Monday, July 18, 2016

Why You Don’t Know Your Own Mind

Photo
Credit Inge Morath /The Inge Morath Foundation/Magnum Photos. Masks by Saul Steinberg /The Saul Steinberg Foundation/ARS, NY
It is often said that we can never truly know the minds of others, because we can’t “get inside their heads.” Our ability to know our own minds, though, is rarely called into question. It is assumed that your experience of your own consciousness clinches the assertion that you “know your own mind” in a way that no one else can. This is a mistake.
Ever since Plato, philosophers have, without much argument, shared common sense’s confidence about the nature of its own thoughts. They have argued that we can secure certainty about at least some very important conclusions, not through empirical inquiry, but by introspection: the existence, immateriality (and maybe immortality) of the soul, the awareness of our own free will, meaning and moral value. In a Stone column Gary Gutting explained how this tradition continues to manifest itself in contemporary philosophy as the search for “a ‘transcendental’ or ‘absolute’ consciousness that provides the fuller significance of our ordinary experiences.” Thomas Nagel has invoked the same source to trump science in this publication as well.
Introspection, “the mind’s eye,” assures us with the greatest confidence that it is the best, in some cases the only authority on how the mind works, because we all think it has direct, first person access to itself. We’re all very confident that we just know what’s going on in our own minds, from the inside, so to speak.
Yet research in cognitive and behavioral sciences increasingly undermines that confidence. It seems hardly a week goes by without another article in the media reporting counterintuitive laboratory findings by empirical psychologists studying cognition, emotion and sensation. What makes many of these results remarkable is their consistent violation of expectations, assumptions and prejudices forced on us by our own conscious awareness.
In fact, controlled experiments in cognitive science, neuroimaging and social psychology have repeatedly shown how wrong we can be about our real motivations, the justification of firmly held beliefs and the accuracy of our sensory equipment. This trend began even before the work of psychologists such as Benjamin Libet, who showed that the conscious feeling of willing an act actually occurs after the brain process that brings about the act — a result replicated and refined hundreds of times since his original discovery in the 1980s.
Around the same time, a physician working in Britain, Lawrence Weiskrantz, discovered “blindsight” — the ability, first of blind monkeys, and then of some blind people, to pick out objects by their color without the conscious sensation of color. The inescapable conclusion that behavior can be guided by visual information even when we cannot be aware of having it is just one striking example of how the mind is fooled and the ways it fools itself.
Meanwhile, philosophy has largely persisted in its centuries-long Cartesianism — following Descartes’ insistence in his “Meditations” (1641) that our knowledge of our own minds’ nature is more reliable than any other belief. Galen Strawson recently illustrated this centuries-old conviction in a recent essay in The Stone: “We know what conscious experience is because the having is the knowing: Having conscious experience is knowing what it is.” He writes “It is in fact the only thing in the universe whose ultimate intrinsic nature we can claim to know.”
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Despite these assurances from philosophy, empirical science has continued to build up an impressive body of evidence showing that introspection and consciousness are not reliable bases for self-knowledge. As sources of knowledge even about themselves, let alone anything else human, both are frequently and profoundly mistaken.
To see the mistake we need to recognize another mistake Descartes made: his denial that other animals have any mental lives at all. Careful field observation by primatologists beginning with Jane Goodall revealed that apes have well developed “theories of mind.” They engage in “mind reading” to make (sometimes good) guesses about the future behavior of others. Mind reading is psychologists’ shorthand for treating other animals as having something like desires and beliefs that work together to produce choices in behavior.

