2025-12-24 08:00:00


Some activities have smooth progress bars: rowing, knitting, cycling, climbing, bodybuilding, etc.
For such pastimes, investing a unit of effort reaps a proportional unit of progress. Linear incrementalism is a sound strategy when success is linear. To win at rowing, row harder/better/faster/stronger than your competition.
Golf is not so smooth. Yes, each round is a state-dependent game of error-correction (i.e. Zeno's Paradox). But golf swings are coarse actions -- few swings per game, with no recourse for fine adjustment between swings.
A golf game is 65-75 swings over ~5 hours. A rowing race is 5-10 minutes of continuous effort and micro-adjustments.
Golf-like processes are characterized by mulligans. "Do-overs" are powerful when success is chaotic, i.e. sensitive to initial conditions. Baby steps are futile when your golf ball is already at the bottom of the pond. Linear incrementalism cannot resolve fatal flaws.
Failure awaits those who confuse rowing and golfing. Golf cannot be played in tidy 1-yard increments. Brute force isn't an option -- don't attempt a one-man war of attrition.
Programs like NaNoWriMo mislead aspiring writers. "Write every day" is great advice, but the first 90% of writing a book is often not writing -- it's thinking/planning/researching. There are other golf clubs in that bag. Many writers only start "writing" once their ball is very nearly in the hole.
To use a different analogy: daily habits are powerful, but effort alone cannot transmute lead into gold. To make a golden necklace, you must start with gold. Each phase of mining/appraising/smelting/shaping gold demands unique strategies.
Many creative processes (e.g. writing, entrepreneurship, sculpting, programming) are more like golfing than rowing; they are more chaotic than smooth.
But unlike golf, creative work has no fairways, no greens, no carts, no flags. There are real tigers in those woods. You've got one life and no map.
Luckily, nobody is keeping score. Take all the mulligans you need.
2025-12-23 08:00:00
tl;dr: "Affordance" and "signifier" sow confusion. Say "enabler" and "clue" instead.
Don Norman popularized "affordance" in The Design of Everyday Things. He borrowed it from James J. Gibson's wonderful work in ecological psychology, but the colloquial meaning has diverged from the original definition:
The design community loved the concept and affordances soon propagated into the instruction and writing about design. I soon found mention of the term everywhere. Alas, the term became used in ways that had nothing to do with the original.
-- Don Norman, The Design of Everyday Things (revised edition, 2013)
To most, an "affordance" is something that invites interaction. Even designers say "logout affordance" when they mean "logout button".
Norman rejected this use of the word:
No, that is not an affordance. That is a way of communicating where the touch should be. You are communicating where to do the touching: the affordance of touching exists on the entire screen: you are trying to signify where the touch should take place. That's not the same thing as saying what action is possible.
Here is Norman's original definition:
The term affordance refers to the relationship between a physical object and a person. An affordance is a relationship between the properties of an object and the capabilities of the agent that determine just how the object could possibly be used. A chair affords ('is for') support and, therefore, affords sitting. Most chairs can also be carried by a single person (they afford lifting), but some can only be lifted by a strong person or by a team of people. If young or relatively weak people cannot lift a chair, then for these people, the chair does not have that affordance, it does not afford lifting.
-- Don Norman, Design of Everyday Things
In other words, affordances are freedoms available to agents.
But a button's appearance may not match what it affords. Invisible logout buttons may afford logout; visible logout buttons may not afford logout.
Not only did my explanation fail to satisfy the design community, but I myself was unhappy. Eventually I gave up: designers needed a word to describe what they were doing, so they chose affordance. What alternative did they have?
-- Don Norman, The Design of Everyday Things (revised edition, 2013)
Norman solved this dilemma by coining "signifiers". Affordances describe what is possible; signifiers communicate potential action.
Now we have two incompatible meanings of "affordance". Purists prefer the original definition, while everybody else uses the colloquial definition.
It's time to deprecate "affordances" and "signifiers". Say "enablers" and "clues" instead:
| My Term | Norman's Term | Definition |
|---|---|---|
| enabler | affordance | what an agent can actually do with an object |
| clue | signifier | perceivable hint about what's possible |
| disabler | anti-affordance | what prevents an agent from acting |
| anti-clue | perceivable hint that misleads about what's possible |
Caution: when describing people, "enablers" and "disablers" are pejorative terms.
