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These past studies of exercise and neurogenesis understandably have focused on distance running. Lab rodents know how to run. But whether other forms of exercise likewise prompt increases in neurogenesis has been unknown and is an issue of increasing interest

new study, which was published this month in the Journal of Physiology, researchers at the University of Jyvaskyla in Finland and other institutions gathered a large group of adult male rats. The researchers injected the rats with a substance that marks new brain cells and then set groups of them to an array of different workouts, with one group remaining sedentary to serve as controls.

They found very different levels of neurogenesis, depending on how each animal had exercised. Those rats that had jogged on wheels showed robust levels of neurogenesis. Their hippocampal tissue teemed with new neurons, far more than in the brains of the sedentary animals. The greater the distance that a runner had covered during the experiment, the more new cells its brain now contained. There were far fewer new neurons in the brains of the animals that had completed high-intensity interval training. They showed somewhat higher amounts than in the sedentary animals but far less than in the distance runners. And the weight-training rats, although they were much stronger at the end of the experiment than they had been at the start, showed no discernible augmentation of neurogenesis. Their hippocampal tissue looked just like that of the animals that had not exercised at all.

“sustained aerobic exercise might be most beneficial for brain health also in humans.”

Just why distance running was so much more potent at promoting neurogenesis than the other workouts is not clear, although Dr. Nokia and her colleagues speculate that distance running stimulates the release of a particular substance in the brain known as brain-derived neurotrophic factor that is known to regulate neurogenesis. The more miles an animal runs, the more B.D.N.F. it produces. Weight training, on the other hand, while extremely beneficial for muscular health, has previously been shown to have little effect on the body’s levels of B.D.N.F.

As for high-intensity interval training, its potential brain benefits may be undercut by its very intensity, Dr. Nokia said. It is, by intent, much more physiologically draining and stressful than moderate running, and “stress tends to decrease adult hippocampal neurogenesis,” she said.

These results do not mean, however, that only running and similar moderate endurance workouts strengthen the brain, Dr. Nokia said. Those activities do seem to prompt the most neurogenesis in the hippocampus. But weight training and high-intensity intervals probably lead to different types of changes elsewhere in the brain. They might, for instance, encourage the creation of additional blood vessels or new connections between brain cells or between different parts of the brain.

It’s true there are “extremists on both sides,” but as this Wonk Blog post showed, the percentage of non-centrist Republicans skyrocketed from under 10 percent in the Ford years (less than Democrats) to almost 90 percent today, while the Democratic percentage has stayed basically flat [chart].

What’s more, in the last session (2013-2014), the data shows that 147 House Republicans — more than half the caucus — were more ideologically extreme than the most extreme Democrat in the House. There is simply no comparison between the two partie

But it’s a fact that “balanced” journalism has to ignore. To admit that the political world isn’t balanced would shake their whole belief system to its core. And yet, the shaking seems to have begun

The GOP’s strategic logic is simple and straightforward: If the media is going to split the difference between what Democrats and Republicans say, then if Republicans simply double their demands, suddenly the media, embracing the “sensible center,” will now articulate the old GOP position as the “sensible center,” the “common sense” place to be

Their stubborn adherence to a false balance narrative has, ironically, become an integral part of the GOP’s relentless rightward push. By talking about “government dysfunction” instead of “Republican obstruction,” the media actively helps the most extreme anti-government Republicans thwart any efforts at competent governance and it helps promote their “government is horrible” worldview

There was once a penalty for becoming too politically extreme: one’s actions would be characterized as unrealistic, destructive, heedless of past experience, etc. Sometimes this was justified, sometimes not (as with the Civil Rights movement). But right or wrong, this media practice inhibited radical movements in either direction.

For quite some time now, however, conservative Republicans have realized that by moving right and attacking the media for any criticism, they can turn the media into a tacit ally, forcing them to treat preposterous claims as serious ideas, or even proven facts

Norm’s response underscores the reality of asymmetric polarization, which the mainstream media and most good government groups have avoided discussing — at great costs to the country

Thus, when they were planning to force a government shutdown, a key part of their strategy was spinning the media with a preposterous argument that it was the Democrats who were shutting down the government, even though, as the New York Times reported, the shutdown plan traced back to a meeting early in President Obama’s second term, led by former Attorney General Edwin R. Meese.

What’s more, once the media plays along, it’s a trick that can be used over and over again. One can keep moving farther and farther right indefinitely, pulling the “objective” media along for the ride, every step of the way. (Conservatives even developed an operational model to describe the process, known as the “Overton Window,” explained by a conservative activist here.)

The basis for all this is a cultural illusion that the “nonpartisan” media is somehow objective, philosophically in tune with science.

historically, this is far from true. Up until the late 19th century, American journalism was quite partisan, serving substantial “niche” audiences, sustained by subscriptions.

hen advertising exploded as a revenue source in the early 20th century, a new journalistic model emerged, trying to appeal across parties, while taking care not to anger large advertisers. The broader story is well told by Paul Starr in “The Creation of the Media

Jeremy Iggers incorporates this history into his account of how journalism ethics confuses the purposes of journalism in “Good News, Bad News: Journalism Ethics and the Public Interest.”

Such is the basis for the media’s claims of “objectivity.” Starr’s history explains the forces leading to why this happened.

the blogosphere’s origins were not just Usenet, email lists and the like, they were also the underground press tracing back to IF Stone’s Weekly and George Seldes’ In Fact; the black press, both commercial and movement-based; political journals of the left and right; and so on

These underappreciated traditions provide largely untapped examples of how to do quality political journalism outside of the artificial construct in which false balance is rooted. They point the way forward for us, beyond our current state of asymmetrical dysfunction.

Warhol’s boxes are praised for subverting the distinction between mundane objects of everyday life and “art” in a museum.  As a result, we can enjoy and appreciate the things that make up our everyday life just as much as what we see in museums (and with far less effort).  Whereas the joys of traditional art typically require an initiation into an esoteric world of historical information and refined taste, Warhol’s “Pop Art” reveals the joys of what we all readily understand and appreciate.  As Danto put it, “Warhol’s intuition was that nothing an artist could do would give us more of what art sought than reality already gave us.”