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After a certain point in the evolutionary past, organisms began needing to predict whether others posed threats in order to protect themselves, and later needed to coordinate to attain outcomes not achievable alone. This environment strongly selected for mind reading. Had variation in cognitive abilities not hit on this adaptation, puny creatures like us would never have survived in the face of savanna megafauna.
Mind reading, even in our own hands, is a very imperfect tool: We have to go on others’ behavior (including verbal behavior). We can’t really tell with much precision exactly what others believe or want, because we can’t get inside their heads. So our predictions are often pretty vague and frequently false. Like other Darwinian adaptations, mind reading is an imperfect, “quick and dirty” solution to a “design problem.” It was just good enough that, equipped with this theory of mind, we managed to gradually climb to the top of the food chain. We were able to do so in large part because once mind reading was in place human language, which requires it, became possible.
FMRI research, the study of autism, and experiments on infant “false-belief” detection have shown that mind reading is a relatively well-localized module in the human brain, innate in structure, subject to breakdown — often genetically caused, and identifiable in infant/toddler development.
Most important, there is compelling evidence that our own self-awareness is actually just this same mind reading ability, turned around and employed on our own mind, with all the fallibility, speculation, and lack of direct evidence that bedevils mind reading as a tool for guessing at the thought and behavior of others. When, as David Hume said, we look into ourselves, all we ever see are images, all we ever hear is silent speech-sounds. These sensations (along with emotions) are the only contents of consciousness, the only things introspection can use to figure out what we are thinking. The resources of introspection are exactly the same as the resources our minds work with to explain and predict the actions of others: sensory data provided by sight, hearing, smell, touch (and sometimes taste, too).
Of course we have a lot more sensory data — images and silent speech instead of visual experience and heard speech — to go on in trying to figure out our own desires and beliefs than what other people’s behavior reveals about what is going on in their minds. That’s part of what makes for the illusion that we know our own minds so much better. But the difference is only the amount of data, not its quality or source. We never have direct access to our thoughts. As Peter Carruthers first argued, self-consciousness is just mind reading turned inward.
How do we know this? Well, Hume would have answered that introspection tells us so. But that won’t wash for experimental scientists. They demand evidence. Some of it comes from the fMRI work that established the existence of a distinct mind-reading module, more from autistic children, whose deficits in explaining and predicting the behavior of others come together with limitations on self-awareness and self-reporting of their own motivations. Patients suffering from schizophrenia manifest deficiencies in both other-mind reading and self-mind reading. If these two capacities were distinct one would expect at least some autistic children and schizophrenics to manifest one of these capacities without the other.
That we read our own minds the same way we read other minds is evident in what cognitive science tells us about consciousness and working memory — the dual imagistic and silent-speech process that we employ to calculate, decide, choose among options “immediately before the mind.” The most widely accepted psychologist’s theory of consciousness identifies it as a mode of “global broadcast” solely from sensory modalities to “executive”— deciding, and “affective”— feeling systems that act on this sensory input. Self-consciousness has nothing else to work with but the same sensory data we use to figure out what other people are doing and are going to do.
The upshot of all these discoveries is deeply significant, not just for philosophy, but for us as human beings: There is no first-person point of view.
Our access to our own thoughts is just as indirect and fallible as our access to the thoughts of other people. We have no privileged access to our own minds. If our thoughts give the real meaning of our actions, our words, our lives, then we can’t ever be sure what we say or do, or for that matter, what we think or why we think it.
Philosophers’ claims that by reflecting on itself thought reliably reveals our nature, grounds knowledge, gives us free will, endows our behavior with moral value, are all challenged. And the threat doesn’t stem from some tendentious scientistic worldview. It emerges from the detailed understanding of the mind that cognitive science and neuroscience are providing.
Alex Rosenberg is co-director of the Center for Social and Philosophical Implications of Neuroscience in the Duke Initiative for Science and Society. His second novel, “Autumn in Oxford” will appear in August.

Sunday, July 17, 2016

Collecting 101 || How to Maximize Your Wall Space

Collecting 101

How to Maximize Your Wall Space: 4 Golden Rules for Hanging Art

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How to Maximize Your Wall Space: 4 Golden Rules for Hanging Art
A few good rules of thumb
We hate math just as much as the next art geek—but when it comes to hanging art on the wall, spending a few minutes to take measurements and follow formulas can make all the difference. Luckily, interior designers have devised a set of golden rules to find the perfect size piece for any space. Here, we reveal some crucial tricks of the trade. 


1. Calculate the Perfect Width 
If you’re hanging a painting, drawing, print, or any other artwork on the wall over a piece of furniture, such as a bed or sofa, look for artworks that are between 65 percent and 85 percent of the furniture’s total width. Anything larger will make your furniture look comically small, and anything smaller will leave too much blank space. Here's a collection of 10 couch-ready artworks over 40 inches wide, which for most people will hit the sweet spot.

Rebekka Guðleifsdóttir's <em>From The Earth</em> is 40" wide, available on Artspace for $2,000


2. Consider Triptychs and Diptychs
Having trouble finding a piece you like that’s wide enough for your setting? Why not consider a diptych or a triptych—i.e., works that come in sets of twos or threes, respectively—that adds up to the width you’ve calculated? (Remember to account for two to five inches of space in between the works.) Browse our collections of diptychs and triptychs here.


