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18 Complicated Scientific Ideas Explained Simply

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In 2012, Randall Munroe of the webcomic xkcd published a description of the Saturn V rocket using only the 1000 most frequent words in English. Under this restriction, the rocket was called "up-goer five," the command module was "people box," and the liquid hydrogen feed line was "thing that lets in cold wet air to burn." The comic inspired Theo Anderson, a geneticist who supports accessible science education, to build a text editor that would force the user to write with only the 1000 most frequent words. He then invited scientists to describe what they do using the editor.

Geologists Anne Jefferson and Chris Rowan created the Tumblr "Ten Hundred Words of Science" to collect examples of scientific text rendered into up-goer five speak. From the site, here are examples of up-goer simplified science from 18 different fields.

1. Olfactory biology

"I watch boy flies try to do it with girl flies to see if they really like to do it, or they like boys flies more. This happens when they can’t smell something the girl flies have that makes them want to do it with girl flies or something the boy flies have that makes them not want to do it with boy flies." Jennifer Wang, research technician in a lab studying fruit fly olfactory behavior

2. Web development

"Computers are used to share pictures, words, and movies (usually of cats) with other computers. The computers need to show the cats on boxes with tiny lights in them, but don’t know how. People like me tell the computer many words so that it knows how to change the tiny lights to look like a cat. We try to make the lights change very fast so that you don’t have to wait for your cats. Some days the lights are all wrong, and we have to tell the computer more words to make them look like cats again." Brandon Jones, Google Chrome GPU Team

3. Political economy

"I try to see if bad people with power let bad people in business do bad things for easy money. Also I try to see if this hurts good people and their money." Warren Durrett, political economist

4. Paleomagnetism

"Deep inside our world is a huge ball of hot stuff. This is the stuff that turns the black rock we use to find our way when we go far away. I used to study tiny bits of the same black rock, inside real rocks, to know the pull of the deep hot under world ball long, long ago—before people, or animals, or trees, or almost any living things were here. I studied bits of the black rock, like the pieces we use to find our way, inside other rocks that formed in fire under the ground. The hot under ground ball gave these black rock pieces a direction long ago, and they did not forget." Peter Selkin, paleo/rock-magnetist

5. Biological Anthropology

"I study old human stuff. We look at the old stuff to see when and where humans came from and why we look and act so funny instead of acting like other animals." Meagan Sobel, Biological Anthropology student

6. Environmental science

"I look at how water from the sky reaches the ground when there are trees in the way. Especially trees that are burned or dying. I try to figure out if the trees change: (1) how much water gets to the ground, and (2) what happens to the water when it's on the ground. I also try to figure out what will happen to this water in the next tens of years. This is important for things growing on the ground and living in the water, and for the water we use and drink." Sarah Boon, environmental scientist

7. Particle physics

"Where I work, we slam together small things to break them into even smaller things until we have the smallest things possible. This is how we know what matter is made of." Paul Sorenson, Physicist studying Quark-Gluon Plasma with the Relativistic Heavy Ion Collider at Brookhaven National Laboratory

8. Planetary science

"I tell space buses on a big, cold red rock in space to take pictures of the rocks and the sky. I look at the small rocks that go around the big red rock. The small rocks tell us about what it is like inside the big red rock. I like to look for ice water in the sky. I also take pictures of the Sun to learn about how much ice water and other stuff is in the sky. My favorite thing to do with the space buses is look at the stars in the night sky to look for ice water in the sky." Keri Bean, planetary scientist

9. Linguistics

"I look at how numbers play with other words when we speak. I think a lot about the way we mark words (like marking 'eats' different from 'eat'), and what that tells us about what they mean, and what other words around them mean (I show that it tells a lot). I also think a lot about whether the things we say allow more than one meaning. Like if someone says 'twenty boys ate a hot dog,' if it means they all shared one hot dog or if it means each one ate a hot dog, or if it means both." Sarah Ouwayda, Linguist (syntax, semantics, Arabic, Semitic languages)

10. Information security

"There are bad people who want to make the things you see on the computer go away. Sometimes it is for money and sometimes it is a game. The simple way of making computer stuff go away is like shouting very loud so no one can hear. This makes it so you can not see the things on the computer you want until they stop shouting. I try to make them be quiet." Christian Ternus, information security researcher