People already understand these words; they work without lectures on ecological psychology and design theory.
Claude Shannon didn't invent the word "information" -- he plucked it from a dictionary.
"Affordance" is an anti-clue -- it signals meaning it cannot deliver. Definitions only work when everybody shares similar understanding (or agrees that mutual understanding is tenuous).
Will "enabler" and "clue" catch on? Probably not. But at least they mean what they say.
2025-12-19 08:00:00
2025-12-18 08:00:00
Attention is your scarcest resource; considerate creators respect your attention. Good titles help internet curators efficiently route information to relevant aggregators. Good titles permit readers to quickly estimate the relative value of articles, essays, videos, etc. Everybody wins when titles are accurate.
This is how I title my essays.
These concepts also apply to book covers, video thumbnails, etc.
Notice the title. It's not "How I Choose Titles for My Essays". No, no, you wouldn't have clicked on that title.
Here's the dilemma: I want you to read this, but I mustn't produce (or promote) misleading clickbait.
Don't ask me why I want you to read this. My blog earns negative dollars and dubious street credit. I am clearly an insane person.
A proper title (1) spreads information to those who would benefit (2) without wasting anybody's time.
"Clickbait" is a relation between title, article, and reader.
Titling is a binary classifier. We can model this relationship in a confusion matrix:
| [total pop] | likes title | dislikes title |
|---|---|---|
| likes content | true positive | false negative |
| dislikes content | false positive | true negative |
We can also model clickbait as an epidemic. Let's call it "influenca". Here's one way to estimate a title's basic reproduction number ("R-value"):
R₀ = β / γ
(shares + comments) / (viewers × exposed users)
1 / D, where D is days until interest fadesIf R₀ > 1, the title spreads virally; if R₀ < 1, it fizzles out.
I wish I had more time to develop how these mathematical models interact, but alas. The rats.
In this framework, a good title (1) transmits its content to as many people as possible (2) without incurring false classifications.
Some folks try to maximize reproduction regardless of false classifications. These people are scoundrels. They poison our communication channels with spam. Ethical titles accurately represent content that reduces suffering.
Titles spread three ways:
Good titles are pointers to a latent space. The latent space is vast, but titles act as coordinates in the collective consciousness. Say "shape rotator" to someone who knows, and you invoke the whole essay.
Titular pointers follow different lifecycles than their referents:
These pointers themselves become data; headlines often propagate without regard for the quality of their referents. This machinery creates perverse incentives.
The Buzzfeed-esque clickbait/thumbnail metagame continues to tempt creators/publishers toward short-sighted sensationalist headlines. It's tiresome -- titles can be so fun, so wonderful, so powerful.
If you convert humanity's precious attention into pennies, I will forever resent you for polluting this wonderful world.
But yes, you can totally prey on human bias. Enjoy that race-to-the-bottom, you fool.
We eventually grow immune to yesteryear's influenca. Some of these headlines might evoke a visceral autoimmune response:
If you publish media in this world, I invite you to reject parasitism. Choose symbiosis. It is not a choice you make just once -- it is something you choose again and again, whenever you share information.
If you browse my archive of essays, you'll discover that I am indeed a repeat clickbait offender. It's flagrant hypocrisy. Self-awareness does not excuse my past or future behavior. In this essay, I'm processing my shame here and trying to transmute it into real human flourishing. This is my best; it's all I can offer.
Some patterns that work:
Additional tips:
To find an essay's true name is to find its core narrative thread. I often know an essay's headline before its first sentence has been conceived; it's natural when I'm trying to explain a singular claim or coinable phrase. But sometimes I "finish" an essay, start choosing a title, and then realize I actually need to cut 60% of the damn thing.
This is how this essay's title evolved:
Here I tried to select an ethical headline that would (1) pique your interest (2) without wasting your time. I hope I delivered the titular goods. Thank you for reading.
