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markfrankel18

Norway to restage 1914 'human zoo' that exhibited Africans as inmates | World news | theguardian.com - 2 views

www.theguardian.com/...-human-zoo-africans-as-inmates

TOK arts ethics history

shared by markfrankel18 on 29 Oct 14 - No Cached
  • As part of mammoth celebrations of the 200th anniversary of Norway’s constitution, the government is funding two artists to re-enact a "human zoo", which will open to the public on 15 May. Oslo’s original human zoo or Kongolandsbyen was central to Norway’s world fair in 1914. The artists claim that the new project, which they named European Attraction Limited, is meant to provoke a discussion on colonialism and racism in a post-modern world, engaging with Norway’s racist past in the process. Some anti-racism organisations and commentators have labelled the project offensive and racist. Is there any artistic value in the re-enactment of such a dehumanising spectacle, especially in a world not yet fully healed of racism? Is this an abuse of art? Or will the re-enactment reverse the modest gains of the equality struggles, especially when the world engages with the subject of race so superficially?
Lawrence Hrubes

The Brain That Couldn't Remember - The New York Times - 0 views

www.nytimes.com/...ain-that-couldnt-remember.html

memory science brain neuroscience ethics publication bias

shared by Lawrence Hrubes on 18 Aug 16 - No Cached
  • In that pantheon of illuminatingly broken men and women, Henry stands apart. It is difficult to exaggerate the impact he has had on our understanding of ourselves. Before Brenda Milner collaborated on that first paper about Henry, the prevailing theory of memory held that its functions could not be localized to a single cortical area, that learning was distributed across the brain as a whole. By that theory — built upon the experimental lesioning of the brains of rats — a person’s memory would be affected only in proportion to the amount of brain tissue removed, regardless of which brain structures the tissue was removed from. Milner’s first paper about Henry, along with her previous work, upended this view.
  • Five years after Milner’s first paper about Henry, she published a second that was almost as revelatory. That paper documented Henry’s gradual improvement over a three-day period on a difficult hand-eye coordination task. His improvement came despite his inability to ever remember his previous attempts at the task, indicating that there are at least two different memory systems in the brain — one responsible for our conscious, episodic memories, the second responsible for task-or-skill related “procedural” memories — and that these two systems seem to rely on entirely distinct parts of the brain. This was another fundamental step forward in our understanding of how memory works. Together, Milner’s two Henry-­related revelations can be viewed as the cornerstones of modern memory science.
  • Corkin: Yeah, but it’s not peer-­reviewed, for one thing. That’s important. The stuff that’s published is good stuff. Peer-­reviewed. You can believe it. Things that, you know, experiments that might not have been good experiments, there might have been inadequate control groups. ... There are all sorts of things that can go wrong with experiments. Not every experiment is publishable.
  • ...1 more annotation...
  • Me: But they can still be interpreted by other people. ... Maybe as we continue to understand how the brain works, and how memory works, some of this existing data of H.M.’s could be reilluminated by new theories, by new ideas, by new — it just seems a shame to destroy it. And it also seems — and this would be the darker interpretation of it — it locks in stone your own telling of H.M.’s story.
markfrankel18

Art All Over - The New Yorker - 2 views

www.newyorker.com/...art-all-over

TOK art

shared by markfrankel18 on 08 Aug 14 - No Cached
  • 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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