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because it has opened up a world of possibility for a group that had been locked out of opportunity. It also matters because by fixing the first impression at the heart of the audition — by judging purely on the basis of ability — orchestras now hire better musicians, and better musicians mean better music. And how did we get better music? Not by rethinking the entire classical music enterprise or building new concert halls or pumping in millions of new dollars, but by paying attention to the tiniest detail, the first two seconds of the audition.

When Julie Landsman auditioned for the role of principal French horn at the Met, the screens had just gone up in the practice hall. At the time, there were no women in the brass section of the orchestra, because everyone “knew” that women could not play the horn as well as men. But Landsman came and sat down and played — and she played well. “I knew in my last round that I had won before they told me,” she says. “It was because of the way I performed the last piece. I held on to the last high C for a very long time, just to leave no doubt in their minds. And they started to laugh, because it was above and beyond the call of duty.” But when they declared her the winner and she stepped out from behind the screen, there was a gasp. It wasn’t just that she was a woman, and female horn players were rare, as had been the case with Conant. And it wasn’t just that bold, extended high C, which was the kind of macho sound that they expected from a man only. It was because they knew her. Landsman had played for the Met before as a substitute. Until they listened to her with just their ears, however, they had no idea she was so good. When the screen created a pure Blink moment, a small miracle happened, the kind of small miracle that is always possible when we take charge of the first two seconds: they saw her for who she truly was.

Notes

INTRODUCTION. THE STATUE THAT DIDN’T LOOK RIGHT

Margolis published his findings in a triumphant article in Scientific American: Stanley V. Margolis, “Authenticating Ancient Marble Sculpture,” Scientific American 260, no. 6 (June 1989): 104-110.

The kouros story has been told in a number of places. The best account is by Thomas Hoving, in chapter 18 of False Impressions: The Hunt for Big Time Art Fakes (London: Andre Deutsch, 1996). The accounts of the art experts who saw the kouros in Athens are collected in The Getty Kouros Colloquium: Athens, 25-27 May 1992 (Malibu: J. Paul Getty Museum and Athens: Nicholas P. Goulandris Foundation, Museum of Cycladic Art, 1993). See also Michael Kimmelman, “Absolutely Real? Absolutely Fake?” New York Times, August 4, 1991; Marion True, “A Kouros at the Getty Museum,” Burlington Magazine 119, no. 1006 (January 1987): 3-11; George Ortiz, Connoisseurship and Antiquity: Small Bronze Sculpture from the Ancient World (Malibu: J. Paul Getty Museum, 1990), 275–278; and Robert Steven Bianchi, “Saga of the Getty Kouros,” Archaeology 47, no. 3 (May/June 1994): 22–25.

The gambling experiment with the red and blue decks is described in Antoine Bechara, Hanna Damasio, Daniel Tranel, and Antonio R. Damasio, “Deciding Advantageously Before Knowing the Advantageous Strategy,” Science 275 (February 1997): 1293–1295. This experiment is actually a wonderful way into a variety of fascinating topics. For more, see Antonio Damasio’s Descartes’ Error (New York: HarperCollins, 1994), 212.

The ideas behind “fast and frugal” can be found in Gerd Gigerenzer, Peter M. Todd, and the ABC Research Group, Simple Heuristics That Make Us Smart (New York: Oxford University Press, 1999).

The person who has thought extensively about the adaptive unconscious and has written the most accessible account of the “computer” inside our mind is the psychologist Timothy Wilson. I am greatly indebted to his wonderful book Strangers to Ourselves: Discovering the Adaptive Unconscious (Cambridge, Mass.: Harvard University Press, 2002). Wilson also discusses, at some length, the Iowa gambling experiment.

On Ambady’s research on professors, see Nahni Ambady