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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.

“Why is pop music the only art form that still inspires such arrantly stupid discussion?,” Frere-Jones asked. “No movie review begins, ‘Meryl Streep, despite not being a Prime Minister, is reasonably convincing in The Iron Lady.’” So the question remains: Why do music fans obsess about authenticity? What’s at stake when a fan argues, with emotions riding high, that Taylor Swift is too pop to be country, or that Green Day isn’t authentic punk rock? As a sociologist who studies music, I’ve spent the last five years trying to understand these authenticity debates—which, incidentally, span just about every style of 20th- and 21st-century music, from electronic dance to South Texas polka. And what I’ve learned is that, if you want to understand why authenticity disputes occur, it’s best to look first at when they do.

Ministers in the U.K. are considering banning homeopathy from the treatments that can be prescribed by doctors working for the National Health Service (NHS). At the moment, the NHS spends £4 million ($6 million) on homeopathic prescriptions and hospitals every year

"Given the finite resources of the NHS, any spending on homeopathy is utterly unjustifiable. The money spent on these disproven remedies can be far better spent on treatments that offer real benefits to patients," Simon Singh, founder of the Good Thinking Society, said in a statement.

The positive effects from homeopathy come exclusively from the placebo effect, a physiological response to a harmless substance that leads to a reduction in symptoms from an ailment

Is It Wrong to Watch Football?

The idea that poverty can change the brain has gotten significant attention recently, and not just from those lay readers (a minority, according to recent research) who spend a lot of time thinking about neuroscience. Policy makers and others have begun to apply neuroscientific principles to their thinking about poverty — and some say this could end up harming poor people rather than helping. At The Conversation, the sociologist Susan Sered takes issue with “news reports with headlines like this one: ‘Can Brain Science Help Lift People Out Of Poverty?’” She’s referring to a June story by Rachel Zimmerman at WBUR, about a nonprofit called Crittenton Women’s Union that aims to use neuroscience to help get people out of poverty. Elisabeth Babcock, Crittenton’s chief executive, tells Ms. Zimmerman: “What the new brain science says is that the stresses created by living in poverty often work against us, make it harder for our brains to find the best solutions to our problems. This is a part of the reason why poverty is so ‘sticky.’”

You might expect 10 ÷ 5 is the same as 10/5 is the same as 10 over a 5 with a vinculum between them, but each has its own eccentricities. We’ve already noted that ÷ can mean “divide the number on the left by the number on the right” or “divide the expression on the left by the expression on the right.” But it gets really tricky when people assume that a slash replaces a vinculum. Does ab/cd = (ab)÷(cd) or ((ab)÷c)÷d? Does a/b/c mean (a)÷(b)÷(c) or a÷(b/c) or (a/b)÷c? (Answer: Use some parentheses!)

The bottom line is that “order of operations” conventions are not universal truths in the same way that the sum of 2 and 2 is always 4. Conventions evolve throughout history in response to cultural and technological shifts.

‘“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?

"There is absolutely no doubt about it, and I may not be the one that does it, but the cloned child is coming. There is absolutely no way that it will not happen," Dr Zavos said in an interview yesterday with The Independent.

"If we find out that this technique does not work, I don't intend to step on dead bodies to achieve something because I don't have that kind of ambition. My ambition is to help people."

Dr Zavos also revealed that he has produced cloned embryos of three dead people, including a 10-year-old child called Cady, who died in a car crash. He did so after being asked by grieving relatives if he could create biological clones of their loved ones.

It seems that getting end-of-life patients and their families to endorse “do not resuscitate” orders has been challenging. To many ears, “D.N.R.” sounds a little too much like throwing Grandpa under the bus. But according to a paper in The Journal of Medical Ethics, when the orders are reworded to say “allow natural death,” patients and family members and even medical professionals are much more likely to give their consent to what amounts to exactly the same protocols.

In Israel, for instance, we have one of the largest laboratories for A.I. surveillances in the world — it’s called the Occupied Territories. In fact, one of the reasons Israel Is such a leader in A.I. surveillance Is because of the Israeli-Palestinian conflict.Explain thIs a bit further.Part of why the occupation Is so successful Is because of A.I. surveillance technology and big data algorithms.

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?

The album was disintegrating, and we removed the cards. Over the years I forgot about them, but in getting ready to move, I came across them again. One in particular is offensive in its captioning and art to people of African descent. While I presume there is a market for this type of memorabilia, there is no way I would seek to profit from it. I offered it to the National Museum of African American History and Culture in Washington. I never heard from them, so it moved with us.My husband thinks I should throw it away, but that feels wrong. I feel it is history that we should acknowledge, however painful and wrong. Your thoughts?

Today, prison design is a civic cause for some architects who specialize in criminal justice and care about humane design. There is a lot of research documenting how the right kinds of design reduce violence inside prisons and even recidivism. Architects can help ensure that prisons don’t succumb to our worst instincts — that they are not about spending the least amount of money to create the most horrendous places possible, in the name of vengeance — but promote rehabilitation and peace.Designing execution chambers is something else. They require their own deathly architecture. If architects refuse to design them, that doesn’t mean that they won’t be built, any more than the refusal by doctors and pharmaceutical companies to participate in executions has stopped executions from happening. But Ms. Dreiling said it herself: “Many, if not most, architects enter this profession because it is a calling. They believe they can make the world a better place, they believe they can enhance the lives of people on a daily basis, where they live, work and play.”

The malleable nature of facts is a particular preoccupation in one field of philosophy. “Social constructivism” argues that there are simply no objective facts. Instead, every “fact” we believe is a reflection of our socially constructed values, and how we choose to perceive the world. This is not a new theory, and develops many of its ideas from Karl Marx and Friedrich Nietzsche, who examined shifting human values from a historical perspective in the 19th century. But the current political debate offers a vivid demonstration of these ideas. Jesse Prinz, a philosophy professor at City University of New York, explains that facts are always subjective. Even something as foundational as the periodic table. “When you look closely, you realize that it could have been organized very differently. It could be ordered by atomic weight, rather than atomic number, it could include isotopes, it could exclude elements that don’t exist in nature, and so on,” he says. “The way we classify things is always a function of both mind and world.”

“News of Boston public schools’ decision to go with the Peters projection has gone viral over the past week, and my teeth have not stopped itching,” Jonathan Crowe writes on his blog, The Map Room. “It is incredibly short-sighted and narrow-minded to say it should be one or the other,” says Mark Monmonier, author of Rhumb Lines and Map Wars: A Social History of the Mercator Projection. Even Ronald Grim, curator of the Norman B. Leventhal Map Center at the Boston Public Library, had concerns: “In my mind, both the Mercator and the Peters are controversial projections,” he says in a phone interview. “But we were not asked to be part of the decision.” Choosing between map projections is a necessarily difficult task. The Earth is resolutely three-dimensional, and any attempts to smooth it out are going to add a certain amount of warping. It’s a balancing act: the more accurate you make the continents’ relative area, the more you have to distort their shapes, and vice versa. The art of cartography lies in choosing to privilege one or another of these accuracies—or finding a sweet spot between them that serves your particular purpose.

Victors are said to write history. But in California, history is being written by a committee that is at the center of a raging debate over how to tell the story of South Asia as it tries to update textbooks and revise curriculums for Grades 6 and 7.The dispute centers on whether the region that includes modern-day India, Pakistan and Nepal should be referred to as India or as South Asia, to represent the plurality of cultures there — particularly because India was not a nation-state until 1947. It also touches on how the culture of the region is portrayed, including women’s role in society and the vestiges of the caste system.