Warhol’s work is also praised for posing a crucial philosophical question about art.  As Danto puts it: “Given two objects that look exactly alike, how is it possible for one of them to be a work of art and the other just an ordinary object?”  Answering this question requires realizing that there are no perceptual qualities that make something a work of art.  This in turn implies that anything, no matter how it looks, can be a work of art.

According to Danto, whether an object is a work of art depends on its relation to an “art world”:  “an atmosphere of artistic theory, a knowledge of the history of art” that exists at a particular time.

Appreciations of Warhol’s boxes typically emphasize their effects rather than their appearance.  These appreciations take two quite different forms.

it was Danto, not Warhol, who provided the intellectual/aesthetic excitement by formulating and developing a brilliant answer to the question.  To the extent that the philosophical question had artistic value in the context of the contemporary artworld,  Danto was more the artist than Warhol.

I agree that Warhol — along with many other artists from the 1950s on — opened up new ways of making art that traditional “high art” had excluded.  But new modes of artistic creation — commercial design techniques, performances, installations, conceptual art — do not guarantee a new kind or a higher quality of aesthetic experience. 

anything can be presented as a work of art.   But it does not follow that anything can produce a satisfying aesthetic experience.  The great works of the tradition do not circumscribe the sorts of things that can be art, but they are exemplars of what we expect a work of art to do to us.  (This is the sense in which, according to Kant, originally beautiful works of art are exemplary, yet without providing rules for further such works of art.)

Praise of Andy Warhol often emphasizes the new possibilities of artistic creation his work opened up.  That would make his work important in the history of art and for that reason alone of considerable interest.

as Jerrold Levinson and others have pointed out, a work can be an important artistic achievement without being an important aesthetic achievement.  This, I suggest, is how we should think about Warhol’s Brillo boxes.

In her new book, “Saving Us,” which comes out in September, Hayhoe sets out to answer these questions. Chapter by chapter, she lays out effective strategies for communicating about the urgency of climate change across America’s political divide.

She breaks out categories—originally defined by her colleague Anthony Leiserowitz, at the Yale Program on Climate Change Communication, and other researchers—of attitudes toward global warming: alarmed, concerned, cautious, disengaged, and doubtful. Only the remaining eight per cent of Americans fall into the final category, dismissive.

In the past decade, though, as the scope of the crisis became clear, Democrats began pressing for policies to cut U.S. reliance on fossil fuels, and Republicans were reluctant to commit. Energy companies stepped into the stalemate and began aggressively lobbying politicians, and injecting doubt into the public discourse, to stop such policies from taking effect. “Industry swung into motion to activate the political system in their favor,” Hayhoe said.

“In a study of fifty-six countries, researchers found people’s opinions on climate change to be most strongly correlated not with education and knowledge, but rather with ‘values, ideologies, worldviews and political orientation,’ ”

One salient problem is an aspect of human behavior that researchers have termed “solution aversion.” Solving the climate crisis will require ending our reliance on fossil fuels, which people believe would involve major sacrifice.

“If there’s a problem and we’re not going to fix it, then that makes us bad people,” Hayhoe said. “No one wants to be a bad person.” So instead people are happy to seize on excuses not to take action.

Most are what she calls “science-y sounding objections, and, in the U.S., religious-y sounding objections.”

Hayhoe often hears that the Earth has always heated and cooled according to its own intrinsic cycle, or that God, not humanity, controls the fate of the planet. These objections can then harden into aspects of our political identity.

Hayhoe eschews the term “climate denier,” saying that she has “seen it applied all too often to shut down discussion rather than encourage it.”

So much of this is not about the facts,” Leiserowitz told me later. “It’s about trusting the person the facts come from.”

research has shown her that dismissives are nearly impossible to influence. They are also few enough that it should be possible to build political will around fighting climate change by focussing on others.

“It’s not about the loudest voices,” Hayhoe told me. “It’s about everyone else who doesn’t understand why climate change matters or what they can do about it.”

Leiserowitz told me. His work has revealed, for example, that conversations about the climate tend to be more effective if both speakers share a core value or an aspect of their identity. The most effective climate communicators to conservatives are often people of faith, members of the military, and Republicans who are nevertheless committed to the climate.

“That’s why it’s so important to seek out like-minded groups: winter athletes, parents, fellow birders or Rotarians, or people who share our faith.”

There is a long history within evangelicalism of advocating “creation care,” the belief that God charged humanity with caring for the earth. The Evangelical Environmental Network, which Hayhoe advises, argues that evangelicals should follow a “Biblical mandate to care for creation,”

Hayhoe believes that emphasizing the care of plants and animals is less effective than highlighting the potential dangers for our fellow human beings. “It’s not about saving the planet—it’s about saving us,”

One of her communication strategies is to talk to people about their own observations, which help them connect the realities of their lives to the abstraction of climate change.

With farmers, Hayhoe avoids using the term “climate change,” since the phenomenon is frequently seen as a liberal hoax. “We use the words ‘climate variability’ and ‘long-term trends,’ ” she said.

Scott’s work served another purpose. By showing success with his climate-conscious farming techniques, he might persuade other farmers to join in, potentially becoming the center of what Hayhoe calls a cluster. “I preach to my friends about how well it’s doing,” he said.

I don’t accost people in diners,” she wrote me, later. “I wait until they come to me.”

“As recently as 2008, former speaker of the house Newt Gingrich, a Republican, and current House speaker Nancy Pelosi, a Democrat, cozied up on a love seat in front of the U.S. Capitol to film a commercial about climate change,”

She then directed the conversation to Republican-led free market initiatives to combat climate change by putting a price on carbon emissions. Companies passed their costs onto the rest of us by putting the carbon into the atmosphere, she told Dale, “but what if they had to pay for it? What if, when someone’s house burned down because of a forest fire, the companies making money from selling carbon had to pay a homeowner back?” Dale responded, “Well, I’m in favor of that.”

