scientists, promoted in books and magazines, and pushed by advocacy organizations.

Mainly, I think, the restoration story gets people hooked because it raises ancient and endlessly fascinating philosophy-of-art questions. In this respect, the restored murals are really a new work, a work of conceptual art. To look at them is to have thoughts about the nature of art. When I was a student, I went to a class taught by the art historian Meyer Schapiro. There were lots of people in the room; I think it was supposed to be his last class. (This was at Columbia, where Schapiro had been, as a student and a professor, since 1920.) He devoted the entire opening lecture to forgeries. I couldn’t believe it. I wanted to hear him talk about paintings, not fakes. I didn’t go back.

Zimbardo’s standard narrative of the Stanford prison experiment offers the prisoners’ emotional responses as proof of how powerfully affected they were by the guards’ mistreatment. The shock of real imprisonment provides a simpler and far less groundbreaking explanation. It may also have had legal implications, should prisoners have thought to pursue them. Korpi told me that the greatest regret of his life was failing to sue Zimbardo.

These are stimulating times for anyone interested in questions of animal consciousness. On what seems like a monthly basis, scientific teams announce the results of new experiments, adding to a preponderance of evidence that we’ve been underestimating animal minds, even those of us who have rated them fairly highly. New animal behaviors and capacities are observed in the wild, often involving tool use—or at least object manipulation—the very kinds of activity that led the distinguished zoologist Donald R. Griffin to found the field of cognitive ethology (animal thinking) in 1978: octopuses piling stones in front of their hideyholes, to name one recent example; or dolphins fitting marine sponges to their beaks in order to dig for food on the seabed; or wasps using small stones to smooth the sand around their egg chambers, concealing them from predators. At the same time neurobiologists have been finding that the physical structures in our own brains most commonly held responsible for consciousness are not as rare in the animal kingdom as had been assumed. Indeed they are common. All of this work and discovery appeared to reach a kind of crescendo last summer, when an international group of prominent neuroscientists meeting at the University of Cambridge issued “The Cambridge Declaration on Consciousness in Non-Human Animals,” a document stating that “humans are not unique in possessing the neurological substrates that generate consciousness.” It goes further to conclude that numerous documented animal behaviors must be considered “consistent with experienced feeling states.”

What has more consciousness: a puppy or a baby? An iPhone 5 or an octopus? For a long time, the question seemed impossible to address. But recently, Giulio Tononi, a neuroscientist at the University of Wisconsin, argued that consciousness can be measured—captured in a single value that he calls Φ, the Greek letter phi. The intuition behind Tononi’s idea, known as the Integrated Information Theory, is that we experience consciousness when we integrate different sensory inputs. According to Tononi, when you eat ice cream, you cannot separate the taste of the sugar on your tongue from the sensation of the melting liquid coating the inside your mouth. Phi is a measure of the extent to which a given system—for example, a brain circuit—is capable of fusing these distinctive bits of information. The more distinctive the information, and the more specialized and integrated a system is, the higher its phi. To Tononi, phi directly measures consciousness; the higher your phi, the more conscious you are.

For most of the past century, drugs approved and released to market have been tested only on male patients, leading to improper dosing and unacceptable side effects for women. The important physiological differences between men and women have only recently been taken into consideration in medical research. Emergency doctor Alyson McGregor studies these differences, and in this fascinating talk she discusses the history behind how the male model became our framework for medical research and how understanding differences between men and women can lead to more effective treatments for both sexes

If all art should be simple or if all art should be complex, the choice is clear. However, both of these norms seem absurd. Isn’t it obvious that some estimable art is simple and some is complex? True, there might be extremes that are beyond the pale; we are alienated by art that is far too complex and bored by art that is far too simple. However, between these two extremes there is a vast space of possibilities.

Science is different, at least according to many scientists. Albert Einstein spoke for many when he said that ‘it can scarcely be denied that the supreme goal of all theory is to make the irreducible basic elements as simple and as few as possible without having to surrender the adequate representation of a single datum of experience’. The search for simple theories, then, is a requirement of the scientific enterprise.

The spectacular success of science in the past 300 years has raised hopes that it also holds the key to guiding human beings towards a good life. Psychology and neuroscience has become a main source of life advice in the popular media. But philosophers have long held reservations about this scientific orientation to how to live life.

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.

Most seriously of all, the effects of suppressing national memory could be of critical importance to Poles in coming decades, and to a global audience that has yet to fully absorb the complicated lessons of World War II. In some measure at least, how rising generations of Poles see themselves, democracy, and Europe will depend on whether they can have ready access to their country’s complicated experience in World War II. The collapse of democracy, the museum’s first theme, could hardly be more salient than it is right now. And the presentation of the conflict as a global tragedy could hardly be more instructive. The preemptive liquidation of the museum is nothing less than a violent blow to the world’s cultural heritage.

The prisoner's dilemma, in real life  SARAH PAVIS  ·  AUG 08 2013 You might have hear of the prisoner's dilemma, a classic example in game theory showing why individuals might not cooperate. But what you probably don't know is the name comes from a thought experiment. No one had ever actually tested it on real prisoners. Until now