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markfrankel18

The importance of stupidity in scientific research - 0 views

  • Second, we don't do a good enough job of teaching our students how to be productively stupid – that is, if we don't feel stupid it means we're not really trying. I'm not talking about `relative stupidity', in which the other students in the class actually read the material, think about it and ace the exam, whereas you don't. I'm also not talking about bright people who might be working in areas that don't match their talents. Science involves confronting our `absolute stupidity'. That kind of stupidity is an existential fact, inherent in our efforts to push our way into the unknown.
muktar96

Maybe Economics Is A Science, But Many Economists Are Not Scientists - 0 views

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    Raj Chetty stands up valiantly for the honor of his and my profession, arguing that economics is too a science in which careful research is used to falsify some hypotheses and lend credibility to others.
markfrankel18

Why People Mistake Good Deals for Rip-Offs : The New Yorker - 5 views

  • Last Saturday, an elderly man set up a stall near Central Park and sold eight spray-painted canvases for less than one five-hundredth of their true value. The art works were worth more than two hundred and twenty-five thousand dollars, but the man walked away with just four hundred and twenty dollars. Each canvas was an original by the enigmatic British artist Banksy, who was approaching the midpoint of a monthlong residency in New York City. Banksy had asked the man to sell the works on his behalf. For several hours, hundreds of oblivious locals and tourists ignored the quiet salesman, along with the treasure he was hiding in plain sight. The day ended with thirty paintings left unsold. One Banksy aficionado, certain she could distinguish a fake from the real thing, quietly scolded the man for knocking off the artist’s work.
  • What makes Banksy’s subversive stunt so compelling is that it forces us to acknowledge how incoherently humans derive value. How can a person be willing to pay five hundred times more than another for the same art work born in the same artist’s studio?
  • Some concepts are easy to evaluate without a reference standard. You don’t need a yardstick, for example, when deciding whether you’re well-rested or exhausted, or hot or cold, because those states are “inherently evaluable”—they’re easy to measure in absolute terms because we have sensitive biological mechanisms that respond when our bodies demand rest, or when the temperature rises far above or falls far below seventy-two degrees. Everyone agrees that three days is too long a period without sleep, but art works satisfy far too abstract a need to attract a universal valuation. When you learn that your favorite abstract art work was actually painted by a child, its value declines precipitously (unless the child happens to be your prodigious four-year-old).
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  • We’re swayed by all the wrong cues, and our valuation estimates are correspondingly incoherent. Banksy knew this when he asked an elderly man to sell his works in Central Park. It’s comforting to believe that we get what we pay for, but discerning true value is as difficult as spotting a genuine Banksy canvas in a city brimming with imitations.
markfrankel18

Why We Make Bad Decisions - NYTimes.com - 1 views

  • We need to be aware of our natural born optimism, for that harms good decision making, too. The neuroscientist Tali Sharot conducted a study in which she asked volunteers what they believed the chances were of various unpleasant events’ occurring — events like being robbed or developing Parkinson’s disease. She then told them what the real chances of such an event happening actually were. What she discovered was fascinating. When the volunteers were given information that was better than they hoped or expected — say, for example, that the risk of complications in surgery was only 10 percent when they thought it was 30 percent — they adjusted closer to the new risk percentages presented. But if it was worse, they tended to ignore this new information. This could explain why smokers often persist with smoking despite the overwhelming evidence that it’s bad for them. If their unconscious belief is that they won’t get lung cancer, for every warning from an antismoking campaigner, their brain is giving a lot more weight to that story of the 99-year-old lady who smokes 50 cigarettes a day but is still going strong.
Lawrence Hrubes

Dept. of Popular Culture: Banksy Was Here : The New Yorker - 0 views

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    ""Why do you do what you do?" I asked. Banksy replied, "I originally set out to try and save the world, but now I'm not sure I like it enough.""
Lawrence Hrubes

Henry Gustave Molaison: The Basis for 'Memento' and the World's Most Celebrated Amnesia... - 0 views

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    "Scoville later called the operation "a tragic mistake" and warned neurosurgeons never to repeat it, but neuroscience and cognitive psychology benefitted hugely. The operation could not have been better designed if the intent had been to create a new kind of experimental object that showed where in the brain memory lived: there was no other way that Molaison's brain injuries could have occurred, and no other way that the precision of his memory damage could have been brought about. Molaison gave scientists a way to map cognitive functions onto brain structures. It became possible to subdivide memory into different types and to locate their cerebral Zip Codes."
Lawrence Hrubes