“It’s so important to educate kids about what’s going on, not to frighten them but to show them they can have a hand in solutions.”

Through the years, she’s developed a system to manage trolls. “It’s been trial and error, error, error,” she said. She now responds once, offering a link to resources.

Most fire back with gendered insults, often plays on her last name, after which she blocks the sender.

ayhoe doesn’t urge guilt on her listeners. She only urges that we change our trajectory. “That’s all repentance means,” she said. “To turn.”

the most important aspect of fighting climate change is pushing for policies that will cut our reliance on fossil fuels. She urges the alarmed to get involved in politics, beginning with lobbying politicians at the local and state level.

she’d come across a book, “Scientists as Prophets: A Rhetorical Genealogy,” that examined the role of prophets in society, beginning with the oracle at Delphi, stretching through the Old Testament, and culminating in the work of modern-day scientists.

Studies show that early adopters help shift the norms of their communities.

By Eliza GriswoldSeptember 16, 2021

Most A.I. researchers agree that models trained using R.L.H.F. are better behaved than models without it. But some argue that fine-tuning a language model this way doesn’t actually make the underlying model less weird and inscrutable. In their view, it’s just a flimsy, friendly mask that obscures the mysterious beast underneath.

In a nutshell, the joke was that in order to prevent A.I. language models from behaving in scary and dangerous ways, A.I. companies have had to train them to act polite and harmless. One popular way to do this is called “reinforcement learning from human feedback,” or R.L.H.F., a process that involves asking humans to score chatbot responses, and feeding those scores back into the A.I. model.

Shoggoths are fictional creatures, introduced by the science fiction author H.P. Lovecraft in his 1936 novella “At the Mountains of Madness.” In Lovecraft’s telling, Shoggoths were massive, blob-like monsters made out of iridescent black goo, covered in tentacles and eyes.

@TetraspaceWest said, wasn’t necessarily implying that it was evil or sentient, just that its true nature might be unknowable.

And it reinforces the notion that what’s happening in A.I. today feels, to some of its participants, more like an act of summoning than a software development process. They are creating the blobby, alien Shoggoths, making them bigger and more powerful, and hoping that there are enough smiley faces to cover the scary parts.

“I was also thinking about how Lovecraft’s most powerful entities are dangerous — not because they don’t like humans, but because they’re indifferent and their priorities are totally alien to us and don’t involve humans, which is what I think will be true about possible future powerful A.I.”

when Bing’s chatbot became unhinged and tried to break up my marriage, an A.I. researcher I know congratulated me on “glimpsing the Shoggoth.” A fellow A.I. journalist joked that when it came to fine-tuning Bing, Microsoft had forgotten to put on its smiley-face mask.

@TetraspaceWest, the meme’s creator, told me in a Twitter message that the Shoggoth “represents something that thinks in a way that humans don’t understand and that’s totally different from the way that humans think.”

In any case, the Shoggoth is a potent metaphor that encapsulates one of the most bizarre facts about the A.I. world, which is that many of the people working on this technology are somewhat mystified by their own creations. They don’t fully understand the inner workings of A.I. language models, how they acquire new capabilities or why they behave unpredictably at times. They aren’t totally sure if A.I. is going to be net-good or net-bad for the world.

That some A.I. insiders refer to their creations as Lovecraftian horrors, even as a joke, is unusual by historical standards. (Put it this way: Fifteen years ago, Mark Zuckerberg wasn’t going around comparing Facebook to Cthulhu.)

If it’s an A.I. safety researcher talking about the Shoggoth, maybe that person is passionate about preventing A.I. systems from displaying their true, Shoggoth-like nature.

A great many people are dismissive of suggestions that any of these systems are “really” thinking, because they’re “just” doing something banal (like making statistical predictions about the next word in a sentence). What they fail to appreciate is that there is every reason to suspect that human cognition is “just” doing those exact same things. It matters not that birds flap their wings but airliners don’t. Both fly. And these machines think. And, just as airliners fly faster and higher and farther than birds while carrying far more weight, these machines are already outthinking the majority of humans at the majority of tasks. Further, that machines aren’t perfect thinkers is about as relevant as the fact that air travel isn’t instantaneous. Now consider: we’re well past the Wright flyer level of thinking machine, past the early biplanes, somewhere about the first commercial airline level. Not quite the DC-10, I think. Can you imagine what the AI equivalent of a 777 will be like? Fasten your seatbelts.

@thomas h. You make my point perfectly. You’re observing that the way a plane flies — by using a turbine to generate thrust from combusting kerosene, for example — is nothing like the way that a bird flies, which is by using the energy from eating plant seeds to contract the muscles in its wings to make them flap. You are absolutely correct in that observation, but it’s also almost utterly irrelevant. And it ignores that, to a first approximation, there’s no difference in the physics you would use to describe a hawk riding a thermal and an airliner gliding (essentially) unpowered in its final descent to the runway. Further, you do yourself a grave disservice in being dismissive of the abilities of thinking machines, in exactly the same way that early skeptics have been dismissive of every new technology in all of human history. Writing would make people dumb; automobiles lacked the intelligence of horses; no computer could possibly beat a chess grandmaster because it can’t comprehend strategy; and on and on and on. Humans aren’t nearly as special as we fool ourselves into believing. If you want to have any hope of acting responsibly in the age of intelligent machines, you’ll have to accept that, like it or not, and whether or not it fits with your preconceived notions of what thinking is and how it is or should be done … machines can and do think, many of them better than you in a great many ways. b&

@BLA. You are incorrect. Everything has nature. Its nature is manifested in making humans react. Sure, no humans, no nature, but here we are. The writer and various sources are not attributing nature to AI so much as admitting that they don’t know what this nature might be, and there are reasons to be scared of it. More concerning to me is the idea that this field is resorting to geek culture reference points to explain and comprehend itself. It’s not so much the algorithm has no soul, but that the souls of the humans making it possible are stupendously and tragically underdeveloped.