2025-12-09 08:00:00
| 🐒🦴➡️🛸🖥️🔴🚀🌌👁️⭐👶✨ | 2001: A Space Odyssey :: Arthur C. Clarke |
| 👨🏻🌾🌾💰📈📉👩🏻❤️💪😤💔💀🌾 | The Good Earth :: Pearl S. Buck |
| 👽🛸💥🏚️☢️🔦🎒💰💀😱🙏🟡 | Roadside Picnic :: Arkady & Boris Strugatsky |
| ☯️💧🌊🔄💭❓💪=💧🔄❌✅♾️ | Tao Te Ching :: Lao Tzu |
| 🌶️👨🏻🎺📜✍️😤🍩👩🏻🦳😩🎭🤡🌀 | A Confederacy of Dunces :: John Kennedy Toole |
| 👦🏻🧒🎮⚔️🧠💪📈👽😱😭💀 | Ender's Game :: Orson Scott Card |
| 🎮🎲🃏♟️🔍🧠🔀⚖️🤫👥🎨⚙️ | Characteristics of Games :: Elias, Garfield, Gutschera |
| 👩🏻💔🍷😵👨🏻🔬⚛️⏰🌍🔄❤️❓ | Version Control :: Dexter Palmer |
| 👨🏻💼😴🐛🦗😱👨👩👧🤢😢🍎💀 | Metamorphosis :: Franz Kafka |
| 🏠📏❓🌀👨🏻📖😵📐🚪∞💀🏚️ | House of Leaves :: Mark Z. Danielewski |
| ⛵🌊🏴☠️💰🏝️🥶💀💀😈📜⚖️❓ | The Wager :: David Grann |
| 🔢🎨🎵🧠🔁🐜🔁🧠💭♾️❓🪞 | Gödel, Escher, Bach :: Douglas Hofstadter |
| 🇨🇳🏭⚡🚄📈📈🇺🇸😰🏭📉🔧❓ | Breakneck :: Dan Wang |
| 🍞📈😵🥗📉😊✅🍽️🩸📉😊✅ | Glucose Revolution :: Jessie Inchauspe |
| 👁️🏛️😤🔄⏰👤❤️💔🧠🗑️😱❌ | 1984 :: George Orwell |
| ⚡🔌🏭🏠💡☀️💨🔋📊😰🔄❓ | The Grid :: Gretchen Bakke |
| 👩🏻🔴⛓️🏛️✝️😱👶❓😤🤫🏃♀️❓ | The Handmaid's Tale :: Margaret Atwood |
| 👧🏻🐻❄️🔮😈⚔️👶🌌🚪👨🏻❤️💪 | The Golden Compass :: Philip Pullman |
| 👩🏻🏠🧱⏰🌍💥⚔️😶✍️📖🚪🔓 | A General Theory of Oblivion :: José Eduardo Agualusa |
| 🍎💻🎨😤💪📈📱🎵👨🏻🤒💀🌍 | Steve Jobs :: Walter Isaacson |
| 🎯❌🚶♂️🔀💡💎🧬🤖🎨🔬🗺️❌ | Why Greatness Cannot Be Planned :: Kenneth O. Stanley & Joel Lehman |
| 🚀👨🏻😵❓☀️📉👽🤝🧬⚗️🌍✅ | Project Hail Mary :: Andy Weir |
| 🏰👑💰⚔️🕷️🧠😱👥📈💔😱⚔️ | The Dragon's Path :: Daniel Abraham |
| 👨🏻💍👰😈🏴☠️⛓️💎🔓💰⚔️😤✅ | The Count of Monte Cristo :: Alexandre Dumas |
| 🏜️💧🏗️🇺🇸💰💪🌾🏙️📉😰❓😰 | Cadillac Desert :: Marc Reisner |
| 👨🏻🧠😢🌍👽🐷🗣️💀📖✝️🤝🔍 | Speaker for the Dead :: Orson Scott Card |
| 🎩✨🇬🇧📚👨🏻🆚👨🏻😈🪞🧚💀🌲 | Jonathan Strange & Mr Norrell :: Susanna Clarke |
| ✝️⏰👶🔙🌲⚔️👨🏻📖💔🤖🕰️😱 | Hyperion :: Dan Simmons |
| 🌵☀️🔫💀💀💀👨🦲😈⚔️🩸🌙💀 | Blood Meridian :: Cormac McCarthy |
| 👴🏻😈👨🏻❤️👨🏻🧠👨🏻✝️💰🔪❓⚖️ | The Brothers Karamazov :: Fyodor Dostoevsky |
