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And so it’s not entirely surprising that minority students in Yale’s Silliman College were upset that their master, Nicholas Christakis, and his wife, Erika, the associate master, defended the rights of students to wear offensive costumes at a Halloween party, while counselling those bothered by such behavior to “look away.”

some of the tensions of the liberal-arts college’s role: namely, that they are not just heady intellectual spaces but also domestic spaces, where young people live in close contact and negotiate emotionally intricate issues, including racial hostility, sexual violence, and more. The whole point of the residential system—as distinct from Yale’s classrooms—is to be a safe space, or at least this is what Yale itself implies.

What Dr. Brown and a fellow Caltech professor, Konstantin Batygin, have not done is actually find that planet

But before it fell, the wall did something that most people never think of: It created a massive laboratory for studying human society.Imagine this: If you were a researcher trying to determine how a political system affects people’s values, beliefs, and behavior, you would ideally want to take two identical populations, separate them for a generation or two, and subject them each to two totally different kinds of government. Then you’d want to measure the results, the same way a medical researcher might give two sets of patients two different pills and then track their progress.Ethically, such a study would be unthinkable even to propose. But when the Berlin Wall went up in 1961, it created what London School of Economics associate professor Daniel Sturm calls a “perfect experiment.”

We hear the thrum of urban life, overhear the neighbors arguing next door; we eavesdrop, whether we want to or not, on the conversations of co-workers. In medical waiting rooms or hospitals, we’re often privy to nurses and doctors discussing a patient (or, worse, as I experienced recently, to the decidedly un-relaxing sounds of Southern country rock blaring in a mammography clinic). These are things we often don’t want to hear, and with smarter design we shouldn’t have to.Continue reading the main story All of ARUP’s offices have a resource — the Sound Lab — that allows clients to listen to the soundscape of an environment or the acoustics of a space at the early design stages, before that environment or space even exists.

Fear, arriving in layers in which genetic legacy converges with personal experience, is vital to our survival. When we freeze, stop in our tracks or take flight, it is a biological response to what we sense as near and present danger. All the same, it observes its own absurd hierarchy, in which we often harbor an abiding anxiety for the wrong things.

Except that we do choose, and what we choose are generally the ordinary fears such as heights, public speaking, insects, reptiles

The biologist E. O. Wilson has observed that while we fear snakes, spiders, darkness, open spaces and closed spaces, we do not fear the more likely instruments of danger — knives, guns, cars, electrical sockets — because, he says, “our species has not been exposed to these lethal agents long enough in evolutionary time to have acquired the predisposing genes that ensure automatic avoidance.” Which is to say, fear, real fear, deep fear, the kind that changes our habits and actions, is not something on which we are likely to follow sensible instruction.

The International Astronomical Union (IAU) got it wrong. Our solar system has 10 planets. As NASA's New Horizons spacecraft glides its way to the cold outer reaches of our solar system to take the first-ever up-close look at Pluto, the time is right to revise the International Astronomical Union (IAU)'s 2006 definition of a planet, which resulted in Pluto's "demotion" from planet to ambiguous dwarf-planet status.

Few things are harder to study than human language. The brains of living humans can only be studied indirectly, and language, unlike vision, has no analogue in the animal world. Vision scientists can study sight in monkeys using techniques like single-neuron recording. But monkeys don’t talk. However, in an article published today in Nature, a group of researchers, including myself, detail a discovery in birdsong that may help lead to a revised understanding of an important aspect of human language development. Almost five years ago, I sent a piece of fan mail to Ofer Tchernichovski, who had just published an article showing that, in just three or four generations, songbirds raised in isolation often developed songs typical of their species. He invited me to visit his lab, a cramped space stuffed with several hundred birds residing in souped-up climate-controlled refrigerators. Dina Lipkind, at the time Tchernichovski’s post-doctoral student, explained a method she had developed for teaching zebra finches two songs. (Ordinarily, a zebra finch learns only one song in its lifetime.) She had discovered that by switching the song of a tutor bird at precisely the right moment, a juvenile bird could learn a second, new song after it had mastered the first one. Thinking about bilingualism and some puzzles I had encountered in my own lab, I suggested that Lipkind’s method could be useful in casting light on the question of how a creature—any creature—learns to put linguistic elements together.