11. Cognitive science

"If we want to know how the brain makes memory and uses memory, we need to make people do things like learn stuff and then remember it. I want to know how we imagine things, and how memory makes this possible. So, I ask people to imagine things, and see how good they are with different words. Then, we look at their brains at work using a big noise box that takes pictures inside the head. We also ask people who are missing a piece of brain to also do stuff to see what they can and can’t do. Then we’ll know what different brain pieces do, and one day put all the pieces together to understand the mind." Kristoffer Romero, PhD student at the University of Toronto

12. Astrophysics

"So imagine this. You are holding a bright thing and pushed by a friend so hard for so long that it seems to her that you are nearly as fast as the light leaving the bright thing. To her, the light is moving just a little bit faster than you, so only getting away from you slowly. But to you, the light is still moving away from you faster than anything else can ever move. You and your friend don’t agree on how quickly you and the light are moving away from each other. What’s going on?" Euan

13. Aerospace engineering

"My job is fun! I make a car that will go in space and meet with a house that is in space. People and things will be able to ride in my space car. I work on the keep cool and breathe part of the space car." Nicole Resweber

14. Circadian rhythm biology

"Little flying animals can tell time of day. Little flying animals can tell time of year. It’s all in their heads." Bora Zivkovic

15. Immunology

"Our body doesn’t like to have visits from other things that don’t look like friends. When they come inside us, our cells look at them with many different types of eyes. Different eyes see different figures and forms, so they can find out what they are and what to do with them. They are not usual eyes, they work like little hands too and grab things. I am studying one of these eyes that sees weird stuff, like those things that grow on your food when it goes off. But this eye doesn’t do it alone. And that makes it exciting. It has some other friends helping; the more eyes the better! All-in-one they catch the stranger and they eat it. Once eaten, they show the left-over little pieces to their cell-friends. So that they know what kind of bad guys to fight. They also call more friends in if there is a lot of it to eat. This is how our body keep us free from being sick and stay happy, isn’t it amazing?” @Analobpas, talking about C-type lectins

16. Sea ice physics

"When it is cold the Big Water becomes ice. In the long night the Big Water near the place of the long night which has no big white animal becomes ice more quickly than it does in the place of the long night which does have big white animals. I felt the ice and the big water under the ice with better senses than people have, and now know why the ice that grows from the big water sometimes grows with ice leaves on its bottom." Alex Gough, PhD Thesis, University of Otago

17. Number theory

"People ask how many of a kind of thing there are; the thing might be a kind of number, or something like a number. I, together with others, work out how many of those things there are by understanding the way some kinds of spaces look; these spaces are, in a way, the same as the things about which we ask, 'how many,' but in another way they are different. This allows us to use different ideas when we think about them, and answer some questions about numbers which could not be answered before."
Jordan Ellenberg, number theorist. (Blog, professional homepage.)

18. The scientific method itself

"Now, you have your two things that you think will help the sick people get better. Give one to the people in group one, and the other to the people in group two. If you can, it’s a really good idea to make sure that the sick people don’t know which group they are in, or what they are having to make them get better. The same is true for the people working on the problem. This is for a good reason: we have found that people get better faster when they think they have been given something that works well to make them feel better, even if they haven’t really.

"Now: you know what is wrong with your sick people, so you know how long it will take for them to get better. Wait a while, and then look and see if people get better faster (or more better!) in group one, or group two. This will tell you which of the things that you did helped people the most.

"Looking at a big number of sick people will help you to be sure that you have got the right answer. If you have friends who have tried the same idea, you can add their numbers to your numbers and get an even clearer idea of what works best. Don’t let anyone hide their numbers!" Ben Goldacre, a doctor/researcher who writes about problems in science

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11 Delicious Facts About Good Burger
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It takes just 14 words—“Welcome to Good Burger, home of the Good Burger, can I take your order?”—to make a ‘90s kid swoon with nostalgia. Good Burger, the beloved Nickelodeon comedy about a couple of daft teens who try to save their fast food joint from corporate greed, was born out of a Kenan Thompson/Kel Mitchell sketch on All That in the mid-'90s. A year later, due to its popularity, it found itself being turned into its own live-action movie, with Brian Robbins at the helm. Today—20 years after its original release—it’s a silly cult hit that’s indelibly a part of Generation Y. Revisit the classic with these facts about Good Burger.