| 🐭🧠📈👨🏻💉📖❤️💔🧠📉😢🐭 | Flowers for Algernon :: Daniel Keyes |
| 🤖☀️❤️👧🏻🤒🙏😢💔🏚️🌅👋😢 | Klara and the Sun :: Kazuo Ishiguro |
| 🦠😷💀🔬🔍📈💀💀👨🔬💪📉😢 | Everything is Tuberculosis :: John Green |
| 🛢️🌾💰🌍🤝😈💼🚢📈📉🎲💵 | The World for Sale :: Blas & Farchy |
| 🔬⚛️🔧🌍⚙️🏗️✅😤👥❌🔄❓ | Radical Abundance :: K. Eric Drexler |
| 👨🏻✍️📖👧🏻👦🏻🤼♂️🏠💔😂😢💀😭 | The World According to Garp :: John Irving |
| 🤡🎭⚔️💀🌍💥⏰🔙🏃♂️😈😊💀 | Tyll :: Daniel Kehlmann |
| 🏰🤵🏻📋😐👩🏻❤️💔🇬🇧😈🚗😢💭 | The Remains of the Day :: Kazuo Ishiguro |
| 💀😂😵🔄⏰⚔️✈️🏥😵😂💀🔄 | Catch-22 :: Joseph Heller |
| ⏰🚪👨🏻🔙👩🏻❤️🏛️😈💥🏃💔❓ | Ministry of Time :: Kaliane Bradley |
| 👧🏻👦🏻👧🏻🏫🎨❤️💔😢💉🫀😢💀 | Never Let Me Go :: Kazuo Ishiguro |
| 🌾🏔️🌍⚔️🦠🐄🌽➡️💪👑📖❓ | Guns, Germs, and Steel :: Jared Diamond |
| 🏠🌳✨🧩🔁🧩🏘️👥❤️✅🏗️♾️ | The Timeless Way of Building :: Christopher Alexander |
| 👶👶👶📊🧬👨👩👧😤📉😊📈✅😊 | Selfish Reasons to Have More Kids :: Bryan Caplan |
| 🎾🧠🧠😤💭🧠😤❌🧠✅💪🎯 | The Inner Game of Tennis :: W. Timothy Gallwey |
| 🧠😰⏰🧘♂️🌊🔄😌🎯❌💀🆓😌 | The Wisdom of Insecurity :: Alan Watts |
| 🔧🏭👤🏠🖨️✅💻🔧🖨️🏠👤✅ | Fab :: Neil Gershenfeld |
| 🐜🧠🌍💻🔬🏙️🧬⚙️🔄❓❓❓ | Complexity: A Guided Tour :: Melanie Mitchell |
| 👩🏻📱🤖😱📈🌍👀👑😤💔💥💀 | An Absolutely Remarkable Thing :: Hank Green |
| 👩🏻🕵️♀️🔍🌾🏕️😈👴🏻📜🧠⏰💥❓ | Creation Lake :: Rachel Kushner |
| 💰📈💥📉😭🌷🚂💻🔄⏰♾️😭 | Devil Take the Hindmost :: Edward Chancellor |
| 🧠💡💻⚛️💥😵👨🏻🎲🌍😱💭❓ | The MANIAC :: Benjamín Labatut |
| 🚀👽🎵✝️👥😊➡️😱💀💔😢❓ | The Sparrow :: Mary Doria Russell |
| 🔤📐🎨👁️🏗️📖📰🖥️🧠😊✅🔤 | Thinking with Type :: Ellen Lupton |
| 🌾🏔️🇺🇸👨👩👦👦❤️💔😈👦👦📖✝️🆓 | East of Eden :: John Steinbeck |
| 👦🏻🤒😢➡️💪😤👨🏻🤠🏔️📈🏛️👑 | The Rise of Theodore Roosevelt :: Edmund Morris |
| 👦🏻🏚️💔💊😢😤💪📉📈🏔️🌅❤️ | Demon Copperhead :: Barbara Kingsolver |
| 🔥🌍💧💰🏚️👩🏿✨🌱🚶♀️🤝📖✅ | Parable of the Sower :: Octavia Butler |
| 👸🏻💔🏰⛪👩👩👧👧🙏✝️💪🌳📜✍️ | Matrix :: Lauren Groff |
| 🏜️🌊💧🔮👨🏻⚔️🐛👑🌍⛏️💰🧪 | Dune :: Frank Herbert |
| 👦🏻⚔️🧙♂️🐜🐦🦅👑❤️💔😈💀😢 | The Once and Future King :: T.H. White |
