More proof of re-touching time from Photoshop Disasters, Lindsay Lohan’s cover and photo spread in German GQ featured a migrating belly button.

Where we might expect a belly button to be:

A surprisingly elevated belly button:

No belly button at all!

Gotta love our re-touching tag.

Chris Marshal and Captain Crab sent along this gem from The Second City Network:

Borrowed from Evolving Thoughts, via Pharyngula.

More on Disney: media consolidation and Tinkerbell, the real Johnny Appleseed, fallen princesses, modernizing the fairy tale, pickaninny slaves in Fantasia? yes, racist Disney characters, infantilizing adult women, gendered Disney t-shirts for kids, Deconstructing Disney princesses, are the new Disney princesses feminist?, race and gender in Princess and the Frog, socializing girls into marriage, and…

…did you know that the very first political tv commercial was made by Disney?  I like Ike!

In New Orleans sidewalk corners are adorned with delightful blue-and-white tiles, originally dating from the 1870s, telling you the name of the street you are crossing:

As I stepped over some of these, it occurred to met that they told a story about city planning.  Unlike the street signs in most cities (including New Orleans) that are attached to poles and displayed high, these can’t be seen by drivers.  These are designed for pedestrians, and perhaps bikers, using sidewalks.  They reflect a time when planners were designing the city for people on foot.

We recently introduced the idea of “astroturfing.” Coined to contrast with the idea of a “grassroots” movement (led and supported by “regular” people), an astroturf movement is one that looks like it’s grassroots, but is actually driven and funded by a corporation. But is it always easy to distinguish between astroturf and grass? F.T. Garcia sent in this confounding example.

The Wall Street Journal reports that some labor unions are hiring non-union workers to “staff” picket lines, usually at or near minimum wage.  In this picture, for example, employees-for-the-day protest on behalf of union workers for a union they do not belong to:

It turns out, protesting is costly.  Workers have to take time off of work, travel to the location of the protest, pay for parking, make sure someone is taking care of their kids, etc.  Plus it’s often hot and involves a lot of yelling and stomping. Accordingly, some unions decide that it’s easier and cheaper to hire protesters than it is to mobilize their own workers.

So, you tell me, astroturf or grassroots?

I may not have found the love of my life on OkCupid, but I did fall in love… with their data analysis!

Their latest super-fun post by Christan Rudder, sent along by Rob Walker, Sara P. and an Anonymous Reader, looks at the lies people tell in their profiles.  They do this not by catching any given individual in a lie, but by comparing data on their users to data on the general U.S. population.  (It’s unclear what percentage of OkCupid users are American and they don’t specify if they are only looking at U.S. users, so I can’t verify that this is a fair comparison but… if they do restrict the analysis to Americans then…)  Since they have 1.51 million active users, we should expect that any distributions should more or less overlap.

But they don’t…

1.  Men lie about their height, reporting, on average, that they are about two inches taller than they are.  In the figure below, the solid purple line represents the U.S. population, the dashed line represents the reported height of OkCupid users:

2. Women lie about their height too.  Here’s the same figure for women (but with a dark purple implied best fit line; you can just ignore it):

3. People exaggerate their income, on average inflating it by about 20 percent (for this data, they controlled for regional differences in income).  The figure below, however, shows that the amount of exaggeration is related to age.  Both men (blue) and women (red) increasingly inflate their income up until around age 40.  After that, they just keep inflating it at about the same rate.

Rudder quips:

A woman may earn 76 cents on the dollar for the same work as a man, but she can fabricate, like, 85 cents no problem.

Oh and, yeah, there’s a reason why the men are lying (no word from Rudder on the women). Income is highly correlated with how many messages a man gets (red = fewer messages; green = more):

4. It also turns out that not all of the “recent pics” are actually recent. This is especially true for pictures rated “hot.” Rudder says that “hot” photos are more than twice as likely as “average” photos to be over three years old (12% and 5% respectively).

And the older a person is, the more likely they are to upload an older photo:

Fun!

Also from OkCupid: the racial politics of dating, what women want, how attractiveness matters, age, gender, and the shape of the dating pool, and older women want more sex.

Anna M., Naomi B., Amanda C., Ben Z., and SpeZek sent in a new PETA ad campaign, the latest in a twisted story of objectification metaphor.

Feminists in the ’70s protested the objectification of women by metaphorically linking meat and female bodies (e.g., “we should not be treating women like pieces of meat”).  Meat is meat, so the argument went, but women are human beings and should be treated as such.