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.

Behind the giant particle accelerators and space observatories, science is a way of behaving in the world. It is, simply put, a tradition. And as we know from history’s darkest moments, even the most enlightened traditions can be broken and lost. Perhaps that is the most important lesson all lifelong students of science must learn now.

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.

Michael Sorkin, a globe-trotting sixty-six-year-old architect, urban planner, and critic, has published fourteen books and has designed buildings and public spaces from the Rockaways to Abu Dhabi. Currently, one of his biggest projects is a large urban complex in Xi’an, China. Meanwhile, in New York, where Sorkin lives, he runs Terreform, a non-profit devoted to architecture that is both urban and green. Two years ago, Terreform began a project called New York City (Steady) State, which investigates the possibility of “urban self-reliance”; its goal is to figure out what an optimally self-sufficient N.Y.C. might look like. By concretely imagining an ideal city, the thinking goes, you make a better one more likely. How would such a city function? And what would it be like to live on its leafy and fruitful streets?

his week, the United States Postal Service came in for a full news cycle’s worth of ridicule after it was&nbsp;pointed out, by the Washington&nbsp;Post, that the agency’s new Maya Angelou stamp featured a quotation that the late poet and memoirist didn’t write. The line—“A bird doesn’t sing because it has an answer, it sings because it has a song”—has been widely attributed to Angelou. And it seems like something she might have written, perhaps as a shorthand explanation for the title of her most famous book, “I Know Why the Caged Bird Sings.” But the line, in a slightly different form, was originally published in a poetry collection from 1967 called “A Cup of Sun,” by Joan Walsh Anglund. The&nbsp;Post&nbsp;reported this on Monday. By Tuesday, when such luminaries as First Lady Michelle Obama and Oprah Winfrey stood onstage in front of a giant reproduction of the Angelou stamp at the official unveiling, everyone knew that the words behind them belonged to someone else. According to the U.S.P.S., more than&nbsp;eighty million Angelou stamps were produced, and there are no plans to retract them. <!doctype html>div,ul,li{margin:0;padding:0;}.abgc{height:15px;position:absolute;right:16px;text-rendering:geometricPrecision;top:0;width:15px;z-index:9010;}.abgb{height:100%;}.abgc img{display:block;}.abgc svg{display:block;}.abgs{display:none;height:100%;}.abgl{text-decoration:none;}.cbc{background-image: url('http://pagead2.googlesyndication.com/pagead/images/x_button_blue2.png');background-position: right top;background-repeat: no-repeat;cursor:pointer;height:15px;right:0;top:0;margin:0;overflow:hidden;padding:0;position:absolute;width:16px;z-index:9010;}.cbc.cbc-hover {background-image: url('http://pagead2.googlesyndication.com/pagead/images/x_button_dark.png');}.cbc > .cb-x{height: 15px;position:absolute;width: 16px;right:0;top:0;}.cb-x > .cb-x-svg{background-color: lightgray;position:absolute;}.cbc.cbc-hover > .cb-x > .cb-x-svg{background-color: #58585a;}.cb-x > .cb-x-svg > .cb-x-svg-path{fill : #00aecd;}.cbc.cbc-hover > .cb-x > .cb-x-svg > .cb-x-svg-path{fill : white;}.cb-x > .cb-x-svg > .cb-x-svg-s-path{fill : white;} .ddmc{background:#ccc;color:#000;padding:0;position:absolute;z-index:9020;max-width:100%;box-shadow:2px 2px 3px #aaaaaa;}.ddmc.left{margin-right:0;left:0px;}.ddmc.right{margin-left:0;right:0px;}.ddmc.top{bottom:20px;}.ddmc.bottom{top:20px;}.ddmc .tip{border-left:4px solid transparent;border-right:4px solid transparent;height:0;position:absolute;width:0;font-size:0;line-height:0;}.ddmc.bottom .tip{border-bottom:4px solid #ccc;top:-4px;}.ddmc.top .tip{border-top:4px solid #ccc;bottom:-4px;}.ddmc.right .tip{right:3px;}.ddmc.left .tip{left:3px;}.ddmc .dropdown-content{display:block;}.dropdown-content{display:none;border-collapse:collapse;}.dropdown-item{font:12px Arial,sans-serif;cursor:pointer;padding:3px 7px;vertical-align:middle;}.dropdown-item-hover{background:#58585a;color:#fff;}.dropdown-content > table{border-collapse:collapse;border-spacing:0;}.dropdown-content > table > tbody > tr > td{padding:0;}Ad covers the pageStop seeing this ad.feedback_container {width: 100%;height: 100%;position: absolute;top:0;left:0;display: none;z-index: 9020;background-color: white;}.feedback_page {font-family: &quot;Arial&quot;;font-size: 13px;margin: 16px 16px 16px 16px;}.feedback_title {font-weight: bold;color: #000000;}.feedback_page a {font-weight: normal;color: #3366cc;}.feedback_description {color: #666666;line-height: 16px;margin: 12px 0 12px 0;}.feedback_closing {color: #0367ff;line-height: 16px;margin: 12px 0 12px 0;}.feedback_logo {position: absolute;right: 0;bottom: 0;margin: 0 12px 9px 0;}.feedback_logo img {height: 15px;}.survey_description {color: #666666;line-height: 17px;margin: 12px 0 10px 0;}.survey {color: #666666;line-height: 20px;}.survey_option input {margin: 0;vertical-align: middle;}.survey_option_text {margin: 0 0 0 5px;line-height: 17px;vertical-align: bottom;}.survey_option:hover {background-color: lightblue;cursor: default;}It&amp;#39;s gone. UndoWhat was wrong with this ad?InappropriateRepetitiveIrrelevantThanks for the feedback! BackWe’ll review this ad to improve your

