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...more social as we selected for those traits. That essentially skewed the results, and the absence of fossil ancestors from the data meant there was no information about whether the brains of the earliest dogs grew or shrank or did both over time. Finarelli and Flynn acknowledge that the modern canine brain has grown along with its sociability, but they do not know which is the cause and which is the effect - or if the two things are linked in any meaningful...

Author: /time Magazine | Title: Social Animals: Not Necessarily Brainier | 5/28/2009 | See Source »

...Futurism," at London's Tate Modern from June 12 to Sept. 20, shows what happened when the Italians collided with French, Russian, British and American painters. After a visit to Paris in 1911, they borrowed the Cubists' fragmented forms and variable viewpoints, while the Cubists became more louche and vivid under Italian influence. (See 10 things to do in London...

Author: /time Magazine | Title: The Past of Futurism at the Tate | 5/28/2009 | See Source »

...Putin's reference on Sunday to "Little Russia" - a term used during the Russian Empire to describe parts of modern-day Ukraine that came under czarist rule - has raised hackles in Ukraine, where many consider it demeaning and offensive...

Author: /time Magazine | Title: Putin to the West: Hands off Ukraine | 5/25/2009 | See Source »

Coca leaves, of course, have a long record in modern soda-pop history. Most prominently, there was Coca-Cola whose original 19th century formula used unaltered coca leaves. In the early 1900s the company said it would only use "spent," or decocainized leaves, though the company refuses to confirm whether leaves in any form are still used...

Author: /time Magazine | Title: Red Bull's New Cola: A Kick from Cocaine? | 5/25/2009 | See Source »

...start of the modern era was particularly good for Italian and American cinema: Italian films took home the award four times straight, from 1966 to 1972, and twice again in 1977-78. Italian-American heavyweights Martin Scorsese (Taxi Driver, 1976) and Francis Ford Coppola (Apocalypse Now, 1979) took the glory for the U.S. and even Bob Fosse joined in at the start of the 1980s with All That Jazz. But critics would snipe that truly great films (and directors) were being overlooked: there would be no Cannes love for Rainer Werner Fassbinder (Ali: Fear Eats the Soul),Werner Herzog (Every...

Author: /time Magazine | Title: The Palme d'Or | 5/24/2009 | See Source »

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