When even tech companies are saying AI is moving too fast, and the articles land on page 1 of the NYT (there's an old reference), I think the greedy will not think twice about exploiting this technology, with no ethical considerations, at all.

@nome sane? The problem is it isn't data as we understand it. We know what the datasets are -- they were used to train the AI's. But once trained, the AI is thinking for itself, with results that have surprised everybody.

The unique feature of a shoggoth is it can become whatever is needed for a particular job. There's no actual shape so it's not a bad metaphor, if an imperfect image. Shoghoths also turned upon and destroyed their creators, so the cautionary metaphor is in there, too. A shame more Asimov wasn't baked into AI. But then the conflict about how to handle AI in relation to people was key to those stories, too.

In short, a complex and evolving system — whether that’s a flock of gold finches or a nebula or the English language — will produce ever more diverse and intricately detailed states and configurations of itself.

Some of these more diverse and intricate configurations, the scientists write, are shed and forgotten over time. The configurations that persist are ones that find some utility or novel function in a process akin to natural selection, but a selection process driven by the passing-on of information rather than just the sowing of biological genes

Have they finally glimpsed, I wonder, the connectedness and symbiotic co-evolution of their own scientific ideas with those of the world’s writers

Have they learned to describe in their own quantifying language that cradle from which both our disciplines have emerged and the firmament on which they both stand — the hearing and telling of stories in order to exist?

Have they quantified the quality of all existent matter, living and not: that all things inherit a story in data to tell, and that our stories are told by the very forms we take to tell them? 

“Is there a universal basis for selection? Is there a more quantitative formalism underlying this conjectured conceptual equivalence—a formalism rooted in the transfer of information?,” they ask of the world’s disparate phenomena. “The answer to both questions is yes.”

Yes. They’ve glimpsed it, whether they know it or not. Sing to me, O Muse, of functional information and its complex diversity.

The principle of complexity evolving at its own pace when left to its own devices, independent of time but certainly in a dance with it, is nothing new. Not in science, nor in its closest humanities kin, science and nature writing. Give things time and nourishing environs, protect them from your own intrusions and — living organisms or not — they will produce abundant enlacement of forms.

This is how poetry was born from the same larynxes and phalanges that tendered nuclear equations: We featherless bipeds gave language our time and delighted attendance until its forms were so multivariate that they overflowed with inevitable utility.

In her Pulitzer-winning “Pilgrim at Tinker Creek,” nature writer Annie Dillard explains plainly that evolution is the vehicle of such intricacy in the natural world, as much as it is in our own thoughts and actions. 

“The stability of simple forms is the sturdy base from which more complex, stable forms might arise, forming in turn more complex forms,” she explains, drawing on the undercap frills of mushrooms and filament-fine filtering tubes inside human kidneys to illustrate her point. 

“Utility to the creature is evolution’s only aesthetic consideration. Form follows function in the created world, so far as I know, and the creature that functions, however bizarre, survives to perpetuate its form,” writes Dillard.

“Of the multiplicity of forms, I know nothing. Except that, apparently, anything goes. This holds for forms of behavior as well as design — the mantis munching her mate, the frog wintering in mud.” 

She notes that, of all forms of life we’ve ever known to exist, only about 10% are still alive. What extravagant multiplicity. 

“Intricacy is that which is given from the beginning, the birthright, and in the intricacy is the hardiness of complexity that ensures against the failures of all life,” Dillard writes. “The wonder is — given the errant nature of freedom and the burgeoning texture of time — the wonder is that all the forms are not monsters, that there is beauty at all, grace gratuitous.”

“This paper, and the reason why I'm so proud of it, is because it really represents a connection between science and the philosophy of science that perhaps offers a new lens into why we see everything that we see in the universe,” lead scientist Michael Wong told Motherboard in a recent interview. 

Wong is an astrobiologist and planetary scientist at the Carnegie Institute for Science. In his team’s paper, that bridge toward scientific philosophy is not only preceded by a long history of literary creativity but directly theorizes about the creative act itself.  

“The creation of art and music may seem to have very little to do with the maintenance of society, but their origins may stem from the need to transmit information and create bonds among communities, and to this day, they enrich life in innumerable ways,” Wong’s team writes.  

“Perhaps, like eddies swirling off of a primary flow field, selection pressures for ancillary functions can become so distant from the core functions of their host systems that they can effectively be treated as independently evolving systems,” the authors add, pointing toward the elaborate mating dance culture observed in birds of paradise.

“Perhaps it will be humanity’s ability to learn, invent, and adopt new collective modes of being that will lead to its long-term persistence as a planetary phenomenon. In light of these considerations, we suspect that the general principles of selection and function discussed here may also apply to the evolution of symbolic and social systems.”

The Mekhilta teaches that all Ten Commandments were pronounced in a single utterance. Similarly, the Maharsha says the Torah’s 613 mitzvoth are only perceived as a plurality because we’re time-bound humans, even though they together form a singular truth which is indivisible from He who expressed it. 

Or, as the Mishna would have it, “the creations were all made in generic form, and they gradually expanded.” 

Like swirling eddies off of a primary flow field.

“O Lord, how manifold are thy works!,” cried out David in his psalm. “In wisdom hast thou made them all: the earth is full of thy riches. So is this great and wide sea, wherein are things creeping innumerable, both small and great beasts.” 

In all things, then — from poetic inventions, to rare biodiverse ecosystems, to the charted history of our interstellar equations — it is best if we conserve our world’s intellectual and physical diversity, for both the study and testimony of its immeasurable multiplicity.

Because, whether wittingly or not, science is singing the tune of the humanities. And whether expressed in algebraic logic or ancient Greek hymn, its chorus is the same throughout the universe: Be fruitful and multiply. 

