Last Saturday, an elderly man set up a stall near Central Park and sold eight spray-painted canvases for less than one five-hundredth of their true value. The art works were worth more than two hundred and twenty-five thousand dollars, but the man walked away with just four hundred and twenty dollars. Each canvas was an original by the enigmatic British artist Banksy, who was approaching the midpoint of a monthlong residency in New York City. Banksy had asked the man to sell the works on his behalf. For several hours, hundreds of oblivious locals and tourists ignored the quiet salesman, along with the treasure he was hiding in plain sight. The day ended with thirty paintings left unsold. One Banksy aficionado, certain she could distinguish a fake from the real thing, quietly scolded the man for knocking off the artist’s work.
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Why People Mistake Good Deals for Rip-Offs : The New Yorker - 5 views
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What makes Banksy’s subversive stunt so compelling is that it forces us to acknowledge how incoherently humans derive value. How can a person be willing to pay five hundred times more than another for the same art work born in the same artist’s studio?
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Some concepts are easy to evaluate without a reference standard. You don’t need a yardstick, for example, when deciding whether you’re well-rested or exhausted, or hot or cold, because those states are “inherently evaluable”—they’re easy to measure in absolute terms because we have sensitive biological mechanisms that respond when our bodies demand rest, or when the temperature rises far above or falls far below seventy-two degrees. Everyone agrees that three days is too long a period without sleep, but art works satisfy far too abstract a need to attract a universal valuation. When you learn that your favorite abstract art work was actually painted by a child, its value declines precipitously (unless the child happens to be your prodigious four-year-old).
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The Tilted Road Illusion - Scientific American Blog Network - 0 views
Acupuncture Is Sham Medicine - But Has It Led Researchers to a Chronic Pain Treatment? ... - 0 views
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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.
The Linguistic Turf Wars Over the Singular 'They' - Atlas Obscura - 1 views
Do Our Senses Reveal the World or Obscure It? | Big Think - 0 views
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a 5-min video with neuroscientist Beau Lotto about how we cannot accurately know reality through our senses, but we perceive what we've learned to perceive and what is useful for us to function in the world; he uses examples including colour; some technical explanations that physics students might like
Trading One Bad Map for Another? - Atlas Obscura - 0 views
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“News of Boston public schools’ decision to go with the Peters projection has gone viral over the past week, and my teeth have not stopped itching,” Jonathan Crowe writes on his blog, The Map Room. “It is incredibly short-sighted and narrow-minded to say it should be one or the other,” says Mark Monmonier, author of Rhumb Lines and Map Wars: A Social History of the Mercator Projection. Even Ronald Grim, curator of the Norman B. Leventhal Map Center at the Boston Public Library, had concerns: “In my mind, both the Mercator and the Peters are controversial projections,” he says in a phone interview. “But we were not asked to be part of the decision.” Choosing between map projections is a necessarily difficult task. The Earth is resolutely three-dimensional, and any attempts to smooth it out are going to add a certain amount of warping. It’s a balancing act: the more accurate you make the continents’ relative area, the more you have to distort their shapes, and vice versa. The art of cartography lies in choosing to privilege one or another of these accuracies—or finding a sweet spot between them that serves your particular purpose.
Art All Over - The New Yorker - 2 views
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At what point does a widely shared yen for aesthetic engagement alter the character of that engagement? We’ve reached that point on many days at the Museum of Modern Art, where the crowds experience mainly crowdedness, and the Picassos and Pollocks take on the glazed miens of traumatized warriors. MOMA’s own planned expansion bodes an architecture keyed to crowd management, which explains the logic behind even the cruel demolition of the intimate former American Museum of Folk Art.
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