3. Use the Rule of Three-Eighths

Use this rule when working with an empty wall. The white space on either side of the artwork should be roughly three-eighths of the width of a painting. To calculate your ideal width, simply multiply the length of your wall by 0.57. Having trouble finding the size you need? Here are 22 artworks available in variable sizes that will fit like a glove.


4. Anchor the Room
Don't just hang the artworks at eye level—because, frankly, it's just your eye level. Instead, interior decorators and curators always tend to hang a work with a standard 58-inch distance from the floor to the artwork's center. If your ceilings are really high, bump that up to 60 inches. And if the artwork is over furniture, have the bottom of the piece end 8 to 10 inches above the headboard or back of the sofa—hanging the artwork too high will leave your room feeling unanchored. For those of you who are too fabulous for white walls all together, ignore everything we've just told you and instead opt for wallpaper designed by Damien Hirst, or wallpaper from the Maharam Serpentine Galleries Wallpaper collection. 

Marc Camille Chaimowicz's Pavilion wallpaper of the Maharam Serpentine Galleries Wallpaper collection






Thursday, July 14, 2016

Research: Want More Entrepreneurs? Make College Cheaper


Research: Want More Entrepreneurs? Make College Cheaper

July 07, 2016

Recommended

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When college tuition rises, fewer people take the plunge into entrepreneurship, according to a new working paper by Harvard Business School economist Gareth Olds.
The paper isn’t studying Millennials and how student debt affects their career choices. Instead, it’s focused on their parents.
Olds found that in the U.S., a 10% increase in the average price of in-state college tuition corresponds with a 13.9% decrease in the number of parents with college-age children who become self-employed. The effect is strongest for parents with multiple children and holds up even after controlling for factors such as state economic conditions.
The theme of Olds’s research is twofold: Financial security makes it easier for people to start businesses, and government programs can help provide that security. His previous papers have documented how food stamps and children’s health insurance each promote entrepreneurship. Other researchers have found similar results for unemployment insurance and for government-provided health insurance for retirees.
Just like would-be entrepreneurs hesitate to leave their jobs for fear of not being able to afford health insurance, it makes sense that looming tuition bills might depress a parent’s appetite for career risk. Is starting a business really worth jeopardizing your child’s education?
Olds’s paper has important policy implications. Not only would cheaper tuition potentially mean that more students would have access to education — itself likely to increase entrepreneurship and innovation — but also it would free more parents to take risks by launching new companies. That’s arguably something the U.S. needs, since new business creation has been in decline over the past few decades. Olds suggests that “the rising cost of higher education may be partially responsible for the decline in new business starts in the U.S.”
He is not the first to make the connection. Last year the Urban Institute, a think tank, published a discussion paper exploring the link between student debt and entrepreneurship, though it noted that establishing a causal link between the two would be difficult. Olds’s paper, focused on tuition rather than debt, may be the best evidence to date that such a relationship exists.
Another paper, published last year by researchers at Penn State and the Federal Reserve Bank of Philadelphia, found a negative correlation between student debt and the number of new businesses in the U.S. But that negative relationship held only for companies with fewer than four employees. The researchers found no statistically significant link between student debt and the creation of larger firms, which the authors “interpret to mean that these firms had greater access to outside capital.” In other words, student debt was a deterrent for entrepreneurs who couldn’t find investors to back them.
That distinction matters. New small businesses may be an important source of economic mobility, but fast-growing, innovative new firms are what have the largest impact on the overall economy. And there’s less evidence of a shortage of growth startups.
Olds measured entrepreneurship by looking at parents who became self-employed (and by using their income from self-employment), not by measuring the headcount or revenues of their businesses. So his research can’t rule out the possibility that tuition levels matter most for smaller businesses, even for one-person operations in which a parent is essentially using self-employment as a bridge between full-time work and retirement. If that’s the case, it might lower the stakes in terms of the drag that high tuition places on the overall economy.
Further research should explore the relationship between tuition and growth startups. Nevertheless, previous work by Olds and others has documented the link between financial security and entrepreneurship not just for smaller firms but also for faster growth startups.
As a rule, people are willing to take entrepreneurial risk when they have some modicum of financial security. Parents a year or two away from owing tens of thousands of dollars in tuition bills aren’t likely to feel that they have much of it.