1. KEL MITCHELL AUDITIONED FOR ALL THAT WITH HIS CHARACTER FROM GOOD BURGER.

In an interview with The A.V. Club, Kel Mitchell explained how he came up with Ed. “I did a ‘dude’ voice, and that’s where Ed [from Good Burger] was kind of born,” he said. “I did that there at the audition. They were just cracking up.”

2. ED’S FIRST APPEARANCE WAS IN THE JOSH SERVER SKETCH, “DREAM REMOTE.”

Essentially, Good Burger was born out of a random character decision made during one little sketch. “It was where [Josh] could have a remote control that could control his entire life,” Mitchell told The A.V. Club. “So, he could fast-forward through his sister nagging, he could make pizza come really quickly. I was the pizza guy. I came to the door, and the pizza guy didn’t really have a voice, so I was like, ‘Mleh, here’s your pizza! That was the first time we saw Ed, and so they created Good Burger.”

3. ED’S LOOK WAS INSPIRED BY MILLI VANILLI.

When prepping for Ed’s debut on All That, Kel Mitchell spotted what would become the character’s signature look. “I remember I went to the hair room, and I saw these braids. It was like these early Brandy ’90s Milli Vanilli braids. I put those on, and it came to life,” he told The A.V. Club.

4. THOUSANDS OF POUNDS OF MEAT STUNK UP THE SET.

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For a movie all about burgers, you better believe the production had a ton of them sitting around on set. "At one point, there was over 1750 pounds of meat on the set," Kenan Thompson told The Morning Call. "Some of it was old meat. It was so nasty. Some of the burgers would stay out there for a long time. I felt sorry for the extras who had to eat them with cold, clammy fries. But on screen, those burgers look good."

5. ELMER’S GLUE WAS USED TO KEEP THE FOOD LOOKING FRESH.

In order to keep the food looking good on screen, the production resorted to old, albeit inedible, tricks. "It was so gross, because when I scoop out ice cream in the movie, it was really vegetable shortening with food coloring,” Mitchell told The Morning Call. “When I poured milk on cereal, we used Elmer's Glue so the flakes wouldn't get soggy."

6. KENAN AND KEL CONTRIBUTED TO THE GOOD BURGER SOUNDTRACK.

Good Burger was their baby, so of course Kenan and Kel took the reins on more than just the creation of the characters, according to a 1997 interview with The Morning Call. Specifically, Kel partnered up with Less Than Jake on the hit song, “We’re All Dudes.” Because of this, the soundtrack actually charted at 101 on the Billboard 200.

7. GOOD BURGER WAS LINDA CARDELLINI’S FEATURE FILM DEBUT.

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In an interview with The A.V. Club, the Freaks and Geeks star reminisced about her breakout role in the Nickelodeon movie. “That’s my sister’s favorite role that I’ve ever played! It was so much fun. It was my first film, and it was a fantastic part,” Cardellini said. “I got to play crazy! Nobody knew who I was, and I got the part from the table read.”

8. WRITER DAN SCHNEIDER INTENDED TO GIVE UP ACTING WHEN HE WROTE GOOD BURGER, BUT HE PLAYED MR. BAILY IN THE FILM.

On creating Good Burger, writer/producer/actor Dan Schneider explained to The A.V. Club: “I’ve always wanted to write, and after I was doing All That and Kenan & Kel, I got the opportunity to do another TV show—I was still going on auditions. I realized that if I took that show, I was going to have to give up All That and Kenan & Kel. I really didn’t want to do [that] ... I passed on the acting role, and that was really the turning point, I guess, in 1996, when I was like, ‘You know what? I’m going to put my acting career on the back burner, and I’m going to be a writer-producer.’ Then I wrote the movie Good Burger.” However, if you watch the movie, you’ll notice Schneider starring as Mr. Baily.

9. THE ORIGINAL TRAILER FEATURED A SCENE THAT DIDN’T MAKE THE MOVIE.

For reasons that remain a mystery, a scene where a Good Burger customer orders “a good shake” from Ed (Mitchell), only to receive an actual bodily shaking from the Good Burger employee, didn’t make the final cut. It did, however, feature for a few seconds in the theatrical trailer.

