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Is It Wrong to Watch Football?

I’ve been astonished at how many people fail to appreciate the athletic significance of this. Remember, this is a competitive issue, not a human-rights issue. No one is saying that Semenya isn’t a woman, a human being, and an individual deserving of our full respect.

Canada’s former policy of forcibly removing aboriginal children from their families for schooling “can best be described as ‘cultural genocide.’”

As the unofficial spokespeople for our organic-eating, Food Network-watching ways, when chefs talk, Americans tend to listen. And Dan Barber — the farm-to-table icon behind restaurants Blue Hill in New York City and Blue Hill Stone Barns in Tarrytown — isn’t wasting his platform.Barber has given a wildly popular TED talk, been counted among TIME’s 100 most influential people, been appointed to the President’s Council on Fitness, Sports & Nutrition and, as of last week, authored a nearly 500-page book laying out a radical new vision for the future of food.So when Barber came out last weekend with a New York Times op-ed detailing the shortcomings of the farm-to-table movement he had previously helped promote, people paid attention. While we like to pat ourselves on the back for eating seasonally and locally, Barber’s contentious argument went, the foodie fad that grew to become the face of sustainable eating has failed to bring about the promised revolution. Industrial agriculture still rules, Barber argued. And as it keeps growing, more and more small farms and native prairie disappear under Big Ag’s plow.If we really care about changing our food system (as anyone who hopes to feed our growing world should), Barber believes we’re going to need a true revolution. And “The Third Plate“ is his thesis, over a decade in the works, for what that change must look like.Among other things, change means thinking holistically, embracing diversity in ingredient choice and cuisine, and shifting meat over from its vaulted place at the center of the dinner plate. But while the solutions Barber describes are frighteningly extensive, they also, in his telling, sound delicious. That, more than any warning about the consequences of continuing along with the status quo, could be thing that ends up making a difference.

Sleep. Parents crave it, but children and especially teenagers, need it. When educators and policymakers debate the relationship between sleep schedules and school performance and — given the constraints of buses, sports and everything else that seem so much more important — what they should do about it, they miss an intimate biological fact: Sleep is learning, of a very specific kind. Scientists now argue that a primary purpose of sleep is learning consolidation, separating the signal from the noise and flagging what is most valuable. School schedules change slowly, if at all, and the burden of helping teenagers get the sleep they need is squarely on parents. Can we help our children learn to exploit sleep as a learning tool (while getting enough of it)? Absolutely. There is research suggesting that different kinds of sleep can aid different kinds of learning, and by teaching “sleep study skills,” we can let our teenagers enjoy the sense that they’re gaming the system.

Illegal public art is in the news. The most notorious instance this summer was the switch of flags on the Brooklyn Bridge, by two German artists, from the Stars and Stripes to all-white versions of the same. Others include a Canadian artist’s scrawls, partly in blood, on a wall in the Jeff Koons retrospective at the Whitney Museum and, in Moscow, the painting of a star ornament atop a Stalin-era tower, in Ukrainian national colors. Internationally, the British midnight muralist Banksy continues his waggish depredations, rivalled of late by a female upstart called Bambi, who likewise stencils images, only with a sexy-feminist spin. The over-all phenomenon could use a name—I propose Stunt art—and some analysis, starting with distinctions.

As a category of volunteer art, Stunt art borders the genres of spray-can graffiti and spectacular illegal sport, such as scaling or parachuting from tall buildings.

Stuntism is to art as weeds are to horticulture: plants in the wrong place. Authorities, social or botanical, define the wrongness, which becomes more arbitrary the more you think about it. Some weeds are as lovely as tulips. A superb gardener I know welcomes the sceptered majesty of common mullein (distinct from the mannerly hybrid varieties) wherever it opts to sprout. So may it be with Stunt art, in a time given to fanatical constraints on human-natural cussedness.

The air of machine precision casts doubt on what our eyes—or the eyes of referees—can process. As viewers, they argue, our instinct is to assume that all forms of assistance are equally effective, or that they do what they claim in the first place. But what we see on television is usually just a representation, or a calculated guess, based on thermal imaging, sound, or the work of cameras tracking an object’s velocity through air.

Kaepernick refused to stand as a form of political expression—to protest, he said, the oppression of African-Americans by the police and others. The Supreme Court case arose out of a related First Amendment right—to exercise the freedom of religion. In 1943, at the height of the Second World War, the court heard a challenge by a Jehovah’s Witness family to the expulsion of their daughters, Marie and Gathie Barnette, from a school in West Virginia.