...Have peered me over while I chewed
Back-numbers of Florentine gazettes
(Knowst not, my Lucia, that he
Who has caparisoned a nun dies
With his twankydillo at the ready? . . .)
But in all of this I got no culture till
I read a little pamphlet on my thighs
Entitled: “Friction as a Social Process.”
What?
Look, my Anopheles,
See how the floor of Heav’n is thick
Inlaid with patines of etcetera . . .
Sting them, sting them, my Anopheles.

Excerpt from "Culture as Exhibit"

There are many natural scientists, and especially physicists, who continue to reject the notion that the disciplines concerned with social and cultural criticism can have anything to contribute, except perhaps peripherally, to their research. Still less are they receptive to the idea that the very foundations of their worldview must be revised or rebuilt in the light of such criticism. Rather, they cling to the dogma imposed by the long post-Enlightenment hegemony over the Western intellectual outlook, which can be summarized briefly as follows: that there exists an external world, whose properties are independent of any individual human being and indeed of humanity as a whole; that these properties are encoded in ``eternal'' physical laws; and that human beings can obtain reliable, albeit imperfect and tentative, knowledge of these laws by hewing to the ``objective'' procedures and epistemological strictures prescribed by the (so-called) scientific method.

My Kid Could Paint That

Summary

Marla's father, an amateur painter, describes how Marla watches him paint, wants to help, and is given her own canvas and supplies. A friend asks to hang Marla's pictures in his coffee shop and is surprised when people ask to buy them. A local newspaper reporter, Elizabeth Cohen, writes a piece about Marla, after first asking her parents if they really want her to do so. Cohen's story is picked up by the New York Times, and Marla becomes a media celebrity, with appearances on television and shows at galleries in New York and Los Angeles. Sales of her work earn over $300,000.
The tone of the documentary turns with a scene of Marla's parents watching a February 2005 report by CBS News' 60 Minutes II that questions whether Marla painted the works attributed to her. 60 Minutes enlisted the help of Ellen Winner, a child psychologist who studies cognition in the arts and gifted children. Seeing video images of some of the paintings attributed to Marla, Winner initially reacts positively, stating: "It's absolutely beautiful. You could slip it into the Museum of Modern Art and absolutely get away with it." The 60 Minutes reporter, Charlie Rose, then shows Winner what he describes as "50 minutes of videotape shot by us and by Marla's parents." After seeing this footage, Winner states: "This is eye-opening to me, to see her actually painting." Rose asks her how this is "eye-opening." Winner responds: "Because she's not doing anything that a normal child wouldn't do. She's just kind of slowly pushing the paint around."
Rose then states that after "our interview," the Olmsteads agreed to permit CBS crews to set-up a hidden camera in their home to tape their daughter painting a single piece in five hours over the course of a month. When Winner reviewed the tapes, the psychologist said, "I saw no evidence that she was a child prodigy in painting. I saw a normal, charming, adorable child painting the way preschool children paint, except that she had a coach that kept her going." Winner also indicated that the painting created before CBS's hidden camera looked "less polished than some of Marla's previous works." Asked to explain the difference, Winner states: "I can only speculate. I don't see Marla as having made, or at least completed, the more polished looking paintings, because they look like a different painter. Either somebody else painted them start to finish, or somebody else doctored them up. Or, Marla just miraculously paints in a completely different way than we see on her home video."[1]
Marla's parents film her creating a second work, Ocean, but Bar-Lev is not fully convinced. A couple are shown considering the purchase of Ocean. The woman complains that Ocean does not look like the other works by Marla. They buy it anyway. In a slide show, Bar-Lev compares Ocean with the 60 Minutes piece and then with several other works attributed to Marla. Viewers are left to make their own judgments.
The film also raises questions about the nature of art, especially abstract expressionism, the media's habit of building up the subject of a story and then tearing the subject down in its insatiable need to fill space; and the nature of the documentary process.

http://en.wikipedia.org/wiki/My_Kid_Could_Paint_That

Dihydrogen monoxide:

is called "hydroxyl acid", the substance is the major component of acid rain.
contributes to the "greenhouse effect".
may cause severe burns.
is fatal if inhaled.
contributes to the erosion of our natural landscape.
accelerates corrosion and rusting of many metals.
may cause electrical failures and decreased effectiveness of automobile brakes.
has been found in excised tumors of terminal cancer patients.

Despite the danger, dihydrogen monoxide is often used:

as an industrial solvent and coolant.
in nuclear power plants.
in the production of Styrofoam.
as a fire retardant.
in many forms of cruel animal research.
in the distribution of pesticides. Even after washing, produce remains contaminated by this chemical.
as an additive in certain "junk-foods" and other food products.