10. KENAN AND KEL REUNITED FOR A GOOD BURGER SKETCH ON THE TONIGHT SHOW.

In 2015, Kenan and Kel reunited for a Good Burger sketch with Jimmy Fallon. This time, however, Fallon played Ed’s co-worker, while Kenan came in as a construction worker as a surprise. "We've been wanting to get back together," Mitchell told E! News. "It was just about the right project ... it felt like home."

11. THE FIRST LINE IN THE FILM IS THE SAME AS THE LAST LINE.

Appropriately, the line is, “Welcome to Good Burger, home of the Good Burger, can I take your order?”—just watch the movie.

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10 Ways Art Museums Protect Their Masterpieces
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Each year, in America alone, millions of people visit art museums—bringing with them millions of opportunities to damage the masterpieces they’re there to see.  Whether intentional or not, caused by humans, forces of nature, or simply the passage of time, there’s always the chance that the world’s greatest masterpieces can be lost or damaged when put on view for all the world to see. Here is just a taste of the many ways art museums around the globe protect their priceless treasures.

1. FLOOD WALLS

When plans were announced for the multimillion dollar relocation and construction of New York City's Whitney Museum of American Art, courtesy of renowned architect Renzo Piano, mastery in design was to be expected. But then Superstorm Sandy hit in 2012, and while in the midst of construction, Piano was compelled to innovate even further. When the construction site was flooded with more than 5 million gallons of water, the building plans changed, adding a state-of-the-art flood wall to fend off future disasters and protect its works from potential water damage from flooding of the nearby Hudson River. Now, the museum boasts a fortification comprised of a 500-foot-long mobile wall and a 14-foot-tall by 27-foot-long flood door meant to withstand up to nearly 7000 pounds of impact, keeping the museum water-tight up to 16.5 feet (seven feet higher than before Sandy). With climate change making intense storms more common on the East Coast, these precautions make sure the Whitney’s masterpieces—which include more than 18,000 works in their permanent collection alone—stay high and dry against the forces of Mother Nature.

2. PROJECTIONS

In 1962, five murals by American master Mark Rothko were given to Harvard University as a gift from the artist himself. (Rothko refused to accept any payment, saying, “This is the first time I have been able to deliver commissioned work that I am satisfied with.”) The murals were to be hung in a dining hall, which underwent extensive preparation in order to fit Rothko’s specifications. New lighting was installed, the oak-paneled walls were covered in green material, and, in a retrospectively regrettable move, Rothko insisted that the public be allowed as much access to the art as possible. Somewhat predictably for a college dining hall, it didn't take long for the paintings to fall into disrepair: The curtains in the sunny hall were rarely closed, so the paintings’ colors faded rapidly. They were scratched and dented by years of rearranging furniture. College students spilled food and drinks on the paintings, sometimes even tagging them with small bits of graffiti, leading university officials to put the murals into storage in 1979. The damage would have been bad enough, but attempts to restore the paintings brought their own hurdles. Conventional restoration methods were a no-go due to Rothko’s trademark use of natural materials like eggs and animal glue mixed with pigment. Whereas conventional restoration would add layers of removable paint and varnish—removable so that they can be stripped and replaced with newer, better methods as they come along—any attempts to add paint to the Rothkos would be irreversible, as another one of the artist’s trademarks was to never use varnish. And so, restoration efforts followed the lead of Raymond Lafontaine, whose study "Seeing Through a Yellow Varnish: A Compensating Illumination System" described the use of slide projectors to illuminate paint in such a way as to offset discoloration in old paintings. Using both an undamaged Rothko and some restored 1960s photographs, MIT Media Lab associate professor Ramesh Raskar created an algorithm that allowed him to find the perfect color match to be projected digitally onto the paintings, pixel by pixel, while simultaneously restoring the murals to their former glory yet leaving them untouched.

3. SPECIAL GLASS

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Glass plays a huge role in protecting pieces of art: Not only does it ward off finger smudges from prying hands, but it also can protect pieces from harmful UV rays, which can cause fading in paintings as well as on furniture, sculptures, or manuscripts. While you may think protective glass lives only directly in front of a piece of art, a museum’s first line of defense against UV rays is often in its windows, which are treated with a special UV-blocking coating—though many museums opt to avoid having windows near their art at all. “The only windows we have near exhibition areas are in the clerestory overlooking the lobby, and those windows are UV-filtered,” Amie Geremia of the Frist Center for the Visual Arts in Nashville told Glass Magazine, adding, “You can see damage after a single day in the sun.”

