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BERLIN — The “Evidence” from which the Ai Weiwei exhibition at the Martin-Gropius-Bau derives its name could be the displayed collection of hard drives, laptops and notebooks the Chinese authorities confiscated after arresting the artist in 2011 as he tried to board a plane. Or it could be the life-size replica of the cell where he was held under constant surveillance for 81 days following his detention. Or even the 6,000 wooden stools that fill the sunken atrium of the space, in a silent testimony to a lost way of life in the Chinese countryside.

Herzing’s paper proposes five indicators of intelligence that any given species or machine (she includes artificial intelligence in her assessment) might combine in its own way: first, the size of the subject’s brain (if it has one) relative to the rest of the body; second, the extent to which an entity sends and receives information; third, the degree to which individual members of a species are distinct from one another; fourth, the complexity of the being’s social life; and, fifth, the amount of interaction it has with members of other species. One way to be intelligent is to score high on all five measures, as dolphins do, for instance.

n the winter of 1928, John Maynard Keynes composed a short essay that took the long view. It was titled “Economic Possibilities for Our Grandchildren,” and in it Keynes imagined what the world would look like a century hence. By 2028, he predicted, the “standard of life” in Europe and the United States would be so improved that no one would need to worry about making money. “Our grandchildren,” Keynes reckoned, would work about three hours a day, and even this reduced schedule would represent more labor than was actually necessary.

The world has grown far too familiar with genocide; as mass killings have claimed countless lives, the word has become ingrained into our vocabularies. But the term didn't exist until 1943, when Polish lawyer Raphael Lemkin coined it — pairing the Greek "genos," meaning race or family, with the Latin "-cidere," for killing. Lemkin, who witnessed the massacres of the early 20th century, spent his life campaigning to make the world acknowledge and prosecute the crime. A new documentary, Watchers of the Sky, tells his story. Once he'd established the word, Lemkin worked persistently in the then-newly-formed United Nations, hounding delegates to discuss his new word and acknowledge the issue.

As far as I could tell, there were no protesters in the vicinity of Lincoln Center on Nov. 15 before a Saturday matinee, the final performance of “The Death of Klinghoffer” at the Metropolitan Opera. This was a big change from the opening night of the Met’s season in September and the premiere of the “Klinghoffer” production last month, when hundreds of angry demonstrators gathered to denounce this opera by the composer John Adams and the librettist Alice Goodman as an anti-Semitic work that dared to humanize terrorists. Of course, Saturday is the Jewish Sabbath. But the only sign I saw being held outside the Met at the sold-out matinee said, “I need a ticket!” in big red letters.This was also to have been the day of a live HD simulcast of “Klinghoffer.” But Peter Gelb, the Met’s general manager, canceled the broadcast, bowing to pressure from the Anti-Defamation League, whose leaders were concerned about the work’s gaining international exposure at a time of a rise in anti-Semitic actions.

Harris takes a different path from those that have come before. Instead of a broad investigation into the effects on constant connectivity on human behaviour, Harris looks at a very specific demographic: people born before 1985, or the very opposite of the “millennial” demographic coveted by advertisers and targeted by new media outlets.

It was neither better nor worse than the world we live in today. Like technology, it just was.

That means being able to notice things like the reduction of interactions to numbers, and how that translates into quantifications of human worth. “I think it has to do with this notion of online accountability. That is, noticing that you actually count seems to be related to a sense of self worth,” he says over the phone from Toronto, where he is based. “So it’s like if a tweet gets retweeted a couple of hundred times, that must mean that my thoughts are worthy. If my Facebook photo is ‘liked,’ that must mean I am good looking. One of the things that concerns me about a media diet that is overly online, is that we lose the ability to decide for ourselves what we think about who we are.” +

I want to tell you a story about the difference between knowing and understanding.

All of which is a wind-up to say: having grown up in a mostly black neighborhood near Love Field airport in Dallas, and having been a diligent liberal for most of my adult life, I already knew there was such a thing as white privilege, and was properly horrified by it, but I didn't truly understand what it meant, on a deep level, until one summer night in 2006, when I was spared arrest or worse thanks to the color of my skin.

