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To illustrate the near-impossibility of establishing veracity in photography he engaged in what might seem like a mad, hopeless enterprise: to see whether the cannonballs were initially on the road or placed there—posed for ideological impact. An investigation that involved him going halfway around the world to the Crimea to find the road and subsequently interviewing “shadow experts” on the time of day each photograph might have been shot. As one commenter wrote: “Don’t miss the excursus on the use of albatross eggs to provide the albumen for photo emulsions in early film developing. Or the meditation on Descartes’ Meditations. Or the succinct and devastating deconstruction of deconstructionists’ dim witted view of truth (just because we can’t necessarily know it, they rashly conclude it doesn’t exist). This leads to his critique of the correlative misreading of the film Rashomon [it’s not an ‘all points of view are equally valid’ manifesto] and his desire, expressed in a footnote, for a Rashomon about Rashomon.”

Propelled by the tale of the legendary Norse adventurer Ragnar Lothbrok, his family and his band of followers, the lushly produced, effects-enhanced series dazzles with evocative scenery and dynamic displays of superherolike derring-do and physical stamina.

Mr. Hirst immersed himself in what had been written about Viking culture — basically documentation by outside observers since theirs was an illiterate society. He found the material limited and biased.

“They’re always the guys who break in through the door, slash up your house and rape and pillage for no good reason, except that they enjoy the violence,” he said. “I wanted to tell the story from the Vikings’ point of view, because their history was written by Christian monks, basically, whose job it was to exaggerate their violence.”

Face-matching today could enable mass surveillance, “basically robbing everyone of their anonymity,” he says, and inhibit people’s normal behavior outside their homes.

Dr. Atick says the technology he helped cultivate requires some special safeguards. Unlike fingerprinting or other biometric techniques, face recognition can be used at a distance, without people’s awareness; it could then link their faces and identities to the many pictures they have put online. But in the United States, no specific federal law governs face recognition.

some casinos faceprint visitors, seeking to identify repeat big-spending customers for special treatment. In Japan, a few grocery stores use face-matching to classify some shoppers as shoplifters or even “complainers” and blacklist them.

At first, my plan was to do what I always do when I see something halfway noteworthy, which is to tell a few hundred thousand people on Twitter, Facebook, Instagram or, in my lowest moments, even LinkedIn.

Smartphones and social networks have turned me into a lonely, needy man who requires constant affirmation. In desperate pursuit of such affirmation, my mind has come to resemble one of those stamping-machine assembly lines you see in cartoons, but for shareable content: The raw, analog world in all its glory enters via conveyor belt on one end, and, after some raucous puffs of smoke, it gets flattened and packaged in my head into insipid quips meant to inspire you to tap a tiny heart on a screen.

instead of sharing the silly lampshade joke, I journaled it in Day One, a magnificent digital diary app that has transformed my relationship with my phone, improved my memory, and given me a deeper perspective on my life than the one I was getting through the black mirror of social media.

So what’s the actual reason for the gap between audiences and critics? Simply put, it’s that audiences tend to be easier to please because they’re merely looking for movies to be entertainment while critics are trying to judge them artistically.

one of the things W. David Marx discusses is how art receives acclaim as art. “Invention requires ‘answering’ the works of previous artists,” Marx writes. So the creation of photography led to artists trying to “solve” the problem of a new form capable of capturing perfect representations of reality; hence the rise of cubism and abstract art

“There are perhaps an infinite number of potential problems in art, but to gain artist status, artists must solve the agreed-upon problems of the current moment,” he writes.