| 🎪✨🖤🤍⚔️👩🏻🎩👨🏻🎩❤️😍♾️ | The Night Circus :: Erin Morgenstern |
| 👨🏿💔😢😤💪🏃♂️🏋️🧠📢💪💪💪 | Can't Hurt Me :: David Goggins |
| 💀❓😵🌍🔄⏰📉😱👥🥫💭❓ | Ubik :: Philip K. Dick |
| 👨🏻👨🏻🐰🏡💭👨🏻💪🧠❌🤝💔😢 | Of Mice and Men :: John Steinbeck |
| 🦎🌊🔍💰📈📈📈👥😰🌍💥😱 | War with the Newts :: Karel Čapek |
| 🐋⚓👨🏻🦿😤🌊⛵🔱💀📖😵🐋 | Moby-Dick :: Herman Melville |
| 👨🏻📰🎬📈😈💪🔪👑💰😐💔😢 | What Makes Sammy Run? :: Budd Schulberg |
| 🌍🚀👥😴🕷️🧬📈🧠🏙️🤝🌌❤️ | Children of Time :: Adrian Tchaikovsky |
| 📚🏛️🔮😈👨🏻➡️👼📖💀😱😈💭 | The Library at Mt. Char :: Scott Hawkins |
| 🎉💰👨🏻👁️💚🌊👩🏻💛🚗💀😢💚 | The Great Gatsby :: F. Scott Fitzgerald |
| ⏰🔀💥🏙️🔥👽💚👨🏻😐💀🔄😐 | Slaughterhouse-Five :: Kurt Vonnegut |
| 👨🏻🙏🚶♂️💰👩🏻😤🌊💭🧘♂️😌☯️✨ | Siddhartha :: Hermann Hesse |
| 🌍✨🚀🧪💊😵😊❓💭😊=💊😵 | Brave New World :: Aldous Huxley |
| 🏛️🌊🗿👨🏻📝😊🐦💀🧠🔓🌅❤️ | Piranesi :: Susanna Clarke |
| 🏭🏛️⚙️🤖⛵💡🔄⏰😤❌✅📖 | Men, Machines, and Modern Times :: Elting E. Morison |
| 💰🏜️😈🔫💀💀💀👨🏻🏃♂️👮♂️😢👴🏻 | No Country for Old Men :: Cormac McCarthy |
| 💻🧠👨🏻🔬🏛️💰📈🖥️🌐🧠💡💻 | The Dream Machine :: M. Mitchell Waldrop |
| 💡🧊❄️➡️🏙️🔊📻💧🔦📺🌍🔄 | How We Got To Now :: Steven Johnson |
| 👶🏽🏚️🏙️📈💰💧👩🏽❤️💔👑💀❓ | How to Get Filthy Rich in Rising Asia :: Mohsin Hamid |
| 🌍🐢🐘🧙♂️😵🧳🏃♂️💨💀😂🌍🔮 | The Colour of Magic :: Terry Pratchett |
| 🐷🐴🐓⚔️👨🌾✅🐷👑📈😤🐷=👨🌾 | Animal Farm :: George Orwell |
| 🗺️🏔️🌊🏜️🇷🇺🇨🇳🇺🇸💪⚔️💰👑 | Prisoners of Geography :: Tim Marshall |
| 🏠🔄⏰👨🏻👨🏻👨🏻💛🦋😈🌧️🌧️😢 | One Hundred Years of Solitude :: Gabriel García Márquez |
| 🎮🧠👨🏻💪🚀🌍👽⚔️👑😤✅ | The Player of Games :: Iain M. Banks |
| 🌍➡️🌍➡️🌍♾️👨🏻🚶♂️👥🔄😊😰 | The Long Earth :: Baxter & Pratchett |
| 🚀⚔️🌌😈🤖🏛️🆚🔍💎💀💀💀 | Consider Phlebas :: Iain M. Banks |
| 🔥🌍💀🌫️👨🧒🛒🥶😈🔪❤️🌊 | The Road :: Cormac McCarthy |
| 🇬🇧👨👩👦👦👨👩👧👦🔄⏰🇧🇩🇯🇲🤝😤😂😢 | White Teeth :: Zadie Smith |
| 🌌❄️🚀💻🍕⚔️🏍️🧠💊😵🦠🗡️ | Snow Crash :: Neal Stephenson |
| 👨🏽⚖️📜🏙️⚖️😵💔💰💎🏃♂️💥😱 | A Naked Singularity :: Sergio de la Pava |
| 📖🤖🧒👧🏻🧠📈📈📈🌍🏙️💰💪 | The Diamond Age :: Neal Stephenson |