I went home. The other guy didn't. That's white privilege.White privilege sent me home to my kids.White privilege is the reason I've never told this story publicly.Extenuating personal circumstances, aside, I did something that I should not have done, and I escaped the consequences of my actions by accepting a benefit that never should have been bestowed.

More than two decades before Brittany Maynard’s public advocacy for death with dignity inspired lawmakers in Washington, D.C., and at least 16 states to introduce legislation authorizing the medical practice of aid in dying for the terminally ill, Senator Frank Roberts of Oregon sponsored one of the nation’s first death-with-dignity bills.

Since the late 19th century in the United States, critical responses to the spectacle of pain in executions have continued to spur ardent calls for the improvement of killing technology. One of the most prolific legal theorists of capital punishment, Austin Sarat, has concisely referred to this history: “The movement from hanging to electrocution, from electrocution to the gas chamber, from gas to lethal injection, reads like someone’s version of the triumph of progress, with each new technique enthusiastically embraced as the latest and best way to kill without imposing pain.” Recent debates over the administration of midazolam and pentobarbital, and in what dosage, seamlessly integrate themselves into Sarat’s grim progress narrative. The inexhaustible impulse to seek out less painful killing technologies puts a series of questions in sharp relief: What is, and should be, the role of pain in retributive justice? And how has the law come to rationalize the condemned’s experience of pain during an execution? While the Eighth Amendment stipulates the necessity of avoiding “cruel and unusual punishment,” in 1890 the Supreme Court decided this clause could mean that no method of execution should impose “something more than the mere extinguishment of life.” And then, in 1958, the court also determined that the amendment should reflect the “evolving standards of decency that mark the progress of a maturing society.” If we were to consider the “standard of decency” in our society today, we would be pushed to ask: By what moral order have we continued to establish the “extinguishment of life” as something “mere,” and the pain of the condemned as excessive? In other words, how has the pain experienced during an execution become considered cruel and unconstitutional but not the very act of killing itself? We should dial back to older histories of law to tap into pain’s perennially vexed role in retributive theories of justice.

It seems we may all be vulnerable to moral illusions the ethical equivalent of the bending lines that trick the eye on cereal boxes and in psychology textbooks. Illusions are a favorite tool of perception scientists for exposing the workings of the five senses, and of philosophers for shaking people out of the naïve belief that our minds give us a transparent window onto the world (since if our eyes can be fooled by an illusion, why should we trust them at other times?). Today, a new field is using illusions to unmask a sixth sense, the moral sense.

The first hallmark of moralization is that the rules it invokes are felt to be universal. Prohibitions of rape and murder, for example, are felt not to be matters of local custom but to be universally and objectively warranted. One can easily say, “I don’t like brussels sprouts, but I don’t care if you eat them,” but no one would say, “I don’t like killing, but I don’t care if you murder someone.”The other hallmark is that people feel that those who commit immoral acts deserve to be punished.

Until recently, it was understood that some people didn’t enjoy smoking or avoided it because it was hazardous to their health. But with the discovery of the harmful effects of secondhand smoke, smoking is now treated as immoral. Smokers are ostracized; images of people smoking are censored; and entities touched by smoke are felt to be contaminated (so hotels have not only nonsmoking rooms but nonsmoking floors). The desire for retribution has been visited on tobacco companies, who have been slapped with staggering “punitive damages.” At the same time, many behaviors have been amoralized, switched from moral failings to lifestyle choices.

Many concert-goers are often frustrated by the sound of people coughing during classical music performances. These coughers have now become the subject of an academic paper concerning "the economics of concert etiquette", which analyses a stark fact: people appear to cough more in concerts than in they do in normal life. The German economist Andreas Wagener told the Today programme: "The statistics indicate people cough during concerts twice as much as they do in normal life." Concert pianist Susan Tomes said: "I certainly do notice it, but I think it has something to do with the fact that people have gotten so used to hearing music amplified. "Many types of music are so loud, but classical music is not, and when you go to a classical concert, you forget how quiet acoustic instruments are." First broadcast on BBC Radio 4's Today Programme on Monday 28 January 2012.