Both intricate configurations of art and matter arise and fade according to their shared characteristic, long-known by students of the humanities: each have been graced with enough time to attend to the necessary affairs of their most enduring pleasures. 

Botton’s central obsession is the insane ways bourgeois postmoderns try to live, namely in a perpetual upward swing of ambition and achievement, where failure indicates character deficiency despite an almost total lack of social infrastructure to help us navigate careers, relationships, parenting, and death. But he seems uninterested in how those structures were destroyed or what it might take to rebuild them

Botton wants to keep bourgeois secularism and add a few new quasi-religious social routines. Quasi-religious social routines may indeed be a part of the solution, as we shall see, but they cannot be simply flung atop a regime as indifferent to human values as liberal capitalism.

Citizens see the structure behind the façade and lose faith in the myth of the state as a dispassionate, egalitarian arbiter of conflict. Once theological passions can no longer be sublimated in material affluence and the fiction of representative democracy, it is little surprise to see them break out in movements that are, on both the left and the right, explicitly hostile to the liberal state.

Western politics have an auto-immune disorder: they are structured to pretend that their notions of reason, right, and sovereignty are detached from a deeply theological heritage. When pressed by war and economic dysfunction, liberal ideas prove as compatible with zealotry and domination as any others.

Secularism is not strictly speaking a religion, but it represents an orientation toward religion that serves the theological purpose of establishing a hierarchy of legitimate social values. Religion must be “privatized” in liberal societies to keep it out of the way of economic functioning. In this view, legitimate politics is about making the trains run on time and reducing the federal deficit; everything else is radicalism. A surprising number of American intellectuals are able to persuade themselves that this vision of politics is sufficient, even though the train tracks are crumbling, the deficit continues to gain on the GDP, and millions of citizens are sinking into the dark mire of debt and permanent unemployment.

Critchley has made a career forging a philosophical account of human ethical responsibility and political motivation. His question is: after the rational hopes of the Enlightenment corroded into nihilism, how do humans write a believable story about what their existence means in the world? After the death of God, how do we account for our feelings of moral responsibility, and how might that account motivate us to resist the deadening political system we face?

The question is what to do in the face of the unmistakable religious and political nihilism currently besetting Western democracies.

both Botton and Critchley believe the solution involves what Derrida called a “religion without religion”—for Critchley a “faith of the faithless,” for Botton a “religion for atheists.”

a new political becoming will require a complete break with the status quo, a new political sphere that we understand as our own deliberate creation, uncoupled from the theological fictions of natural law or God-given rights

Critchley proposes as the foundation of politics “the poetic construction of a supreme fiction … a fiction that we know to be a fiction and yet in which we believe nonetheless.” Following the French philosopher Alain Badiou and the Apostle Paul, Critchley conceives political “truth” as something like fidelity: a radical loyalty to the historical moment where true politics came to life.

But unlike an evangelist, Critchley understands that attempting to fill the void with traditional religion is to slip back into a slumber that reinforces institutions desperate to maintain the political and economic status quo. Only in our condition of brokenness and finitude, uncomforted by promises of divine salvation, can we be open to a connection with others that might mark the birth of political resistance

This is the crux of the difference between Critchley’s radical faithless faith and Botton’s bourgeois secularism. Botton has imagined religion as little more than a coping mechanism for the “terrifying degrees of pain which arise from our vulnerability,” seemingly unaware that the pain and vulnerability may intensify many times over. It won’t be enough to simply to sublimate our terror in confessional restaurants and atheist temples. The recognition of finitude, the weight of our nothingness, can hollow us into a different kind of self: one without illusions or reputations or private property, one with nothing but radical openness to others. Only then can there be the possibility of meaning, of politics, of hope.

science has made it possible for the more accurate destruction of enemy targets and, in doing so, has lessened unintended damage to civilian populations

But because these three major films are in contention, the issue has come to the forefront of this year's Oscar race, and with it a thorny cultural question: Does the audience deserve the truth, the whole truth and nothing but? Surely not, but just how much fiction is OK?

In response to a complaint by a Connecticut congressman, Kushner acknowledged he'd changed the details for dramatic effect, having two Connecticut congressmen vote against the amendment when, in fact, all four voted for it. (The names of those congressmen were changed, to avoid changing the vote of specific individuals.)

Kushner said he had "adhered to time-honored and completely legitimate standards for the creation of historical drama, which is what `Lincoln' is. I hope nobody is shocked to learn that I also made up dialogue and imagined encounters and invented characters."

"Maybe changing the vote went too far," says Richard Walter, chairman of screenwriting at the University of California, Los Angeles. "Maybe there was another way to do it. But really, it's not terribly important. People accept that liberties will be taken. A movie is a movie. People going for a history lesson are going to the wrong place."

Walter says he always tells his students: "Go for the feelings. Because the only thing that's truly real in the movies are the feelings that people feel when they watch."

No subject or individual's life is compelling and dramatic enough by itself, he says, that it neatly fits into a script with three acts, subplots, plot twists and a powerful villain.

Reeves, who actually gave the "Lincoln" script a negative review because he thought it was too heavy on conversation and lacking action. He adds, though, that when the subject is as famous as Lincoln, one has a responsibility to be more faithful to the facts.

"This is fraught territory," he says. "You're always going to have to change something, and you're always going to get in some sort of trouble, with somebody," he says.

Futterman also doesn't begrudge the "Argo" filmmakers, because he feels they use a directorial style that implies some fun is being had with the story. "All the inside joking about Hollywood - tonally, you get a sense that something is being played with," he says.

Futterman says he was sympathetic to those concerns and would certainly have addressed them in the script, had he anticipated them.

Of the three Oscar-nominated films in question, "Zero Dark Thirty" has inspired the most fervent debate. The most intense criticism, despite acclaim for the filmmaking craft involved, has been about its depictions of interrogations, with some, including a group of senators, saying the film misleads viewers for suggesting that torture provided information that helped the CIA find Osama bin Laden.

have been questions about the accuracy of the depiction of the main character, a CIA officer played by Jessica Chastain; the real person - or even combination of people, according to some theories - that she plays remains anonymous.

screenwriters have a double responsibility: to the material and to the audience.

