What’s a bird in the hand worth?

This makes for a strange follow-up to that post about the move to a cashless society.

The strange reason owl theft may be on the rise
But as contactless credit cards, mobile phone payments and online transactions grow, the amount of cash being carried by people and kept by retailers is decreasing. For criminals, this creates a problem. Cash is the thieves’ best friend – it has instant value, can be carried easily, is relatively untraceable and can be quickly disposed of.

So with societies around the world becoming increasingly cashless, thieves are having to find alternatives to help them make a quick, illegal profit. Here we look at some of the more unusual things that criminals have had their eye on.

Glasses wearers really are smarter after all?

I always thought so.

Wearing glasses may really mean you’re smarter, major study finds
In the study, the largest of its kind ever conducted, researchers from the University of Edinburgh analyzed cognitive and genetic data from over 300,000 people aged between 16 and 102 that had been gathered by the UK Biobank and the Charge and Cogent consortia. Their analysis found “significant genetic overlap between general cognitive function, reaction time, and many health variables including eyesight, hypertension, and longevity”. Specifically, people who were more intelligent were almost 30% more likely to have genes which might indicate they’d need to wear glasses.

The usual caveat about correlation not implying causation applies, obviously. Just make sure you wear them for your day in court.

Forget genetics though – there’s plenty of empirical evidence that wearing glasses, whether you need them or not, makes people think you are more intelligent. A number of studies have found people who wear glasses are perceived as smarter, more dependable, industrious and honest. Which is why a lot of defense lawyers get their clients to wear glasses at trial. As lawyer Harvey Slovis explained to New York magazine: “Glasses soften their appearance so that they don’t look capable of committing a crime. I’ve tried cases where there’s been a tremendous amount of evidence, but my client wore glasses and got acquitted. The glasses create a kind of unspoken nerd defense.”

I like how the webpage then shows a link to this article, though.

Why does it seem like serial killers all wear the same glasses?
The list of serial killers who wore glasses is long and bloody, from Dahmer to BTK to Harold Shipman and his professorial frames; even the Zodiac Killer, never caught, wears a thick-rimmed pair in a police sketch. The aesthetic of “serial killer glasses” is so pervasive that it pops up everywhere from Urban Dictionary (“Eyeglasses with heavy or severe frames that live somewhere between fashionable and creepy”) to TV Tropes (where “a guy who is cold, emotionless … or even a soulless monster” is given glasses “to quickly tip off the audience to his personality”), and countless Tumblr posts in between.

Weaponized classical music?

An interesting but depressing essay from the LA Review of Books about the uses classical music is being put to these days.

Whereas Japanese train stations are attempting to move on undesirables by playing ugly sounds only the young can hear, in other parts of the world it’s the wonderfully uplifting (to me, anyway) music of Bach, Vivaldi and Mozart that’s being used instead.

Bach at the Burger King
The inspiration for the Burger King plan, a CMCBD official commented, came from the London Underground. In 2005, the metro system started playing orchestral soundtracks in 65 tube stations as part of a scheme to deter “anti-social” behavior, after the surprising success of a 2003 pilot program. The pilot’s remarkable results — seeing train robberies fall 33 percent, verbal assaults on staff drop 25 percent, and vandalism decrease 37 percent after just 18 months of classical music — caught the eye of the global law-enforcement community. Thus, an international phenomenon was born. Since then, weaponized classical music has spread throughout England and the world: police units across the planet now deploy the string quartet as the latest addition to their crime-fighting arsenal, recruiting Officer Johann Sebastian as the newest member of the force.

[…]

It is crucial to remember that the tactic does not aim to stop or even necessarily reduce crime — but to relocate it. Moreover, such mercenary measures most often target minor infractions like vandalism and loitering — crimes that damage property, not people, and usually the property of the powerful. “[B]usiness and government leaders,” Lily Hirsch observes in Music in American Crime Prevention and Punishment, “are seizing on classical music not as a positive moralizing force, but as a marker of space.” In a strange mutation, classical music devolves from a “universal language of mankind” reminding all people of their common humanity into a sonic border fence protecting privileged areas from common crowds, telling the plebes in auditory code that “you’re not welcome here.”

So our metaphor for music’s power must change from panacea to punishment, from unifying to separating force, as its purpose slips from aesthetic or spiritual ennoblement into economic relocation. Mozart has traded in a career as doctor for the soul to become an eviction agent for the poor.

And as if that’s not bad enough, the essay goes on to examine how classical music is being further reduced by advertising and our ‘sound-bite culture’.

Extended musical forms allow the listener to appreciate the subtle interplay of motif and movement — and it is exactly this nuanced appreciation that quote-clipping nullifies. There is a two-part mechanism to extract and transplant a tune: detach a 15-second theme from a 45-minute symphony (where it functioned as an integrated part in an organic whole) and attach it to an alien subject. Uproot “O Fortuna” from a Latin cantata, so it can be grafted onto a Domino’s Super Bowl spot. These transplants produce jarring mashups that trigger another insidious side effect: by always quoting works out of the context the public forgets that they have a context. The spectator forgets that “O Fortuna” could be glorious in its original context because it’s absurd hyping Domino’s Pizza. In sum, in the remix media ecosystem, famous compositions degenerate from serious music into decorative sound, applied like wallpaper to lay a poignant surface over banal intentions.