Walter Frick is a senior associate editor at Harvard Business Review.

This article is about EDUCATION
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Wednesday, July 13, 2016

sporting-scene/its-the-end-of-the-u-f-c-as-we-know-it?

Behold Your Newest Silver-Screen Sex Goddess, Jane Neighbor

http://www.newyorker.com/humor/daily-shouts/behold-your-newest-silver-screen-sex-goddess-jane-neighbor?mbid=nl_TNY%20Template%20-%20With%20Photo%20(67)&CNDID=25315071&spMailingID=9195993&spUserID=MTA5MjQwMzgyNzkyS0&spJobID=961025057&spReportId=OTYxMDI1MDU3S0ly Shouts

Behold Your Newest Silver-Screen Sex Goddess, Jane Neighbor




In America, we want our women to be girls and our girls to be sex fairies, and for those sex fairies to live next door to us, for some reason. This Sharktaugust, there is only one such radiant sex-fairy star to watch. In fact, you should probably close your eyes when she’s offscreen and sort of block out with your fingers the parts of the screen she’s not on when she’s in a scene with someone else. Unless you are a complete idiot, you already know this star’s name: Jane Neighbor.
Neighbor is twenty-eight and twenty-two, at once. She is a kind of gorgeous that can only be found in or very near rivers. She is blonde but also blond, depending on the spelling. She is tall when she is on a ladder, and medium-­tall when she is halfway up the ladder. Her eyelashes spell “glory.” Her naked hands can open wet jars, with just the strength of her slender fingers. She can be sexy and pointy and things that aren’t even adjectives, like glossary, or aren’t even words, like hilabrion. Her voice sounds like a truck full of rain.
As I said, she is from Portugaria. Or maybe I didn’t say that yet. Anyway, that’s where she’s from. To understand her, you must take a plane to where she is from, or read the Wikipedia page about it, or learn Portugarian, or just speak decent English, because she’s fluent and actually doesn’t even have much of an accent.
Portugaria is America a few hours ago, because of the time difference. Its people are a simple people, a throwback people, like Americans but a few hours ago. In Portugaria, they watch 
Portugarian “The Ellen DeGeneres Show,” which is the exact same show as America’s “The Ellen DeGeneres Show.” In Portugaria, every young, ambitious actress dreams of Hollywood and its mythic, far­away opportunities for stardom, and every other person just has that dream where all of his teeth fall out.
Recently, I met Jane under a bridge next to a defunct dentist’s office, on the Lower North Side of somewhere in Queens. (It’s a celebrity haunt, in that I think some famous people were maybe killed there.) I don’t remember what she was wearing, but I think it was hair? Something was on the front of her head—either glasses or a nose. I probably should have taken notes. She made noises with the lower part of her face, and I was mesmerized.
By now you know all about Neighbor’s successes: summer blockbusters, winter barnbusters, suppertime bustblockers, even movies. I asked her what it was like to be the new face of Sheila, in the remake of the megahit “Sheila the Exorbitant,” and she shrugged her delicate bones into a croissant­-like shape and laughed a tinkling laugh. Then she responded, but I wasn’t listening.
The thing is, everyone wants to author the story of Jane. The famous director Allan Harkness called her “in one word, a French horn.” The less-famous director Alan Hankress called her “in three words, a French horn.” But is she? Really? Can we remove the girl from the nudity, and the actress from the horn? At least for long enough to write about it?
Back under the bridge, Jane was looking at me, and I was looking at her, and we were both expectant—she, that I would ask her another question, and I, that she would just kind of say something. The seconds passed, laden with silence, her very presence a lie. (It is far smaller than it appears on a large movie screen.)
I asked what it was like to have her sexy parts mash up against famous actors’ sexy parts. Her answer was both short and long, in turn: a sigh and a string of syllables forming words that formed a sentence. I let it hang there, laden with fragility and malaise. I thought about my financial portfolio, and what I had and hadn’t eaten for dinner, and how a large man might look in a short robe. I knew that, years later, I would remember this moment—so lush with silence and yet so not full of speaking.
Eventually, she said, “Oh, I think that’s my Uber,” and picked her way back across the sands of forgotten periodontics, her blondness effulgent, and then evaporating into the night like the last pale crumbs of a Portugarian pastry, the only evidence of her ever having done this interview a single, lonesome note of a French horn.





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