4. VIBRATION SENSORS

Vibration sensors can detect even the lightest pressure from curious fingers. Once triggered, the sensor sends a message to a control room, alerting security where the damage is taking place, along with a picture of the art in danger. Such sensors are often placed in several areas around a piece and can be customized so that the alarm sounds after a single touch, or after several vibrations in a row. “This is particularly useful in a museum when a large number of people are around because frequent vibrations are coming from the floor or small children," Andy Moon, technical director of Advanced Perimeter Systems told a&s Magazine. "You do not want to set off an alarm when that happens." Vibration sensors, also known as seismic sensors, are usually attached to a painting’s frame—unless the frame is worth more than the painting itself, as is the case more often than you’d think. In these cases, “What the museum does is to make a false wall by putting some wood in front of the normal wall," Moon explained. "The painting is hung on the wall. Then, around the edge, we put a sensor cable. If someone touches the painting, it signals an alarm.”

5. INTERACTIVE EXHIBITS

For gallery guests who are just itching for physical contact with art, some museums provide a separate outlet. For example, the Bowes Museum in England's Barnard Castle offers an interactive exhibit where guests are actually encouraged to touch various materials and pieces. This allows guests the hands-on experience they crave, and provides a lesson in art’s fragility—provided, of course, that they remember that lesson after stepping into the more prohibitive exhibits. Sometimes interactive exhibits have the opposite of the intended effect: When the National Museum of Wales opened its Centre Court in 1993, it eschewed barriers entirely, intending to allow as much physical access to the art as possible. Alas, within just a few days, one of the largest pieces in the collection—Michael Andrews's The Cathedral, The Southern Faces/Uluru (Ayers Rock)—was so spotted with children’s fingerprints that it had to be completely sealed off from the public.

6. LED LIGHTS

When Vincent van Gogh painted his famous Sunflowers series in 1888/1889, viewers were awed by the bright yellow flowers produced by the artist's use of the pigment lead chromate, also known as chrome yellow. However, it was soon widely discovered that chrome yellow darkens significantly under light exposure—to such an extent that artists soon stopped painting with that particular pigment altogether. Fast forward a century or so, and art museums are still working to restore van Gogh's Sunflowers paintings to their original vibrancy. In general, the way a painting is lit can have a huge impact on the preservation of its colors. For example, UV lights are pretty much bad all-around for paintings. For years, museums have combated UV damage by putting filters over their regular incandescent bulbs so that the UV rays can’t reach paintings. In recent years, though, the push toward more energy-efficient LED lights has had a bonus benefit for the art it illuminates: LED lights give off hardly any UV rays at all, so the art is more protected from light damage. The only problem is that LED lights don’t light a painting as prettily as their incandescent predecessors, so the LEDs have to be specially engineered to give off the same type of light, just without the harmful UV rays. Basically, every single-color LED light comes with a layer of phosphors, or a collection of metals that absorb that color of light. So, by tinkering with the phosphors on LED lights, museum conservators are able to adjust the light’s tint to more closely resemble that of the old incandescent bulbs. While LEDs greatly reduce the damage done to paintings, enough of any lighting can be harmful to older art, which is why more and more museums are pushing toward dimmer galleries—allowing you to take in the art in front of you, but not so much the museum-goer next to you.

7. INVENTORY NUMBERS

Many museums keep an intricate catalog of inventory numbers that logs and identifies each piece in a collection, from its name, history, and location, all the way down to the thread count of its canvas. Not only does this aid in the organization of pieces, but it also helps track down art in the event of a burglary, according to Steven R. Keller, security consultant and former executive director of protection services at The Art Institute of Chicago. "In the event of a theft, you'll sometimes get 20 different calls from people claiming to have the piece and willing to return it for a price, “ Keller told security news site CSO. "In one case, we leaked the wrong numbers on purpose to sort out the phony extortionists from the real one. Finally, someone called and said, 'You've got the wrong serial number.' We knew we had our guy." 

