I thought this was a pretty thought-provoking read, even if I don’t agree with every point. It really is pretty sad to think how far the situation has diverged from our idealistic imaginings in the nineties and oughts.

Does our fatigue with unfiltered opinion reflect a larger philosophical change, though? Are we disenchanted with the idea of equality itself? Our expectations of people, people generally, have been so disappointed. People just turned out to be so much dumber than we had hoped. Dumber, angrier, more irrational, impulsive. People are just scary. What does this say for our enshrinement of democracy?

Perhaps media managers have decided not that they hate people, or even people with opinions, or even people with stupid opinions, but that the expressing of an opinion must require a minimum symbolic effort, it must require entering a system of conventions. At least in spaces that they are paying for. Outside these, people may create any number of their own spaces with different conventions. Is this drawing of new boundaries an abandonment of democratic principles? I think not: We restrict voting in elections in a number of ways (age, citizenship) and yet our elections are still deemed democratic. A refusal to provide a space in which blind rage is fomented is not the abandonment of democracy, but the protection of it.

Russell Smith: Say bye to the online comment section as you know it

Inspired by the relics of his parents’ past as Czech publishers and book smugglers, Martin Tomsky (previously) produces laser-cut illustrations that introduce depth with several layers of plywood in varying tones. Originally immersed in drawing detailed scenes on paper, Tomsky transferred his skills to the 3D, creating stories that seem tangled in lore and feature the outlines of animal skeletons, dense forestry, and mythical beasts.

The London-based artist aims to create work that speaks to craft, illustration, and sculpture, each piece serving as both a decorative object and wall-mounted story. Although many of his works are large and intricate productions, he also works small, singling out animal characters like owls, rabbits, and badgers in necklace pendants and brooches. You can see more of Tomsky’s laser-cut tales on his Etsy and Facebook page here.

Source: New Laser-Cut Wood Illustrations by Martin Tomsky | Colossal

Earlier this year, the Massachusetts Institute of Technology hosted the inauguralMIT Water Innovation Prize, inviting attendees from around the world to pitch their water-conservation device or business to a panel of judges for a chance to win grants totaling $30,000. One of three big winners for the night was a new washing-machine filter that seeks to recycle 95 percent of laundry wastewater.

Source: Making a Washing Machine That Recycles Its Own Water

[This is probably the most interesting defense of astrology I’ve ever encountered. -egg]

“Whence has fantasy acquired its bad reputation?” Carl Jung once wrote. In a world in which irrationality is seen as a correctable flaw rather than a fixture of human life, fantasy has no place. But this is not our world, and Jung, whose dabbling in the occult did taint his reputation as Freud warned it would, was right when he said that astrology’s “value is obvious enough to the psychologist, since astrology represents the sum of all the psychological knowledge of antiquity.” The archetypes one finds in the zodiac belong to the collective unconscious, and the importance of such symbols is that they figure into our thoughts whether they ought to or not. A common concept in therapy is projection: the tendency of a patient to imbue impersonal symbols with personal meaning in the process of interpretation, be they dreams, inkblots, or slips of the tongue. Whether the source material is in itself “true” doesn’t make what comes out of it—the reading of one’s self through that material—false. One might say the same of astrology.

The painter may look at the Scorpio and see Scorpio traits, another instance of confirmation bias. But the color-filter overlay of any deterministic language, be it astrology or psychoanalysis or anything else, can shed some light from time to time. Taken alone, the filter is reductive: dialing up the contrast, blasting shades of gray into patches of black and white. But as a supplement to other points of view—what’s visible on first impression, say, or what you know of someone from experience—it adds another dimension, pulling some features into the foreground and pushing others to the back, reminding you of a person’s complexity. As skeptics have long argued, part of what makes astrology appealing (and so easily proven “true”) is that each sign of the zodiac has a cluster of traits assigned to it that may be found in nearly any person. Astrology could thus be seen as a humanizing corrective to other, worse stereotypes. To consider that the shy person is sometimes wild, the considerate person sometimes duplicitous, is to practice something rather like empathy.

Source: Stars—They’re Just Like Us! | Issue 24 | n+1

These are fun, and will be especially of use to someone who doesn’t care for working through typical math.

I love probability. I love stories. And I love marshmallows. So I wrote these probability lessons disguised as stories. Or perhaps they’re stories disguised as probability lessons. (I couldn’t figure out a way to work in the marshmallows. Sorry, folks.)

The Bear in the Moonlight consists of seven tales about a curious student and a wise, Zen-like teacher. Each little fable aims to impart a truth about probability, and is followed by an explanation of the underlying ideas. (In the pdf versions you’ll also find discussion questions, in case you’re hoping these can garnish your lesson plans).

They’re for students. They’re for teachers. They’re for anyone curious about the mathematics of the unknown and the unknowable.

 

Source: The Bear in the Moonlight | Math with Bad Drawings

Here’s a somewhat romanticized but fascinating account of the one-of-a-kind mathematical genius Ramanujan:

How did the minimally trained, isolated Srinivasa Ramanujan, with little more than an out-of-date elementary textbook, anticipate some of the deepest theoretical problems of mathematics—including concepts discovered only after his death?

