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We live in a time of information abundance, which far too many of us see as information overload. With the sum total of human knowledge, past and present, at our fingertips, we’re faced with a crisis of attention: which ideas should we engage with, and why? Big Think is an evolving roadmap to the best thinking on the planet — the ideas that can help you think flexibly and act decisively in a multivariate world.

A word about Big Ideas and Themes — The architecture of Big Think

Big ideas are lenses for envisioning the future. Every article and video on bigthink.com and on our learning platforms is based on an emerging “big idea” that is significant, widely relevant, and actionable. We’re sifting the noise for the questions and insights that have the power to change all of our lives, for decades to come. For example, reverse-engineering is a big idea in that the concept is increasingly useful across multiple disciplines, from education to nanotechnology.

Themes are the seven broad umbrellas under which we organize the hundreds of big ideas that populate Big Think. They include New World Order, Earth and Beyond, 21st Century Living, Going Mental, Extreme Biology, Power and Influence, and Inventing the Future.

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A 'Real' Charmer

February 21, 2010, 6:43 AM
The Independent interviews quirky American film director Wes Anderson and finds his quirk and charm to be put on as by an actor in one of his films. "Wes Anderson wants us to think he's weird. He would probably be very happy to find himself staring out of the page under a dictionary definition of 'weird'. His life and career are all about his own studied brand of peculiarity, and he's not about to change that now. Which is why, while the IoS interviews him, he is eating. Well, he is doing Wes Anderson's performance of eating. Spinach soup; a separate plate of spinach; a plate of bread and a bowl of baby potatoes are brought at his request. He takes one arch forkful of each, chewing each morsel in slow motion, before pushing his tray aside and announcing he's 'quite full'. It is an odd vignette in the series of strange moments that comprise an encounter with one of Hollywood's oddest auteurs. He enters the room, swamped in a furry-hooded green parker, shuffling along with his eyes locked on the floor. 'Oh hello, I'm Wes,' he says softly, one of America's most celebrated film directors playing the role of a shy schoolboy."
 

A 'Real' Charmer

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