8. DISPLAYING THE DAMAGE

Once damage has been done to a piece of art, it can sometimes be difficult to raise the funds necessary for restoration. The Leopold Museum in Vienna, Austria, found an unconventional solution to this problem when it created a collection exclusively for the display of damaged art. The collection, called "Hidden Treasures," debuted in early 2016 and provided a home for nearly 200 pieces of art that would have otherwise remained locked up in storage. “When I took on my role [in October 2015], one of the first things I did was to visit the museum’s storage,” museum director Hans-Peter Wipplinger told the AFP. "I discovered a number of works worthy of being exhibited, but that were too damaged.” The exhibition allowed visitors access to works like Robert Russ’s 1885 “Mill with Evening Sky,” a little worse for the wear with some tears in its canvas, though still of significant artistic and historical value. "Other museums often ask to borrow them, but they first have to be restored to survive the journey,” Wipplinger explained. The cost to restore such pieces is often thousands of dollars, so the Leopold displayed its damaged art with the hope that some especially generous art lovers would want to help pay the cost to repair them, and would receive an identifying plaque next to the piece of art they helped to restore as a thank you for their generosity. But "Hidden Treasures" was more than a fundraising effort. "It’s also about showing the public all the work and technical know-how required to present a piece in mint condition," added Wipplinger.

9. MOTION DETECTION

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“Thieves usually don’t slither past detectors during museum heists,” explains Museum Security: The Art of Alarms, dispelling the popular action movie myth. “They pay their six bucks, walk in as members of the public, stay behind after closing by hiding behind the draperies or under a bench, and smash the window to get out.” Many art heists might be fairly low-tech, but that doesn’t mean the protection against them has to be. Ever absentmindedly gotten a little too close to a painting and heard a loud chirping noise go off? That was a motion detector beamed directly over a painting. Such detection systems are also beamed over entrances and exits—even sneaky ones like windows and air ducts—to alert security personnel to after-hours intruders. But what about those aforementioned stragglers, who intentionally lag behind a group in the hopes of avoiding detection from sensors? That’s where saturation motion detection comes in. Rather than only watching spots in a room associated with ingress and egress, saturation motion detectors do exactly that: saturate a room with motion detection. This helps detect any thief or vandal trying to sidestep “dead zones,” or areas not covered by traditional detection systems, allowing security to keep tabs on anyone who steps into an art exhibit at any given time.

10. KID BANS

In January 2014, a photo surfaced of children climbing on Donald Judd's “stacks” sculptures at London’s Tate Modern as their parents looked on. Not to be outdone, in August 2015, a young boy tripped and tore a hole through a 17th-century Paolo Porpora painting called “Flowers” on display at an art exhibition in Taiwan, estimated to be worth about $1.5 million. In the case of the former incident, the stealthily-captured photo was tweeted by another patron alongside the caption: “Holy crap. Horrible kids, horrible parents.” “I was shocked," another passerby reported to the London Evening Standard. "I said to the parents I didn’t think their kids should be playing on a $10 million artwork. The woman turned around and told me I didn’t know anything about kids and said she was sorry if I ever had any." Such incidents shed light onto what many museum patrons think of the presence of children at museums that may be well above their sophistication level. In a 2014 point-counterpoint with The Telegraph, critic Ivan Hewitt blamed a misinterpreted Victorian ideal as the culprit for rampant children in gallery spaces: “Many people seriously hold the view that making children conform to the adult quiet of museums is a form of child abuse, which should be subverted at every turn ... The irony is that at the root of this solicitousness lies a very Victorian idea, which is that children must be initiated into the glories of high culture, and not kept away. The problem is that this good idea has become confused with a very bad one. This is the notion that high culture must be brought down to the kids’ level.” Dea Birkett, creative director of Kids in Museums, a London-based organization dedicated to making museums family-friendly places, countered that the condemnation of children in museums would be a condemnation of art in general—at least, the reaction that it’s meant to incite in humans, big and small. "It’s not really children that any of these finger-waggers want to ban. It's joy," Birkett said. "For it isn’t contempt (as Hewett claims) that early exposure to great art breeds, but passion. We should be thrilled when even young children respond so enthusiastically to a Rubens or a Richard Long. Isn’t this exactly what we want?”

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