The book begins with the story of the Getty kouros, which was a statue brought to the J. Paul Getty Museum in California. It was thought by many experts to be legitimate, but when others first looked at it, their initial responses were skeptical. For example, George Despinis, head of the Acropolis Museum in Athens, said "Anyone who has ever seen a sculpture coming out of the ground could tell that that thing has never been in the ground". Gradually, the argument for the legitimacy of the kouros' provenance fell apart. The letters tracing its history turned out to be fakes, referencing postal codes and bank accounts that did not exist until after the letters were supposedly written. However, experts to this day are unsure whether the kouros is authentic or not. The museum notes that "anomalies of the Getty kouros may be due more to our limited knowledge of Greek sculpture in this period rather than to mistakes on the part of a forger."[4]
John Gottman is a researcher on marital relationships whose work is explored in Blink. After analyzing a normal conversation between a husband and wife for an hour, Gottman can predict whether that couple will be married in 15 years with 95% accuracy. If he analyzes them for 15 minutes, his accuracy is around 90%. But if he analyses them for only three minutes, he can still predict with high accuracy who will get divorced and who will make it. This is one example of when "thin slicing" works.[5]
The studies of Paul Ekman, a psychologist who created the Facial Action Coding System (FACS), indicates that a lot of "thin slicing" can be done within seconds by unconsciously analyzing a person's fleeting look called a microexpression. Ekman claims that the face is a rich source of what is going on inside our mind and although many facial expressions can be made voluntarily, our faces are also dictated by an involuntary system that automatically expresses our emotions.[6] One example of how movements of the face result in emotions is shown in an experiment from Paul Ekman, Wallace V. Friesen and Robert Levenson. They asked their test subjects to remember negative or burdening experiences. Another group was asked only to make faces that resembled negative feelings like anger, sadness and the like. Both groups were connected to sensors which measured their physiological reactions (pulse and body temperature). Interestingly the latter group showed the same physical reactions as the first group.[7]
In a study done by Fritz Strack and his colleagues, students had to watch a movie. One group did so with a pen between their teeth while the other group had to hold the pen with their lips. The first group interpreted the movie funnier than the second, because the muscles responsible for smiling were used and then made the brain release hormones related to being happy.[7] These studies show that facial expressions are not only the result of emotions but can also be their cause.[7]
The book finishes with the case of sexism suffered by Abbie Conant, when she was the trombone soloist of the Munich Philharmonic, and its director, Sergiu Celibidache, relegated her to minor positions, made her receive a lower wage than her male colleagues and looked down on her from 1980 to 1993, when she finally left the orchestra. Gladwell said Conant's story was "my inspiration" for the book.[8]
