Tom Fletcher in Prospect:
The Hague, September 2016. The speech from the UN high commissioner for human rights was not expected to ruffle feathers. A mild appeal to our better angels and then back to the canapés—traditionally, as one UN speechwriter puts it, “we don’t use adjectives, we don’t name names.”
But instead of platitudes, Zeid Ra’ad Al Hussein called out a parade of “xenophobes, populists and racists”: Wilders, Farage, Orbán, Le Pen, Trump and—in the same breath—Islamic State (IS). He shook with rage. The room was stunned into silence, then burst into a standing ovation. One ambassador present calls it “a moment of pure authenticity, emotion and reason.” A friend calls it Zeid’s “quantum leap.” But this was not simply a frustrated UN chief shooting from the hip. “He knew exactly what he was doing,” says his wife, Sarah.
There is an air of battered decency to the UN’s top official on human rights. Partly jet lag and the debilitating wade through undrained swamps of bureaucratic treacle. Partly bearing witness to the worst of humanity. As a junior UN official in Bosnia, he was profoundly marked by the sight of the skull of a child as a trophy on a warlord’s car. In a recent statement on Myanmar, he asked: “What kind of hatred could make a man stab a baby crying out for his mother’s milk. And for the mother to witness this murder while she is being gang-raped by security forces who should be protecting her?”
But the weariness is also something deeper. This is a man watching his worldview come under relentless assault. Zeid was a global citizen before the idea went in and then out of fashion.
More here.

Benjamin Moser in The New Yorker:
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By conceiving the notion of art brutin a Europe devastated by the Second World War, French artist Jean Dubuffet questioned the underlying pretense behind the processes of artistic legitimization, dispossessing those authorities empowered to legislate in the art world. He also insisted on the flexible nature of definitions, maintaining that art brutcould incessantly evolve depending on the context of its emergence, knowing that the norm and the margins are perpetually reassessed. Without an art movement or identifiable style, art brut is not a category, but an evolving critical concept. Above all, as observed Céline Delavaux, Dubuffet likely proposed a singular, even poetic and literary way of thinking about art, “It is in the absence of the voice of the madman, the excluded, the uneducated, that his radically subjective art discourse was invented.”
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Imagine you’re the president of a European country. You’re slated to take in 50,000 refugees from the Middle East this year. Most of them are very religious, while most of your population is very secular. You want to integrate the newcomers seamlessly, minimizing the risk of economic malaise or violence, but you have limited resources. One of your advisers tells you to invest in the refugees’ education; another says providing jobs is the key; yet another insists the most important thing is giving the youth opportunities to socialize with local kids. What do you do? Well, you make your best guess and hope the policy you chose works out. But it might not. Even a policy that yielded great results in another place or time may fail miserably in your particular country under its present circumstances. If that happens, you might find yourself wishing you could hit a giant reset button and run the whole experiment over again, this time choosing a different policy. But of course, you can’t experiment like that, not with real people.
In the largest genetics study ever published in a scientific journal, an international team of scientists on Monday 

Spectator sports can reflect a society’s worst inclinations by promoting pure partisanship.
Although some may be heralding the end of free speech, 2018 has been a year of far-reaching debate and discussion. In the coming months, we can anticipate attending or streaming discussions ranging from such topics as the role of race in American politics to the nature of truth, from existential threats posed by artificial intelligence to the value of religion.
What are you doing? I don’t mean what are you doing with your life, or in general, but what are you doing right now? The answer, in one respect, is simple enough: you’re reading this magazine. Obviously. From a certain economic perspective, however, you’re doing something else, something you don’t realize, something with a sneaky motive that you aren’t admitting to yourself: you are signalling. You are sending signals about the kind of person you are, or want to be. What’s that you say—you’re reading this in the bath, or on your phone in bed, or otherwise in private? Well, the same argument applies. You are acquiring the tools for a “fitness display.” This, the economist Robin Hanson and the writer-programmer Kevin Simler argue in their new book, “
The priest quickly sliced into the captive’s torso and removed his still-beating heart. That sacrifice, one among thousands performed in the sacred city of Tenochtitlan, would feed the gods and ensure the continued existence of the world.
Some time back I took a group of students to the Galerie d’Anatomie Comparée at the Jardin des Plantes. This is the famous collection of skeletons laid out according to one version of the order of nature by Georges Cuvier at the turn of the 19th century. We were looking at a display case (added long after Cuvier’s death) that consisted in four rows, one above the other, with five skulls in each row representing five developmental stages of three species of great ape –gorillas, chimpanzees, and orangutans–, plus Homo sapiens.
In 1765, Russian Empress Catherine the Great heard that the philosopher Dennis Diderot was in dire need of money. As a well-known patron of the arts, sciences, and Enlightenment philosophers, she immediately purchased his entire library. She directed him to keep it at his home and hired him as her librarian with 25 years of salary upfront.