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Trust your instincts. Don't think - blink.
An art expert sees a ten-million-dollar sculpture and in a flash realises it is fake. A police officer reads a life-or-death situation in the heat of the moment. A speed dater suddenly clicks with the right person...
Blink is all about those moments when we 'know' something without really knowing why, and how this ability is one of the most powerful we possess.
EXTRACT 1
In September of 1983, an art dealer by the name of Gianfranco Becchina approached the J. Paul Getty Museum in California. He had in his possession, he said, a marble statue dating from the sixth century BC. It was what is known as a kouros - a sculpture of a nude male youth standing with his left leg forward and his arms at his sides. There are only about two hundred kouroi in existence, and most have been recovered badly damaged or in fragments from grave sites or archeological digs. But this one was almost perfectly preserved. It stood close to seven feet tall. It had a kind of light-colored glow that set it apart from other ancient works. It was an extraordinary find. Becchina's asking price was just under $10 million.
The Getty moved cautiously. It took the kouros on loan and began a thorough investigation.
…
A geologist from the University of California named Stanley Margolis came to the museum and spent two days examining the surface of the statue with a high-resolution stereomicroscope. He then removed a core sample measuring one centimeter in diameter and two centimeters in length from just below the right knee and analyzed it using an electron microscope, electron microprobe, mass spectrometry, X-ray diffraction, and X-ray fluorescence. The statue was made of dolomite marble from the ancient Cape Vathy quarry on the island of Thasos, Margolis concluded, and the surface of the statue was covered in a thin layer of calcite - which was significant, Margolis told the Getty, because dolomite can turn into calcite only over the course of hundreds, if not thousands, of years. In other words, the statue was old. It wasn't some contemporary fake.
…
The kouros, however, had a problem. It didn't look right. The first to point this out was an Italian art historian named Federico Zeri, who served on the Getty's board of trustees. When Zeri was taken down to the museum's restoration studio to see the kouros in December of 1983, he found himself staring at the sculpture's fingernails. In a way he couldn't immediately articulate, they seemed wrong to him. Evelyn Harrison was next. She was one of the world's foremost experts on Greek sculpture, and she was in Los Angeles visiting the Getty just before the museum finalized the deal with Becchina. "Arthur Houghton, who was then the curator, took us down to see it," Harrison remembers. "He just swished a cloth off the top of it and said, 'Well, it isn't ours yet, but it will be in, a couple of weeks.' And I said, 'I'm sorry to hear that.'" What did Harrison see? She didn't know. In that very first moment, when Houghton swished off the cloth, all Harrison had was a hunch, an instinctive sense that something was amiss.
…
In the first two seconds of looking - in a single glance - they were able to understand more about the essence of the statue than the team at the Getty was able to understand after fourteen months.
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EXTRACT 2
On a brisk spring evening not long ago, two dozen men and women gathered in the back room of a Manhattan bar to engage in a peculiar ritual known as speed-dating. They were all young professionals in their twenties, a smattering of Wall Street types and medical students and schoolteachers, as well as four women who came in a group from the nearby headquarters of Anne Klein Jewelry. The women were all in red or black sweaters, and jeans or dark-colored pants. The men, with one or two exceptions, were all wearing the Manhattan work uniform of a dark blue shirt and black slacks. At the beginning they mingled awkwardly, clutching their drinks, and then the coordinator of the evening, a tall, striking woman named Kailynn, called the group to order.
Each man would have, she said, six minutes of conversation with each woman. The women would sit for the duration of the evening against the wall on the long, low couches that ringed the room, and the men would rotate from woman to woman, moving to the next woman whenever Kailynn rang a bell …
…
Everyone who sat down at one of those tables was trying to answer a very simple question: Do I want to see this person again? And to answer that, we don't need an entire evening. We really need only a few minutes. Velma, for instance, one of the four Anne Klein women, said that she picked none of the men and that she made up her mind about each of them right away. "They lost me at hello," she said, rolling her eyes. Ron, who worked as a financial analyst at an investment bank, picked two of the women, one of whom he settled on after about a minute and a half of conversation and one of whom, Lillian at table two, he decided on the instant he sat down across from her. "Her tongue was pierced," he said, admiringly. "You come to a place like this and you expect a bunch of lawyers. But she was a whole different story." Lillian liked Ron, too. "You know why?" she asked. "He's from Louisiana. I loved the accent. And I dropped my pen, just to see what he would do, and he picked it up right away." As it turned out, lots of the women there liked Ron the instant they met him, and lots of the men liked Lillian the instant they met her. Both of them had a kind of contagious, winning spark. "You know, girls are really smart," Jon, a medical student in a blue suit, said at the end of the evening. "They know in the first minute, Do I like this guy, can I take him home to my parents, or is he just a wham-bam kind of jerk?" Jon is quite right, except it isn't just girls who are smart. When it comes to thin-slicing potential dates, pretty much everyone is smart.
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