I am getting some small notion of what it feels like to be white in America. What my classmates are telling me is that the Anglophone world is the international power. It dominates. Thus knowledge is tangibly necessary for them in a way that it is not for me

Of course the flip-side of this calculus is that power enables ignorance. Black people know this well.

I think this is the seed of the "We don't have any white history month!" syndrome. Through conquest the ways of whiteness become the air.

the minor details that journalists choose to include or exclude from their reporting are one of many subtle ways that oppressive gender norms are perpetuated

the fact that totally irrelevant details about Rosoff’s love life and cigarette habit made it into the lede and nut graf of an ostensibly unbiased news article—and that no editor stopped to ask, “Hmm, why is this information here?”—just goes to show how deeply ingrained sexist attitudes can b

Mr. Xi has indicated that proposed economic reforms would not be accompanied by any significant political relaxation. He has instead repeatedly stressed his loyalty to party traditions and political orthodoxy

Chinese state-run news media featured a commentary from the official Xinhua news agency that warned that if China embraced democratic ideas promoted by liberal intellectuals, it would succumb to turmoil worse than that in the Soviet Union after the collapse of Communism.

Many credit the blog What Is It Like to Be a Woman in Philosophy?, which in 2010 began posting anonymous stories of harassment, with helping to highlight the issue. “Just about every woman you talk to in philosophy has experienced first- or secondhand some form of sexual harassment that is egregious,” said Gideon Rosen, a philosopher at Princeton. “It’s not just one or two striking anecdotes.”

changing the broader culture of philosophy to make it more woman-friendly, many say, is a daunting task — particularly since no one can agree on the root cause of that unfriendliness. Is it straight-up sexual discrimination? The lack of female mentors? The highly technical nature of much contemporary Anglo-American philosophy? The field’s notoriously rough-and-tumble style of argument?

This set me thinking about why we are so certain that Zeus never existed. Of course, we are in no position to say that he did.  But are we really in a position to say that he didn’t?

as this civilization developed the critical tools of historiography and philosophy, Zeus’s reality remained widely unquestioned. 

Why did belief in the gods persist in spite of critical challenges? What evidence seemed decisive to the ancient Greeks? 

everyone knows that monopoly power is bad for markets, that people are racially biased and that illness is unequally distributed by social class. There are diminishing returns from the continuing study of many such topics. And repeatedly observing these phenomena does not help us fix them.

social scientists should devote a small palace guard to settled subjects and redeploy most of their forces to new fields like social neuroscience, behavioral economics, evolutionary psychology and social epigenetics, most of which, not coincidentally, lie at the intersection of the natural and social science

It is time to create new social science departments that reflect the breadth and complexity of the problems we face as well as the novelty of 21st-century science. These would include departments of biosocial science, network science, neuroeconomics, behavioral genetics and computational social science.

I think most people’s ideas of science fiction are formed by Hollywood movies, so they think most science fiction is a special effects-driven story revolving around a battle between good and evil

I don’t think of that as a science fiction story. You can tell a good-versus-evil story in any time period and in any setting. Setting it in the future and adding robots to it doesn’t make it a science fiction story.

I think science fiction is fundamentally a post-industrial revolution form of storytelling. Some literary critics have noted that the good-versus-evil story follows a pattern where the world starts out as a good place, evil intrudes, the heroes fight and eventually defeat evil, and the world goes back to being a good place. Those critics have said that this is fundamentally a conservative storyline because it’s about maintaining the status quo. This is a common story pattern in crime fiction, too—there’s some disruption to the order, but eventually order is restored. Science fiction offers a different kind of story, a story where the world starts out as recognizable and familiar but is disrupted or changed by some new discovery or technology. At the end of the story, the world is changed permanently. The original condition is never restored. And so in this sense, this story pattern is progressive because its underlying message is not that you should maintain the status quo, but that change is inevitable. The consequences of this new discovery or technology—whether they’re positive or negative—are here to stay and we’ll have to deal with them.

how influential metaphors can be. They can change the way we try to solve big problems like crime. They can shift the sources that we turn to for information. They can polarise our opinions to a far greater extent than, say, our political leanings. And most of all, they do it under our noses

In the first report, crime was described as a “wild beast preying on the city” and “lurking in neighbourhoods”. After reading these words, 75% of the students put forward solutions that involved enforcement or punishment,

The second report was exactly the same, except it described crime as a “virus infecting the city” and “plaguing” neighbourhoods. After reading this version, only 56% opted for more enforcement, while 44% suggested social reforms.

