Why speed cameras don't work as well as we think they do

Speed cameras have been put in at various intersections across the globe. Depending on who you ask, they were put in to bring in money or to reduce accidents. But here's one reason why they don't reduce accidents as much as we think they do.

In the past we've talked about how extraordinary results cause people to believe that their "luck" is going one way or another. There is The Gambler's Fallacy, which causes people to think that, if a coin has landed on one side an unusual number of times it is "due" to land on the other side on the next flip. Conversely, there's the hot hand's fallacy, which causes people to think that a person who has shot dice successfully a few times is on a hot streak and will keep shooting well. In fact, both hot streaks and cold streaks are part of the normal course of events. A coin flipped many times will have long streaks of heads or tails. A die thrown enough times will come up lucky for long streaks in a row.

In the more superstitious days of gambling, casinos would literally have "coolers." They are incarnations of good luck, who will sit near a lucky gambler and cool their hot streak. Some people say that professional coolers are just an urban legend, but there are a few gamblers who believe in amateur coolers. A person sits next to them at a table, and their luck turns. What's really happening is regression to the mean. Every hot streak is a slight blip caused by chance, a temporary break away from regular casino results. Keep flipping that coin long enough and no matter how many heads you once got in a row, you'll get an even distribution between heads and tails. Keep playing roulette long enough and no matter how much you win in the first hour, you'll lose in the long run because the odds are in the casino's favor.

What does this have to do with speed cameras? For the most part, they're placed at intersections that are "hot" and have an unusually high number of accidents. Some of those intersections are legitimately more dangerous and need the cameras, but even if all the intersections in every city were equally dangerous, some would have a strangely high number of accidents in a year. The next year it would most likely regress to the average number of accidents per year, even if nothing were done, for the same reason that a streak of red in roulette will eventually turn black. Because both the dangerous intersection and the non-dangerous intersection will most likely have a reduction in the accident rate the year after the speed camera is put in, it would take a careful analysis to distinguish which reduction was due to extra caution on the part of thrifty drivers, and which was just the result of chance.

In fact, this problem is the same for all safety measures. An unusually high number of deaths or accidents will cause people to demand something be done. Safety measures walls, speed limits, laws, overseeing agencies are put in, and the problem is reduced. But was there a real problem, or was there simply the occasional chance increase in numbers we'd expect to see in everything from average rainfall to lotto winners? And did the safety measure really help, or did things just go back to what we think of as normal?

[Via The Improbability Principle]

Read this article:

Why speed cameras don't work as well as we think they do

Noted satirist brings 'interplanetary journey' to CU

If You Go

What: Bestselling author Gary Shtyengart will read from his new memoir, "Little Failure," and engage in a conversation with CU's Sasha Senderovich

When: 7 p.m. Thursday, Feb. 20

Where: Room 235, University Memorial Center, University of Colorado-Boulder campus

Tickets: Event is open to the public. Admission is free, but RSVPs are suggested. Email cujewishstudies@colorado.edu

Info: jewishstudies.colorado.edu or email cujewishstudies@colorado.edu

Looking at comic novelist Gary Shteyngart's life and career through a science-fictional prism, he sort of has it all, at least metaphorically: futurism, "time travel," technophilia. He's even an alien. Or as close to it as you can come.

Born in the former Soviet Union in 1972, he immigrated with his Jewish parents to the United States in 1979, that pivotal year in which, some argue, the Communist world began its final collapse, courtesy of Thatcher, Reagan, Gorbachev and Pope John Paul II.

"The experience of being born in the Soviet Union and coming to America, that's kind of science fiction right there," a buoyant Shteyngart says by phone from New York. "We took an interplanetary journey. We left a world that was struggling and slowly sliding into a Third World country. America had its problems, but it looked like the future to me ... I saw a Corvette and I thought, 'This thing can fly, surely!' It looked like it could take off to the stars."

Gary Shteyngart says he wrote "Little Failure" because it's time to leave behind his "Russian American experience." (Brigitte Lacombe / Courtesy photo)

Read this article:

Noted satirist brings 'interplanetary journey' to CU

Editors Picks: The 5 Best Looks From Thursday

The last day of New York Fashion Week kicked off with strong-shouldered power-suits in white and cool gray at Ralph Lauren. Then cameJ. Mendel and Calvin Klein, with their breakdown of '90s minimalism, followed by threeASFOUR, which presented a futuristic collection heavy on crisp winter whites. But it was at Marc Jacobs where the trend of space-age futurism was sealed. Click on to see all of our favorites from the last day of NYFW.