The debate over "Argo" has been much less intense, though there has been some grumbling from former officials in Britain and New Zealand that their countries were portrayed incorrectly in the film as offering no help at all to the six Americans, whereas actually, as Mendez writes, they did provide some help.

"When I am hungry and crave a tuna fish sandwich, I don't go to a hardware store," he says. "When I seek a history lesson, I do not go to a movie theater. I loved `Argo' even though I know there was no last-minute turn-around via a phone call from President Carter, nor were there Iranian police cars chasing the plane down the tarmac as it took off. So what? These conceits simply make the movie more exciting."

For decades, radio and television broadcasters had been required to present multiple viewpoints on contentious public debates on the grounds that they were stewards of the public airwaves. But in 1987, members appointed by President Ronald Reagan to the Federal Communications Commission abolished this “fairness doctrine.” The change facilitated the creation of conservative talk radio and cable outlets to combat perceived liberal bias. Liberals followed suit with programming (albeit less effective) of their own.

a third trend developed as political operatives realized they had more room to stretch the truth. In 2004, an aide to President George W. Bush dismissed a journalist for being part of a “reality-based community” of people who “believe that solutions emerge from your judicious study of discernible reality.” 

A fourth factor: most news organizations (with notable exceptions) abandoned their roles as political referees. Many resorted to an atrophied style that resembled stenography more than journalism, presenting all claims as equally valid. Fact checking, once a foundation for all reporting, was now deemed the province of a specialized few.

PolitiFact has chronicled 19 “pants on fire” lies by Mr. Romney and 7 by Mr. Obama since 2007, but Mr. Romney’s whoppers have been qualitatively far worse: the “apology tour,” the “government takeover of health care,” the “$4,000 tax hike on middle class families,” the gutting of welfare-to-work rules, the shipment by Chrysler of jobs from Ohio to China. Said one of his pollsters, Neil Newhouse, “We’re not going to let our campaign be dictated by fact checkers.”

the Obama campaign has certainly had its own share of dissembling and distortion, including about Mr. Romney’s positions on abortion and foreign aid. But nothing in it — or in past campaigns, for that matter — has equaled the efforts of the Romney campaign in this realm. Its fundamental disdain for facts is something wholly new.

Reality-directed imagination, for its part, endeavours to re-create, in the intellectual realm, actions and events that have existed or have taken place, which we may have plenty or partial information about.

Reality-directed imagination is thus a means to retain a solid sense of reality rather than to submerge into the everlasting landscape of fantasy. We imagine what was and try to afford it life.  

Without reality-directed imagination, on the other hand, the study of history would be well-nigh impossible.

By resorting to reality-directed imagination we are able intellectually to disconnect ourselves from the present; to visualize, like a landscape gradually making its appearance as we move backwards in time, the setting in which an event occurred or the personal features of an individual we follow. We are able emotionally to connect ourselves to the prevailing conditions or to a person's thoughts.

In the study of history we make use of reality-directed imagination as we depict in our minds the characters of individuals or the nature of events. We even try to fill the gaps by resorting to our imagination ever vigilant not to lose sight of reality as it was. In other words, we attempt to imagine the unknown by resorting to the known.

Without imagination as a study-device, the learning of history becomes well-nigh impossible, for the information furnished to us is rendered unintelligible. We are unable to relate to it in any meaningful manner. We assess it in a mechanical way, devoid of image, sound and feel. Our attempt to understand it leads to a dead-end for we cannot leap forward from the stale fact before us and relate it to other facts beyond it.

Without imagination we cannot compare, distinguish and separate; we cannot know the difference between the particular and the general. In order to study history we need to avoid the mechanical, on the one hand, and the fantastic, on the other. In other words, we ought to eschew both lack of imagination and fantasy-directed imagination; the first does not allow us to proceed forward while the latter leads us to the realm of the unreal.

The iron law of Darwinian evolution is that everything that exists strives with all its power to reproduce, to extend life into the future, and that every feature of every creature can be explained as an adaptation toward this end. For the artist to deny any connection with the enterprise of life, then, is to assert his freedom from this universal imperative; to reclaim negatively the autonomy that evolution seems to deny to human beings. It is only because we can freely choose our own ends that we can decide not to live for life, but for some other value that we posit. The artist’s decision to produce spiritual offspring rather than physical ones is thus allied to the monk’s celibacy and the warrior’s death for his country, as gestures that deny the empire of mere life.

Animals produce beauty on their bodies; humans can also produce it in their artifacts. The natural inference, then, would be that art is a human form of sexual display, a way for males to impress females with spectacularly redundant creations.

For Darwin, the human sense of beauty was not different in kind from the bird’s.

Still, Darwin recognized that the human sense of beauty was mediated by “complex ideas and trains of thought,” which make it impossible to explain in terms as straightforward as a bird’s:

Put more positively, one might say that any given work of art can be discussed critically and historically, but not deduced from the laws of evolution.

with the rise of evolutionary psychology, it was only a matter of time before the attempt was made to explain art in Darwinian terms. After all, if ethics and politics can be explained by game theory and reciprocal altruism, there is no reason why aesthetics should be different: in each case, what appears to be a realm of human autonomy can be reduced to the covert expression of biological imperatives

Still, there is an unmistakable sense in discussions of Darwinian aesthetics that by linking art to fitness, we can secure it against charges of irrelevance or frivolousness—that mattering to reproduction is what makes art, or anything, really matter.

The first popular effort in this direction was the late Denis Dutton’s much-discussed book The Art Instinct, which appeared in 2009.

Dutton’s Darwinism was aesthetically conservative: “Darwinian aesthetics,” he wrote, “can restore the vital place of beauty, skill, and pleasure as high artistic values.” Dutton’s argument has recently been reiterated and refined by a number of new books,

“The universality of art and artistic behaviors, their spontaneous appearance everywhere across the globe ... and the fact that in most cases they can be easily recognized as artistic across cultures suggest that they derive from a natural, innate source: a universal human psychology.”