The story of Ramanujan is a variation on the same mythopoeic tale related in Star Wars and the New Testament, of a special boy born into adversity. A mother cannot conceive. The Goddess appears in a dream, promising a son through whom the God will speak to his creation. While pregnant, the mother travels to her ancestral home. During the winter solstice, the boy is born, under signs in the heavens that portend great events: his horoscope, cast by his mother, predicts that he will be a genius beset by great suffering. “Svasti Sri,” it reads, “when the moon was near the star Uttirattadi, when Mithuna was in the ascendant, on this auspicious day” Ramanujan is born. And indeed, his will be a short life, full of triumph and disaster. Growing up, he is gentle and quiet. Weightless is the word one of his childhood acquaintances uses in Robert Kanigel’s The Man Who Knew Infinity: A Life of the Genius Ramanujan. Beginning in his teenage years, Kanigel writes, Ramanujan “would abruptly vanish… Little subsequently became known” about these disappearances. Around this time, Ramanujan acquires a hoary old text (G. S. Carr’s Synopsis of Elementary Results in Pure Mathematics) that initiates him into the arcana. The Goddess begins to appear to Ramanujan in his dreams, showing him scrolls covered in strange formulae. “Nākkil ezhutināl,” he later said. “She wrote on my tongue.”

The Believer – Encounter with the Infinite

What would a truly ambitious plan to tackle climate change look like?

Despite the intensity of the debate around global warming, the question has long been considered theoretical, and few people have spent much time studying potential steps to “deep decarbonization” — certainly not at the level of detail needed for a concrete plan.

Lately, that has started to change. But the recent analyses make clear just how difficult a worldwide transition to a clean energy system is likely to be.

“The arithmetic is really brutal,” said Jeffrey D. Sachs, a prominent Columbia University economist. “We’re in such a dreadful situation that every country has to make this transformation, or else this isn’t going to work.”

[…]the experts focused on a specific question: Can emissions be cut enough from now to 2050 to meet an international target designed to head off the worst effects of climate change?

“It can still be done — barely,” said Guido Schmidt-Traub, the executive director of the Sustainable Development Solutions Network, which helped organize the effort.

Really fantastic article from the NYT: A Path for Climate Change, Beyond Paris

A new scientific understanding of perception has emerged in the past few decades, and it has overturned classical, centuries-long beliefs about how our brains work—though it has apparently not penetrated the medical world yet. The old understanding of perception is what neuroscientists call “the naïve view,” and it is the view that most people, in or out of medicine, still have. We’re inclined to think that people normally perceive things in the world directly. We believe that the hardness of a rock, the coldness of an ice cube, the itchiness of a sweater are picked up by our nerve endings, transmitted through the spinal cord like a message through a wire, and decoded by the brain.

[…]Our assumption had been that the sensory data we receive from our eyes, ears, nose, fingers, and so on contain all the information that we need for perception, and that perception must work something like a radio. It’s hard to conceive that a Boston Symphony Orchestra concert is in a radio wave. But it is. So you might think that it’s the same with the signals we receive—that if you hooked up someone’s nerves to a monitor you could watch what the person is experiencing as if it were a television show.

Yet, as scientists set about analyzing the signals, they found them to be radically impoverished. Suppose someone is viewing a tree in a clearing. Given simply the transmissions along the optic nerve from the light entering the eye, one would not be able to reconstruct the three-dimensionality, or the distance, or the detail of the bark—attributes that we perceive instantly.

[…]The images in our mind are extraordinarily rich. We can tell if something is liquid or solid, heavy or light, dead or alive. But the information we work from is poor—a distorted, two-dimensional transmission with entire spots missing. So the mind fills in most of the picture. You can get a sense of this from brain-anatomy studies. If visual sensations were primarily received rather than constructed by the brain, you’d expect that most of the fibres going to the brain’s primary visual cortex would come from the retina. Instead, scientists have found that only twenty per cent do; eighty per cent come downward from regions of the brain governing functions like memory. Richard Gregory, a prominent British neuropsychologist, estimates that visual perception is more than ninety per cent memory and less than ten per cent sensory nerve signals. When Oaklander theorized that M.’s itch was endogenous, rather than generated by peripheral nerve signals, she was onto something important.

[…]The account of perception that’s starting to emerge is what we might call the “brain’s best guess” theory of perception: perception is the brain’s best guess about what is happening in the outside world. The mind integrates scattered, weak, rudimentary signals from a variety of sensory channels, information from past experiences, and hard-wired processes, and produces a sensory experience full of brain-provided color, sound, texture, and meaning. We see a friendly yellow Labrador bounding behind a picket fence not because that is the transmission we receive but because this is the perception our weaver-brain assembles as its best hypothesis of what is out there from the slivers of information we get. Perception is inference.

[WARNING! Full article contains what may be the single ickiest medical anecdote I’ve ever read. -egg]

The Itch’s Mysterious Power – The New Yorker (2008)

EMERGENCE LAB

The “Emergence Lab” is a hand painted anamorphic sculpture.
Its title refers to a phenomenon called emergence.
Through a plug system made out of 216 laser cut acrylic glass strips, a cubic framework, which contains layers pointing towards all three spatial dimensions, is created.
On each side of the cube there is one anamorphic painting that can always only be seen from one point. Since every figure fills the exact same surface as its counterpart on the opposite side, the rear image is covered while looking at one figure.

emergence lab