It was unclear whether it was a utopia or dystopia that Marc Jacobsconveyed a creepy, spoken-word soundtrack by Jessica Lange signalled the latter but the clothes itself were a warm and inviting collection of modish, simplified separates in neutral tones that hinted to life on some distant space station.

Calvin Kleinpresented a collection that riffed on many themes of the '90s (other than the brand's traditional minimalism). Black combat boots with white contrast laces gave way to ladylike shapes, but the runway was dominated by grungy textures of matted mohair and raw-boucl tweed.

ThreeASFOUR did not disappoint with a spacey futuristic collection of all-white looks. Our favorites were the mille-feuille white organza dresses in stranges shapes that gave off an unusual cloud-like effect.

Gilles Mendel ofJ. Mendelisknown for his fur and evening gowns and on Thursday he presented a collection of maroons, deep greens, and grays. Our favorite was a dripping, hunter-green charmeuse dress draped in an unusual way around the bodice.

Ralph Laurenwas a wash of pale neutrals, offset with mauves and pinks. The first looks were reminiscent of early '80s power-dressing, and made all the more improbable and luxurious in winter white.

See the article here:

Editors Picks: The 5 Best Looks From Thursday

Listen: Adam From James & Evander Launches Pale Blue Dot, a New Space Disco Project

If you don't know, now you know: We are big fans of sublime East Bay electronic bummer pop outfit James & Evander. We also tend to like other musical projects that J&E's Glenn Jackson and Adam Myatt get involved in -- like the brand-new group Pale Blue Dot, a trio that specializes in what the members call "Carl Sagan disco." Think of space disco, but with a heavy dose of retro-futurism and a distinctly optimistic tint to the songs' slowly unfolding electronic layers. Pale Blue Dot's debut EP, available on Bandcamp (as well as limited edition cassette, natch), will appeal to fans of easygoing ambient electronic music in the vein of Tycho, as well as anyone coming down from a Todd Terje high:

Pale Blue Dot is pretty new, but the group has a show at Noise Pop opening for El Ten Eleven on Friday, Feb. 28, at the New Parish in Oakland. We expect good things from these three.

-- @iPORT

Read more here:

Listen: Adam From James & Evander Launches Pale Blue Dot, a New Space Disco Project

Beautygram: Alexander Wangs Future Boys

Brooklyn smelled like bleach yesterday, at least within a one-mile radius of the Duggal Greenhouse or the Navy Yards, whichever was easier for your Uber driver to put into his GPS. Several models took a "quiet" moment (as quiet as Alexander Wang's backstage can be) and "relaxed" by sitting back and having their eyebrows bleached. The theme was weird, boyish futurism. As Diane Kendal for NARS Cosmetics explained, the makeup with its monotone face and slightest hint of NARS Matte Multiple as an eye contour (out in spring 2014 inAltai, Vientiane, or Cappadoce) was "futuristic, but still boyish for Alex. "Cries of "no, weirder. Guido [Palau] wants the hair to be weirder," were a constant refrain backstage.

Guido Palau, creative director for Redken, explained the "weird" hair this way: "Alex showed me his fashion illustrations and this hair was drawn on. I wanted it to look fake and unreal, so it has a weird boyishness kind of thing. He wanted it to feel pulled together in a simple way and not too normal." Makeup was put on the hairline to make it look completely monotone. Redken's Control Addict 28 and Shine Flash were both used to mold the hair into a stiff ponytail, with a severe rectangle front that was shaped to cut sharply across the forehead. In the finale, a select group of models, such as Candice Swanepoel and Anne V, stood on a rotating platform. Their hair was sprayed black on the top and left natural on the bottom. Nails were given a coat of Alexander Wang's favorite colors, Essie's cement-colored Sand Tropez, topped with a coat of Mademoiselle and a matte topcoat in Mad About You, for the slightest feminine kick. Welcome to tomorrowland beauty.

Link:

Beautygram: Alexander Wangs Future Boys