Again like language, art is universal in the sense that any local expression of it can be “learned” by anyone.

Yet earlier theorists of evolution were reluctant to say that art was an evolutionary adaptation like language, for the simple reason that it does not appear to be evolutionarily adaptive.

Stephen Jay Gould suggested that art was not an evolutionary adaptation but what he called a “spandrel”—that is, a showy but accidental by-product of other adaptations that were truly functiona

the very words “success” and “failure,” despite themselves, bring an emotive and ethical dimension into the discussion, so impossible is it for human beings to inhabit a valueless world. In the nineteenth century, the idea that fitness for survival was a positive good motivated social Darwinism and eugenics. Proponents of these ideas thought that in some way they were serving progress by promoting the flourishing of the human race, when the basic premise of Darwinism is that there is no such thing as progress or regress, only differential rates of reproduction

In particular, Darwin suggests that it is impossible to explain the history or the conventions of any art by the general imperatives of evolution

Boyd begins with the premise that human beings are pattern-seeking animals: both our physical perceptions and our social interactions are determined by our brain’s innate need to find and to

Art, then, can be defined as the calisthenics of pattern-finding. “Just as animal physical play refines performance, flexibility, and efficiency in key behaviors,” Boyd writes, “so human art refines our performance in our key perceptual and cognitive modes, in sight (the visual arts), sound (music), and social cognition (story). These three modes of art, I propose, are adaptations ... they show evidence of special design in humans, design that offers survival and especially reproductive advantages.”

make coherent patterns

The distinction between the beautiful and the sublime is the distinction between the intimate and the transcendent. This sort of distinction doesn’t just happen in aesthetics, but in life in general. We have big and little loves.

Big love involves thinking in sweeping historical terms. But today the sense that America is pursuing a noble mission in the world has been humbled by failures and passivity. The country feels more divided than unified around common purpose

Big love involves politics, and thus compromise, competition and messiness. Americans today are less likely to discern the noble within the grittiness of reality. The very words that the founders used to describe their big love for their country sound archaic: glory, magnanimity, sacred honor and greatness.

There is, in sum, less animating desire in the country at the moment, and therefore less energy and daring. The share of Americans moving across state lines in search of opportunity has fallen by more than half since the 1970s. The rate of new business creation is down. Productivity is falling for the first time in three decades. Economic growth is anemic. There’s a spiritual and cultural element behind these trends

Just as the loss of a species decreases the richness of an ecosystem, the addition of new animals could achieve the opposite effect.

National Geographic Society hosted a larger conference to debate the scientific and ethical questions raised by the prospect of “de-extinction.

“De-extinction went from concept to potential reality right before our eyes,

less scientific, if more persuasive, argument was advanced by the ethicist Hank Greely and the law professor Jacob Sherkow, both of Stanford. De-extinction should be pursued, they argued in a paper published in Science, because it would be really

“This may be the biggest attraction and possibly the biggest benefit of de-extinction. It would surely be very cool to see a living woolly mammoth.”

They will replace chunks of band-tailed-pigeon DNA with synthesized chunks of passenger-pigeon DNA, until the cell’s genome matches their working passenger-pigeon genome.

Scientists predict that changes made by human beings to the composition of the atmosphere could kill off a quarter of the planet’s mammal species, a fifth of its reptiles and a sixth of its birds by 2050

This cloning method, called somatic cell nuclear transfer, can be used only on species for which we have cellular material.

There is a shortcut. The genome of a closely related species will have a high proportion of identical DNA, so it can serve as a blueprint, or “scaffold.”

By comparing the fragments of passenger-pigeon DNA with the genomes of similar species, researchers can assemble an approximation of an actual passenger-pigeon genome.

As with any translation, there may be errors of grammar, clumsy phrases and perhaps a few missing passages, but the book will be legible. It should, at least, tell a good story.

the genome will have to be inscribed into a living cell.

“We’ve framed it in terms of conservation,”

MAGE (Multiplex Automated Genome Engineering). MAGE is nicknamed the “evolution machine” because it can introduce the equivalent of millions of years of genetic mutations within minutes

Developmental and behavioral biologists would take over, just in time to answer some difficult questions. Chicks imitate their parents’ behavior. How do you raise a passenger pigeon without parents of its own species? And how do you train band-tailed pigeons to nurture the strange spawn that emerge from their eggs; chicks that, to them, might seem monstrous: an avian Rosemary’s Baby?

For endangered species with tiny populations, scientists would introduce genetic diversity to offset inbreeding.

They will try to alter the birds’ diets, migration habits and environment. The behavior of each subsequent generation will more closely resemble that of their genetic cousins.

For species threatened by contagion, an effort would be made to fortify their DNA with genes that make them disease-resistant

The scientific term for this type of genetic intervention is “facilitated adaptation.”

This optimistic, soft-focus fantasy of de-extinction, while thrilling to Ben Novak, is disturbing to many conservation biologists, who consider it a threat to their entire discipline and even to the environmental movement.

The first question posed by conservationists addresses the logic of bringing back an animal whose native habitat has disappeared. Why go through all the trouble just to have the animal go extinct all over again?

There is also anxiety about disease

“If you recreate a species genetically and release it, and that genotype is based on a bird from a 100-year-old environment, you probably will increase risk.”

“There’s always this fear that somehow, if we do it, we’re going to accidentally make something horrible, because only nature can really do it right. But nature is totally random. Nature makes monsters. Nature makes threats. Many of the things that are most threatening to us are a product of nature. Revive & Restore is not going to tip the balance in any way.”

De-extinction also poses a rhetorical threat to conservation biologists. The specter of extinction has been the conservation movement’s most powerful argument. What if extinction begins to be seen as a temporary inconvenience?

De-extinction suggests that we can technofix our way out of environmental issues generally, and that’s very, very bad.

