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“Probably the biggest empathy generator is cuteness: paedomorphic features such as large eyes, a large head, and a small lower face,” Steven Pinker, the Harvard psychologist, tells me. “Professional empathy entrepreneurs have long known this, of course, which is why so many charities feature photos of children and why so many conservation organizations feature pandas. Prettier children are more likely to be adopted, and baby-faced defendants get lighter sentences.”

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.

It was supposed to be a celebratory occasion, a high-profile performance of a piece given life by the orchestra that commissioned it — a young composer's music played by other young musicians. Instead, the performance scheduled for Sunday of Jonas Tarm's music at Carnegie Hall by the highly regarded New York Youth Symphony (NYYS) has been canceled after it came to the attention of the ensemble's administration that the piece contains a quotation from the Nazi "Horst Wessel Lied." Born in Estonia, Tarm is a 21-year-old composer studying at the New England Conservatory in Boston. In 2014, he won the "First Music" prize from the NYYS, which resulted in the commission of a piece to be played by the orchestra at Carnegie Hall. Within the 9-minute piece called, in Ukrainian, Marsh u Nebuttya (March to Oblivion), Tarm says he used two musical quotes, each about 45 seconds long. The first is the anthem of the Ukrainian Soviet Socialist Republic, the second is the Nazi anthem, the "Horst Wessel" song. Tarm maintains that a piece of music should not necessitate further verbal explication. As such, he did not volunteer to tell the NYYS he was making those musical quotations within his piece, nor did he provide any background or context about his artistic intentions to the orchestra.

Since Wikipedia is a compendium of information that already exists elsewhere, it reflects this long-standing bias. In addition, Wikipedia’s editorship–the tens of millions of volunteers who add, tinker with, and argue about articles–is not particularly diverse. “It’s largely younger, largely male, largely white,” Ayers says. “And people often write about their own interests, which is natural and makes sense. But what that means is that we have a lot of articles about software and famous military figures, and not a lot about, say, traditional women’s handicrafts or activists in the developing world.” For a site that aims to “really reflect the fullness of our collective human experience,” Ayers says, this is a big issue.

As the hackers dig in, roadblocks keep popping up–some common to all historical efforts, others unique to this one. One hacker, trying to separate a psychologist couple into two independent pages (“it’s like she’s glued to her husband’s side!”) has difficulty finding sources that credit the female half of the pair with anything. Another recalls making a prior effort, only to find her changes immediately reversed by the overzealous editors Hyland was talking about.