Reeves et al in Nature:
There has never been more anxiety about the effects of our love of screens — which now bombard us with social-media updates, news (real and fake), advertising and blue-spectrum light that could disrupt our sleep. Concerns are growing about impacts on mental and physical health, education, relationships, even on politics and democracy. Just last year, the World Health Organization issued new guidelines about limiting children’s screen time; the US Congress investigated the influence of social media on political bias and voting; and California introduced a law (Assembly Bill 272) that allows schools to restrict pupils’ use of smartphones.
All the concerns expressed and actions taken, including by scientists, legislators, medical and public-health professionals and advocacy groups, are based on the assumption that digital media — in particular, social media — have powerful and invariably negative effects on human behaviour. Yet so far, it has been a challenge for researchers to demonstrate empirically what seems obvious experientially. Conversely, it has also been hard for them to demonstrate that such concerns are misplaced.
…According to a 2019 systematic review and meta-analysis3, over the past 12 years, 226 studies have examined how media use is related to psychological well-being. These studies consider mental-health problems such as anxiety, depression and thoughts of suicide, as well as degrees of loneliness, life satisfaction and social integration. The meta-analysis found almost no systematic relationship between people’s levels of exposure to digital media and their well-being. But almost all of these 226 studies used responses to interviews or questionnaires about how long people had spent on social media, say, the previous day.
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If climate change, nuclear standoffs, assault weapons, hate crimes, mass killings, Russian trolls, near-record inequality, kids locked in cages at our border, and Donald Trump in the White House don’t occasionally cause you feelings of impending doom, you’re not human.
The German word Bildung is notoriously difficult to render in English. Its most common meaning is perhaps ‘education,’ though in a more capacious sense than what happens exclusively in schools and universities. It is related to the German for ‘image’ (Bild) and the verb meaning ‘to form, shape, construct’ (bilden), and so suggests, when applied to a human being, a kind of quasi-aesthetic formation of one’s character. The complexities and ambiguities of the term provide a considerable obstacle to those interested in late eighteenth and early nineteenth-century German ethical thought, in which the ideal of Bildung plays a crucial role. In this splendid book, Jennifer Herdt has thus provided a valuable service in tracing the ways in which the concept of Bildung figures in the work of some of the most prominent thinkers of the period. With verve and impressive erudition, Herdt details how the notion of Bildung originated in the German pietist movement in the seventeenth century, and blossomed into a more (though perhaps not entirely) humanistic ideal in the subsequent work of Herder, Wilhelm von Humboldt, Schiller, Goethe, and Hegel. Though these figures differ in many crucial respects, they are united by the idea that human beings are “oriented toward a telos conceived as the harmonious development of all their various capacities . . . into a balanced, unified whole” (p. 82).
Perhaps it’s no surprise that the Great American Novel was born in 1868, only a few years after the end of the Civil War. Writing in 
I have read before with fascination about the neurology of London cab drivers. Prospective London cabbies must memorize a preposterous amount of geographic information in order to pass the rigorous cab driver exam. Researchers have put drivers in brain scanners, wondering, is there something inherently different about their brains that allows them to memorize so much? Or does the memorization change their brains? They’ve found that in London cabbies’ brains, the area associated with memory is larger. This raises an enormous question, one that medicine still hasn’t figured out: when it comes to what happens inside our skulls, what makes an individual fall into or out of some standard called “normal?”
To begin with, it was the journalism that enabled him to make a precarious living while he wrote fiction, often at night. Yet even after the global success of his 1967 novel One Hundred Years of Solitude, he continued to write articles, commentaries, and reported pieces at an impressive rate. In Spanish, his collected Obra Periodística—not including three book-length works of reportage—spans five volumes, comprising more than 3,000 pages. The Scandal of the Century is the first English-language selection from this vast body of work. Long overdue, it provides a fairly representative slice of García Márquez’s journalistic output. In the first half, we track his movements across the globe, from 1940s Colombia through a string of international assignments in the ’50s and ’60s: Rome, Paris, Budapest, Caracas, and Havana, among many others. In the latter half, we find a more rooted García Márquez, largely through the columns he wrote for El País in the ’80s from Mexico City, where he lived much of the time from the ’70s onward.
In 2004, two Amish children—siblings, in fact—died while playing. They weren’t doing anything particularly dangerous, just normal recreation, but somehow they both passed away suddenly.
Orpheus is a film that deals in the interpretation of signs and meaning. It is one of the few films that deals with that in a direct and palpable way. Others from the same period as Orpheus are detective films and film noirs. This decoding is not just subtext nor is it merely somehow inscribed in the film for us to discover using our critical faculties. It is the film’s subject matter. That’s why Orpheus was also called, when it came out, “a detective story from the beyond.”
Porter is so famous for his gifts as a lyricist that it might seem mischievous to the point of perversity to suggest that his real greatness resides in his skills as a composer. Yet how many other popular composers have had more hits with instrumental, unsung versions of their work? Artie Shaw’s version of “Begin the Beguine” is the best known, but the Dave Brubeck Quartet’s album of Porter songs, from the mid-sixties, with Paul Desmond’s peerless sax, is just as good. Though rarely overtly jazz in the Arlen-Gershwin manner, his melodies have so much mysterious inner propulsion that, asked to swing, they practically swing themselves.
It is nearly impossible to live in today’s world without having come across mention of the legendary
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Hit certain crystalline materials with a jolt of electricity and they will change shape. Squeeze them and they will jolt you right back. Scientists have used these so-called piezoelectrics for decades in ultrasound medical imaging; the materials are so sensitive that they can pick up the motion of sound waves moving through tissue. Now, researchers have come up with a simple new way to make potent transparent piezoelectrics, which could lead to improved medical imagers, invisible robots, and touch screens that power themselves.
According to the best-known telling of the tale, Hippasus, a Pythagorean of the fifth century b.c., was drowned in the sea by his fellow philosophers while on a fishing voyage. Hippasus had disclosed a secret that, if made public, risked destroying the credibility of his school’s commitment to a cosmos governed by perfect mathematical harmony: The relationship between a diagonal of a square and its side cannot be represented as a ratio — it is “irrational.” This legend sets the stage in
Be warned. If the rise of the robots comes to pass, the apocalypse may be a more squelchy affair than science fiction writers have prepared us for.