In mocking response, in 1978 Larry Flynt put a woman being chewed up by a meat grinder on the cover of Hustler magazine. We will treat women like meat if we want, was the message.  And we did, and we do, seemingly endlessly.

Forty years later, Pamela Anderson submits to being symbolically carved up for butchering by PETA in order to metaphorically link meat and female bodies again.  But this time, in an ironic reversal, it’s designed to condemn the way we treat animals, not the way we treat women.

And, forty years later, feminists are still saying “Please, can we not do the women/meat thing?”

So Canada denies PETA a permit for the launching of this new ad campaign.  An official explains: “…it goes against all principles public organizations are fighting for in the everlasting battle of equality between men and women” (source).  What a nice thing to say, feminists think.

But Anderson fights feminism with feminism:

How sad that a woman would be banned from using her own body in a political protest over the suffering of cows and chickens… In some parts of the world, women are forced to cover their whole bodies with burqas—is that next?

Yes, Pamela, I’m sure that’s next.

But I digress.

So PETA and Anderson must think that Canadians super-super-respect women like totally and never-never-objectify them to the degree that saying that animals are like women will suddenly inspire horror at the prospect of using animals for food?  Or is it that they think men will see the image and be like “oooh I’d really like to rub up against that rump” and then suddenly find cows too sexy to eat?  Or they don’t give a shit about women and are willing to use whatever attention-getting tactic they can to save animals from going under the knife (including using the body of a woman that has, um, gone under the knife)?

I submit this for discussion because I just don’t know.

More from PETA: women packaged like meat, and in cages, women who love animals get naked (men wear clothes), the banned superbowl ad, and a collection of various PETA advertising using (mostly women’s) nudity. See also my post on leftist balkanization, or the way that leftist social movements tend to undermine each other.

If you’re interested further, you may want to read Carol Adams’ The Sexual Politics of Meat and The Pornography of Meat.

Dmitriy T.M. sent along a Slate slideshow chock full of interesting information on cigarettes and health warnings internationally. I found this particular tidbit most compelling:

As of June 22, 2010, U.S. cigarette manufacturers are no longer allowed to use the words “light,” “low,” and “mild” to describe their product because it gives the false impression that these cigarettes are better for you than others (source). In place of the words, however, manufacturers are using light and dark colors.  Between 2006 and 2009, for example, Salem cigarettes phased out their packages labeled with words (top) and moved to color based differentiation (bottom):

Marlboro has issued a “cheat sheet,” showing the move from descriptors to colors:

This is a very strategic move on the part of cigarette manufacturers, who know that the colors give consumers the same impression as the words.  At least one study has shown as much:

Scientists at Roswell Park Cancer Institute in Buffalo, N.Y., studied 197 smokers and 200 nonsmokers who were shown two mock cigarette packs, one light blue and one dark blue.

They were then asked, “Which one would you buy if you were trying to reduce the risks to your health?” Eighty-seven percent of those surveyed selected the lighter-shaded pack, while just 8 percent chose the darker-shaded pack.

The New York City Health Department is trying to combat this new strategy with commercials aimed at exposing it:

Christina W. alerted us to the availability of the first episode of John Berger’s 1972 BBC documentary, Ways of Seeing.  Berger was is a artist, author, and art critic.  In the first episode of the documentary (in four parts below) he asks how the ease of reproduction made possible by the camera (both still and moving) has changed the meaning of art.  The episode is a bit slow (for my taste), but has some interesting ideas.

First he argues that the ability to reproduce works of art in books, on posters, postcards, and television screens means that art is experienced in a decontextualized way (or in the context of, say, your living room). No longer something we pilgrimage to, to consume in a very specific context, they come to us.  This, he argues, has multiplied a work of art’s possible meanings.

As an aside, he makes an interesting argument that the obsession with authenticity — “usually linked with cash value,” he says, “but also invoked in the name of culture and civilization” — is actually “a substitute for what paintings lost when the camera made them reproducible.”

He then talks about how our experience of art is mediated by media (whether it be an art book or a discussion of art in a television program), so that our reaction to it is inevitably shaped by its re-interpretation.  The art critic, for example, tells us what to think about a piece of art. (No doubt, his call for skepticism certainly can be applied to Sociological Images.)

But reproduction and the multiplication of meaning also makes it easier to make connections and have personalized reactions.

(Btw, there is a pretty awesome moment at 4:38 of the third installment.)

Start watching Episode Two here.