| 👨🏻🎓❤️👩🏻💔😢💀👩🏻❤️🌲🍂💭 | Norwegian Wood :: Haruki Murakami |
| ⚡🧪👨🏻🔬🧟💀😱🏃♂️❄️👰💔😢 | Frankenstein :: Mary Shelley |
| ❄️🌍👨🏻👤❓♀️♂️🔄🏔️🤝❤️🌨️ | The Left Hand of Darkness :: Ursula K. Le Guin |
| 💀⚔️👩🏻🦰👩🏻📚🏰🔮😈💥❤️😭💀 | Gideon the Ninth :: Tamsyn Muir |
| 👨🏻🔧🏍️🔄🌍💭🔧=🧘♂️=❓💭🧠 | Zen and the Art of Motorcycle Maintenance :: Robert Pirsig |
| 🎮👩🏻👨🏻🤝❤️💻📈😊💔😤🔄 | Tomorrow, and Tomorrow, and Tomorrow :: Gabrielle Zevin |
| 🌍💥🔥😱👩🏽🔮💪😤👧🏽🔍❓⛓️ | The Fifth Season :: N.K. Jemisin |
| 🌊🚣♂️🌫️👴🏻⏰🔄😶💭🌅❓💀🌊 | A Shining :: Jon Fosse |
| 🧛♂️💀❤️💔⏰♾️😢🧛♂️👧🏻😤💭🌙 | Interview with the Vampire :: Anne Rice |
| 🏛️👁️📊🌳➡️🌲🌲🌲👥😰💔❌ | Seeing Like a State :: James C. Scott |
| 🏚️🌾💨😢👨👩👧👦🚗➡️🌅🍊💰❌✊ | The Grapes of Wrath :: John Steinbeck |
| 🚀👥🤖📋👤❓🤖❓👤🤖❓🚀 | The Employees :: Olga Ravn |
| 🌊🧠👽❓👨🏻🔬😵👩🏻💀😱😢💭 | Solaris :: Stanislaw Lem |
| 👴🏻🧠💭🌍❓💥➡️🔄💭🌍=❓ | God's Debris :: Scott Adams |
| 🇺🇸🏭🚗💰🤪📖✍️👨🏻🦳🎭🤡😂😢 | Breakfast of Champions :: Kurt Vonnegut |
| ⚡🔥🌡️🔬⚙️1️⃣2️⃣3️⃣🔄❄️💀❌ | Three Laws of Nature :: R. Stephen Berry |
| 👧🏻✍️💋😱💔⚔️💀👩🏻😢📖😭❓ | Atonement :: Ian McEwan |
| 🏭🤖⚙️👷❌👨💼✅😐😢🍺✊💥 | Player Piano :: Kurt Vonnegut |
| 💻🧠🌃💉👨🏻🔓🤖👁️🛰️🔀💀✨ | Neuromancer :: William Gibson |
| 👦🏻⚔️🩸🏔️🧘♂️📈💪👩🏻❤️🎨👑😌 | Musashi :: Eiji Yoshikawa |
| 🧠💡🔬😵💥🌍😱🧪👨🏻🤯💭❓ | When We Cease to Understand the World :: Benjamín Labatut |
| 💻🔧👥😤☕🌙💪📈📈📈✅🏆 | The Soul of a New Machine :: Tracy Kidder |
| 👨🏻🧠⚛️🔬💡📈🤫😶🧠⚛️💡🤫 | The Strangest Man :: Graham Farmelo |
| 🚀👽🧠½😱👁️👁️👁️💀🌍🧠❓ | Blindsight :: Peter Watts |
| 🌽🍔🌾🐄🍽️❓🏭😰🌳🍄🔫✅ | The Omnivore's Dilemma :: Michael Pollan |
| ✈️👩🏻🇬🇷👂🗣️👥💭😶📖❓👤 | Outline :: Rachel Cusk |
| 👩🏻🏪😊👥😤❌🏪✅😊👥😤❓ | Convenience Store Woman :: Sayaka Murata |
| 👵🏻😤💔🏘️⏰🔄❤️😢👥🌊💭 | Olive Kitteridge :: Elizabeth Strout |
| 🌌⏰♾️👯♀️🚀🌍❤️😈🔫💀🔄🌌 | House of Suns :: Alastair Reynolds |
| 🎾🏥💊📺♾️👨🏻😢👨🏻😢🎬💀🔄 | Infinite Jest :: David Foster Wallace |
Generated with Claude, from my book list.