Could studying ants reveal clues to reducing highway traffic jams? Physicist Apoorva Nagar at the Indian Institute of Space Science and Technology thinks the answer is yes. Nagar says he got interested in the topic when he came across a study by German and Indian researchers showing that ants running along a path were able to maintain a steady speed even when there were a large number of ants on the path. Nagar says there are three main reasons ants don't jam up. Number one, ants don't have egos. They don't show off by zooming past people. "The second thing is, they do not mind a few accidents, or collisions," say Nagar. So unless there's a serious pileup, they just keep going.

The third reason, he says, is that ants seem to get more disciplined when paths get crowded, running in straighter lines, and varying their speed less. They're less likely to make unexpected moves in this sort of heavy traffic. It's the kind of steady control you see when a computer is controlling a car rather than a human. There's less variability unless it's absolutely called for. Nagar felt this kind of behavior could be explained by something called the Langevin equation, an equation physicists use when describing the movement of liquids, or how individual atoms behave in a lattice.

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.

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.

‘“What if?” is a waste of time’ went the headline to the Cambridge historian Richard Evans’ piece in The Guardian last year. Surveying the many instances of public counterfactual discourse in the anniversary commemorations of the First World War, Evans wrote: ‘This kind of fantasising is now all the rage, and threatens to overwhelm our perceptions of what really happened in the past, pushing aside our attempts to explain it in favour of a futile and misguided attempt to decide whether the decisions taken in August 1914 were right or wrong.’

But hold on a minute.

If well-done counterfactuals can help us think them through, shouldn’t we allow what-ifs some space at the history table?