How will we decide which species to resurrect?

Philip Seddon recently published a 10-point checklist to determine the suitability of any species for revival, taking into account causes of its extinction, possible threats it might face upon resurrection and man’s ability to destroy the species “in the event of unacceptable ecological or socioeconomic impacts.”

But the most visceral argument against de-extinction is animal cruelty.

“Is it fair to do this to these animals?” Shapiro asked. “Is ‘because we feel guilty’ a good-enough reason?” Stewart Brand made a utilitarian counterargument: “We’re going to go through some suffering, because you try a lot of times, and you get ones that don’t take. On the other hand, if you can bring bucardos back, then how many would get to live that would not have gotten to live?”

In “How to Permit Your Mammoth,” published in The Stanford Environmental Law Journal, Norman F. Carlin asks whether revived species should be protected by the Endangered Species Act or regulated as a genetically modified organism.

He concludes that revived species, “as products of human ingenuity,” should be eligible for patenting.

The term “de-extinction” is misleading. Passenger pigeons will not rise from the grave

Our understanding of the passenger pigeon’s behavior derives entirely from historical accounts.

There is no authoritative definition of “species.” The most widely accepted definition describes a group of organisms that can procreate with one another and produce fertile offspring, but there are many exceptions.

Theseus’ ship, therefore, “became a standing example among the philosophers . . . one side holding that the ship remained the same, and the other contending that it was not the same.”

What is coming will go well beyond the resurrection of extinct species. For millenniums, we have customized our environment, our vegetables and our animals, through breeding, fertilization and pollination. Synthetic biology offers far more sophisticated tools. The creation of novel organisms, like new animals, plants and bacteria, will transform human medicine, agriculture, energy production and much else.

The pandering can be insidious, too. The Perot Museum of Nature and Science in Dallas, which treats visitors to a virtual ride down a hydraulic fracturing well, recently made headlines for avoiding explicit references to climate change. Other museums omit scientific information on evolution. “We don’t need people to come in here and reject us,”

Even the best natural history museums have been obliged to reduce their scientific staff in the face of government cutbacks and the decline in donations following the 2008 economic crash. They still have their collections, and their public still comes through the door. But they no longer employ enough scientists to interpret those collections adequately for visitors or the world at large. Hence the journal Nature last year characterized natural history collections as “the endangered dead.”

these collections are less about the past than about our world and how it is changing. Sediment cores like the ones at the Illinois State Museum, for instance, may not sound terribly important, but the pollen in them reveals how past climates changed, what species lived and died as a result, and thus how our own future may be rapidly unfolding.

Natural history museums are so focused on the future that they have for centuries routinely preserved such specimens to answer questions they didn’t yet know how to ask, requiring methodologies that had not yet been invented, to make discoveries that would have been, for the original collectors, inconceivable.

THE people who first put gigantic mammoth and mastodon specimens in museums, for instance, did so mainly out of dumb wonderment. But those specimens soon led to the stunning 18th-century recognition that parts of God’s creation could become extinct. The heretical idea of extinction then became an essential preamble to Darwin, whose understanding of evolution by natural selection depended in turn on the detailed study of barnacle specimens collected and preserved over long periods and for no particular reason. Today, those same specimens continue to answer new questions with the help of genome sequencing, CT scans, stable isotope analysis and other technologies.

These museums also play a critical role in protecting what’s left of the natural world, in part because they often combine biological and botanical knowledge with broad anthropological experience.

“You have no nationality. You are scientists. You speak for nature.” Just since 1999, according to the Field Museum, inventories by its curators and their collaborators have been a key factor in the protection of 26.6 million acres of wilderness, mainly in the headwaters of the Amazon.

It may be optimistic to say that natural history museums have saved the world. It may even be too late for that. But they provide one other critical service that can save us, and our sense of wonder: Almost everybody in this country — even children in Denver who have never been to the Rocky Mountains, or people in San Francisco who have never walked on a Pacific Ocean beach — goes to a natural history museum at some point in his life, and these visits influence us in deep and unpredictable ways.

we dimly begin to understand the passage of time and cultures, and how our own species fits amid millions of others. We start to understand the strangeness and splendor of the only planet where we will ever have the great pleasure of living.

ways of working are critical in mathematical work and when they are taught and valued, many more students contribute, leading to higher achievement

mathematics education we suffer from the widespread, distinctly American idea that only some people can be “math people.” This idea has been disproved by scientific research showing the incredible potential of the brain to grow and adapt. But the idea that math is hard, uninteresting, and accessible only to “nerds” persists. 

harsh stereotypical thinking—mathematics is for select racial groups and men. This thinking, as well as the teaching practices that go with it, have provided the perfect conditions for the creation of a math underclass.

online platform explaining research evidence on ability and the brain and on good mathematics teaching, for teachers and parents. The course had a transformative effect. It was taken by 40,000 people, and 95 percent said they would change their teaching or parenting as a result.

does not simply test a mathematical definition, as the first does. It requires that students visualize a triangle, use transformational geometry, consider whether different cases satisfy the mathematical definition, and then justify their thinking.

There is a good reason for this: Justification and reasoning are two of the acts that lie at the heart of mathematics. They are, in many ways, the essence of what mathematics is.  Scientists work to prove or disprove new theories by finding many cases that work or counter-examples that do not. Mathematicians, by contrast prove the validity of their propositions through justification and reasoning.

The young people who are successful in today’s workforce are those who can discuss and reason about productive mathematical pathways, and who can be wrong, but can trace back to errors and work to correct them.

American idea that those who are good at math are those who are fast. Speed is revered in math classes across the U.S., and students as young as five years old are given timed tests—even though these have been shown to create math anxiety in young children. Parents use flash cards and other devices to promote speed, not knowing that they are probably damaging their children’s mathematical development

The fact of being quick or slow isn't really relevant

gives more time for depth and exploration than the curricula it has replaced by removing some of the redundant methods students will never need or use.