What would a new full-fledged pictorial language—not the hieroglyphics of old, but a language built to suit the social media-mentality of “right here, right now, this is who I am, who I’m with, and what I’m up to”—look like?

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Hodgson approached the organisers of the California State Fair wine competition, the oldest contest of its kind in North America, and proposed an experiment for their annual June tasting sessions.Each panel of four judges would be presented with their usual "flight" of samples to sniff, sip and slurp. But some wines would be presented to the panel three times, poured from the same bottle each time. The results would be compiled and analysed to see whether wine testing really is scientific.

Results from the first four years of the experiment, published in the Journal of Wine Economics, showed a typical judge's scores varied by plus or minus four points over the three blind tastings. A wine deemed to be a good 90 would be rated as an acceptable 86 by the same judge minutes later and then an excellent 94.

Ekman had traveled the globe with photographs that showed faces experiencing six basic emotions—happiness, sadness, fear, disgust, anger, and surprise. Everywhere he went, from Japan to Brazil to the remotest village of Papua New Guinea, he asked subjects to look at those faces and then to identify the emotions they saw on them. To do so, they had to pick from a set list of options presented to them by Ekman. The results were impressive. Everybody, it turned out, even preliterate Fore tribesmen in New Guinea who’d never seen a foreigner before in their lives, matched the same emotions to the same faces. Darwin, it seemed, had been right.

Ekman’s findings energized the previously marginal field of emotion science. Suddenly, researchers had an objective way to measure and compare human emotions—by reading the universal language of feeling written on the face. In the years that followed, Ekman would develop this idea, arguing that each emotion is like a reflex, with its own circuit in the brain and its own unique pattern of effects on the face and the body. He and his peers came to refer to it as the Basic Emotion model—and it had significant practical applications

What if he’s wrong?

If you take a look at the progress of science, the sciences are kind of a continuum, but they're broken up into fields. The greatest progress is in the sciences that study the simplest systems. So take, say physics -- greatest progress there. But one of the reasons is that the physicists have an advantage that no other branch of sciences has. If something gets too complicated, they hand it to someone else.

If a molecule is too big, you give it to the chemists. The chemists, for them, if the molecule is too big or the system gets too big, you give it to the biologists. And if it gets too big for them, they give it to the psychologists, and finally it ends up in the hands of the literary critic, and so on.

neuroscience for the last couple hundred years has been on the wrong track. There's a fairly recent book by a very good cognitive neuroscientist, Randy Gallistel and King, arguing -- in my view, plausibly -- that neuroscience developed kind of enthralled to associationism and related views of the way humans and animals work. And as a result they've been looking for things that have the properties of associationist psychology.

Skinner's approach stressed the historical associations between a stimulus and the animal's response -- an approach easily framed as a kind of empirical statistical analysis, predicting the future as a function of the past.

Chomsky's conception of language, on the other hand, stressed the complexity of internal representations, encoded in the genome, and their maturation in light of the right data into a sophisticated computational system, one that cannot be usefully broken down into a set of associations.

Chomsky acknowledged that the statistical approach might have practical value, just as in the example of a useful search engine, and is enabled by the advent of fast computers capable of processing massive data. But as far as a science goes, Chomsky would argue it is inadequate, or more harshly, kind of shallow

The poet and philosopher Santayana thought that while aesthetic appreciation is an immediate experience–we don’t “infer” the beauty of something by recognizing some natural qualities that it has–we can nonetheless analyze the experience after the fact to uncover a number of grounds on which we might appreciate something.

He divides these into areas of matter (e.g. the pretty color or texture), form (the relations between perceived parts), and expression (what external to the work itself does it bring to mind?) and ends up being able to distinguish high art (form-centric) from more savage forms (centered on matter or expression) while distinguishing real appreciation (which can include any of the three elements) from mere pretension (when you don’t really have an immediate experience at all but merely recognize that you’re supposed to think that this is good).