Categories
Travel

The Geometry of the Right Question

The heavy brass key lands on the polished mahogany desk with a satisfying clink. The concierge, impeccably dressed and professionally warm, pulls out a crisp, glossy map. With practiced efficiency, a red felt-tip pen circles a restaurant three blocks away.

It is an interaction defined entirely by transaction and expectation. We arrive in a new city carrying the coiled tension of the unfamiliar, desperate for a good experience. So, we ask the professional where we should go, and they give us the answer specifically engineered for people exactly like us. We want to pierce the veil of the tourist economy, to find the authentic pulse of a place, yet we instinctively rely on the very instruments designed to insulate us from it.

Kevin Kelly offers this approach to wayfinding for bypassing the polished veneer of travel:

“Don’t ask the hotel concierge where to eat. Ask almost anyone else, including drivers, and when you ask, don’t ask where is a good place you should eat; ask them where they eat. Where did they eat the last time they ate out?”

Notice the subtle geometry of that shift. When you ask someone “where is a good place to eat,” you are asking them to play the role of a critic. They instantly, often subconsciously, filter their response. They calculate what they think you can afford, what they assume your palate can handle, or what they believe is socially acceptable to recommend to a visitor. They hand you an idealized map.

But when you ask “where did you eat last,” you are asking for a historical fact. You are bypassing the curation of stated preferences and accessing the raw truth of revealed preferences.

I have spent too many evenings in unfamiliar cities eating perfectly fine, entirely forgettable meals at the places circled in red ink. I suspect many of us have. We hold onto the belief that authority figures hold the best secrets.

The architecture of our choices often limits the quality of our experiences. Kelly’s advice isn’t just a clever hack for finding a better dinner.

It is a fundamental truth about how we navigate the world at large.

We constantly ask the wrong people the wrong questions. We ask financial experts for their market projections instead of asking to see their personal portfolios. We ask successful people for their sweeping theories on productivity rather than asking what they actually did between 8:00 AM and 10:00 AM this morning. We ask for recommendations, which are inherently performative, instead of asking for evidence, which is unavoidably real.

The map is never the territory, and the concierge is rarely the guide. The unvarnished truth of a place—or a life—doesn’t live at the polished desk in the lobby. It lives out on the street, in the messy, uncurated reality of what people actually do.

Categories
Authors Books Business

The Whetstone of the Box

Give a team an unlimited budget and no deadline, and you almost guarantee their project will never ship. We spend our careers fighting for more runway, more resources, and a completely clear calendar, convinced that absolute freedom is the prerequisite for great work. Yet, when the walls finally fall away, we usually just freeze.

David Epstein’s upcoming book, Inside the Box, circles this exact paradox. His premise, arriving in early May, is that constraints do not diminish our capabilities; they forge them. We spend so much of our lives trying to escape boundaries, failing to recognize that those very boundaries are what give our efforts shape.

I think about the early days of writing code. We were working with severe memory limits—kilobytes, not gigabytes. Every line had to justify its existence. There was no room for bloat, no excess capacity to mask sloppy logic. It felt restrictive at the time, like trying to build a ship inside a bottle.

But that unforgiving physical boundary forced a ruthless elegance. You had to understand exactly what you were trying to accomplish. The constraint wasn’t an obstacle to the work; it was the whetstone that sharpened the blade.

We see this everywhere, once we learn to look for it. A photographer framing a shot with a fixed prime lens cannot rely on a zoom ring to find the picture; they have to physically move their feet. The limitation forces engagement with the physical world. Without the walls of a canyon, a river is just a swamp. It is the restriction that creates the momentum.

Epstein’s focus on how constraints make us better feels like a necessary corrective right now. We live in an era of infinite leverage and boundless digital canvases. The friction has been removed from almost everything we do.

But friction is where the traction lives. When we strip away all our limits, we don’t gain wings; we just lose our footing. We need the edges of the box to know exactly where we stand.