BBC Radio 4 - The Reith Lectures, Grayson Perry: Playing to the Gallery: 2013, Beating ... - 0 views

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    "The award-winning artist Grayson Perry asks whether it is really true that anything can be art. We live in an age when many contemporary artists follow the example of Marcel Duchamp, who famously declared that a urinal was a work of art. It sometimes seems that anything qualifies, from a pile of sweets on a gallery floor to an Oscar-winning actress asleep in a box. How does the ordinary art lover decide?"
Lawrence Hrubes

BBC Radio 4 - The Reith Lectures, Grayson Perry: Playing to the Gallery: 2013, Democrac... - 0 views

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    "In the first of four lectures, recorded in front of an audience at Tate Modern in London, the artist Grayson Perry reflects on the idea of quality and examines who and what defines what we see and value as art. He argues that there is no empirical way to judge quality in art. Instead the validation of quality rests in the hands of a tightknit group of people at the heart of the art world including curators, dealers, collectors and critics who decide in the end what ends up in galleries and museums."
Lawrence Hrubes

BBC - Grayson Perry: Playing to the Gallery - 1 views

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    Ironic drawings about art by modern British ceramic artist Grayson Perry, who gives a series of 3 entertaining and insightful lectures for the 2013 BBC Reith Lectures.
markfrankel18

Why Abraham Lincoln Loved Infographics : The New Yorker - 0 views

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    "Unlike traditional cartography, the map was designed to portray political terrain and, in Lincoln's mind, moral terrain. The President called it his "slave map." Today we would call it an infographic."
Lawrence Hrubes

Do Plants Think? | GarethCook - 0 views

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    "How aware are plants? A plant can see, smell and feel. It can mount a defense when under siege, and warn its neighbors of trouble on the way. A plant can even be said to have a memory. But does this mean that plants think? "
Lawrence Hrubes

Brain Games are Bogus | GarethCook - 0 views

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    " A pair of scientists in Europe recently gathered all of the best research-twenty-three investigations of memory training by teams around the world-and employed a standard statistical technique (called meta-analysis) to settle this controversial issue. The conclusion: the games may yield improvements in the narrow task being trained, but this does not transfer to broader skills like the ability to read or do arithmetic, or to other measures of intelligence."
Lawrence Hrubes

Why Japan Surrendered | GarethCook - 1 views

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    "In recent years, however, a new interpretation of events has emerged. Tsuyoshi Hasegawa has marshaled compelling evidence that it was the Soviet entry into the Pacific conflict, not Hiroshima and Nagasaki, that forced Japan's surrender. His interpretation could force a new accounting of the moral meaning of the atomic attack. It also raises provocative questions about nuclear deterrence, a foundation stone of military strategy in the postwar period. And it suggests that we could be headed towards an utterly different understanding of how, and why, the Second World War came to its conclusion."
Lawrence Hrubes

The Nocebo Effect: How We Worry Ourselves Sick | GarethCook - 0 views

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    "With placebos ("I will please" in Latin), the mere expectation that treatment will help brings a diminution of symptoms, even if the patient is given a sugar pill. With nocebos ("I will harm"), dark expectations breed dark realities."
Lawrence Hrubes

Modern psychology's God problem | GarethCook - 7 views

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    "Modern psychology has a serious God problem. America is a deeply spiritual country. More than half of Americans say religion is "very important" to them, and more than 90 percent profess a belief in a higher power. Yet psychology, as a scientific endeavor, has done almost nothing to understand how spiritual beliefs shape psychological problems, or affect treatment. "
Lawrence Hrubes

Mapping the Nation - A Companion Site to Mapping the Nation by Susan Schulten - 0 views

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    "From maps of disease and the weather to the earliest maps of the national population, this was a period when the very concept of a map was reinvented. By the early twentieth century, maps had become common tools of analysis, communication, and visual representation in an increasingly complex nation. Today we live in a world that is saturated with maps and graphic knowledge. The maps on this site reveal how this involved a fundamentally new way of thinking."
Lawrence Hrubes

BBC News - How did van Gogh find colour? - 0 views

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    "Living for two years in Paris changed Vincent van Gogh. He might not have realised it at the time, but as he met other artists in the French capital, he gradually moved away from his dark, sombre Dutch works - towards much brighter palettes and expressive brush work."
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