2025-11-20 08:00:00
Going as Former Gifted Child for Halloween and the whole costume is just gonna be people asking “What are you supposed to be?” And me saying “I was supposed to be a lot of things.”
Chris Langan became famous when television networks interviewed him for allegedly scoring ~170 on an IQ test.
Langan has not produced any acclaimed works of art or science. In this way, he differs significantly from outsider intellectuals like Paul Erdös, Stephen Wolfram, Nassim Taleb, etc.
Wolfram's theory of everything is incomprehensible in a fun way. Langan's theory of everything is incomprehensible in a not-fun way.
But Langan is clearly a smart guy. He probably cleared 140+ on an IQ test. He speaks like a book. He won $250,000 on a major trivia show.
Seriously, I really wish I could speak as clearly and confidently as Langan.
Maybe that's why this interview breaks my heart. The resentment, the eugenics, the hubris -- Langan earned a reputation as "Alex Jones with a thesaurus" and "the Steven Seagal of intellectuals".
I don't want you to hate this guy. Yes, he actively promotes poisonous rhetoric -- ignore that for now. This is about you. Reflect on all your setbacks, your unmet potential, and the raw unfairness of it all. It sucks, and you mustn't let that bitterness engulf you. You can forgive history itself; you can practice gratitude towards an unjust world. You need no credentials, nor awards, nor secrets, nor skills to do so. You are allowed to like yourself.
Langan had a rough childhood:
Langan's biological father left before he was born, and is said to have died in Mexico. Langan's mother married three more times, and had a son by each husband. Her second husband was murdered, and her third killed himself. Langan grew up with the fourth husband Jack Langan, who has been described as a "failed journalist" who used a bullwhip as a disciplinary measure and went on drinking sprees, disappearing from the house, locking the kitchen cabinets so the four boys could not get to the food in them. The family was very poor; Langan recalls that they all had only one set of clothes each. The family moved around, living for a while in a teepee on an Indian reservation, then later in Virginia City, Nevada.
Trauma never excuses nasty behavior, and that's not the point. This is still about you. You can learn about yourself through others' stories, and empathy is scariest when you confront similar nastiness within yourself.
You will never have enough IQ, nor money, nor time, nor energy. It's no excuse. You are enough -- no, no, you are plenty.
Instead of competing in real games, some people construct insignificant/winnable sub-games. These people are called "scrubs". They want to compete, but they cannot bear losing; they want to win, but they are too risk-averse and too undisciplined to excel in fair play. People who commit to such worthless/unwinnable games are called "losers".
But you forget that participation is optional. You perpetually sear your bespoke definition of "success" directly onto your forehead. You've been enduring your pain for so long that you can't remember how it feels to be free from expectation, from ambition, from guilt, from inferiority, from -- no, you don't have to do any of this. You may do whatever you want, and you may do whatever you want.
According to his parents, Kim Ung-yong started calculus at age 3, scored 210 on an IQ test and started studying physics at Hanyang University at age 4, spoke five languages by age 5, and received an invitation to work at NASA by age 7.
In 2010, this is how Kim reflected on his childhood:
At that time, I led my life like a machine--I woke up, solved the daily assigned equation, ate, slept, and so forth. I really didn't know what I was doing, and I was lonely and had no friends.
As an adult, Kim deliberately chose pragmatism over abstraction. He studied civil engineering. He worked as a middle-manager in the Compensation Department at Chungbuk Development Corporation.
Kim Ung-yong rejected the title of "failed genius":
I'm trying to tell people that I'm happy the way I am. But why do people have to call my happiness a failure? […] Some think that high IQ people can be omnipotent, but that's not true. Look at me, I don't have musical talent nor do I excel at sports. […] Society shouldn't judge anyone with unilateral standards – everyone has different learning levels, hopes, talents and dreams and we should respect that.
In 2014, Kim joined Chungbuk National University as an associate professor. In 2020, he donated 15,000 books from his personal collection to Uijeongbu City for public use.
But this is still about you. There exist no certificates nor trophies nor titles that can quench your thirst for permanence. If you worship human intelligence, 210 IQ is not enough. It is only plenty if you let it be.