Categories
Living

The Unpadded Saddle

The clatter of the wooden track arrives before the speed does. It starts as a gentle rumble beneath the floorboards, deceptive in its innocence. Then the trumpet fanfare blares, the recorded call of “And they’re off!” echoes across the platform, and suddenly you are caught in a centrifugal force violently pulling you toward the edge.

We are so accustomed to the padded corners of our routines that the Derby Racer at Rye Playland feels almost transgressive. Built in 1928, it is one of the world’s last surviving racing carousels. But the word “carousel” implies a gentle, music-box rotation—a docile circle meant for toddlers and waving parents. The Derby Racer, by contrast, spins at nearly twenty-five miles per hour. You sit astride a hand-carved wooden horse, one of fifty-six crafted by Marcus Illions, that leaps and pitches forward and backward with a startlingly realistic gait.

There are no lap bars. There are no padded shoulder restraints locking you into a prescribed posture of safety. There is no automated sensor to ensure you are seated correctly. There is only a metal hoop, your own grip, and gravity.

I remember taking a ride on the Derby Racer years ago. I climbed into the saddle, wedged my right foot onto the top peg and my left onto the bottom, exactly as the operator instructed. Lean in hard or you’ll fall off, the safety spiel went. As the speed built and the outward pull tried to peel me off the horse, my arms began to burn. My thighs locked against the painted wood. The wind whipped my face, and the track roared beneath us. It was exhilarating, yes, but it was also genuinely demanding.

When the ride finally slowed and I dismounted, my legs were wobbly. Beneath the lingering adrenaline was a profound, quiet relief: I had survived.

In 1928, the world was a less insulated place. The people who first rode those Marcus Illions horses understood that machinery required respect. They didn’t expect the ride to take care of them; they understood the unwritten contract of the saddle. Returning to it now feels like stepping through a portal into an era that trusted individuals to hold their own weight.

We spend so much of our time engineering physical risk out of our days. We build software to prevent errors, algorithms to smooth out our choices, and bumpers to keep us firmly in our designated lanes. We have traded the raw, unrefined thrill of hanging on for the predictable comfort of being strapped in. We assume that a frictionless experience is always a better experience.

But there is something deeply necessary about a machine that demands your active participation just to stay aboard. The Derby Racer doesn’t care if you are distracted; it requires your attention in the present tense. It forces you out of the abstract anxieties of your mind and entirely into the burning muscles of your arms and legs. It reminds you that the physical world still has teeth, and that staying upright requires deliberate, conscious effort.

The padding of the modern world keeps us comfortable, but the raw grip of a 1928 wooden track reminds us we are alive.

Categories
Menlo Park Photography

Sakura

On my morning walk, a great blue heron and a beautiful flowering Japanese cherry tree. Lovely start to the weekend!

Great Blue Heron
Sakura – Flowering Japanese Cherry

Read about a 1,200 year archive of Japanese cherry blossom dates in Japan.

Categories
AI Blogs/Weblogs

How to Refresh Dated Blog Articles

Woman typing on laptop at wooden table in cafe with coffee and pastry
A woman working on her laptop at a sunny cafe table with coffee and pastry

This afternoon I used the following prompt to help me assess posts I’d written a few years ago for updating:

I have a personal blog at https://sjl.us
Please review my blog posts that are between two and five years old and give me a prioritized list of which ones you think I should update.

I was curious how well it would do at this task. Turns out I was pleasantly surprised. Here’s the result:

Here’s my prioritized list of your blog posts (published roughly April 2021–April 2024, i.e., 2–5 years old as of April 2026) that I recommend updating, ranked from highest to lowest priority.

I reviewed the site structure, monthly archives, and indexed posts via searches. Your blog has dozens of posts in this window (mostly personal essays, photography, history, productivity/PKM, and heavy AI experimentation from the 2022–early 2023 wave). I prioritized based on:

  • How much the topic has aged (AI/prompting/tech tools change fastest; photography, personal reflections, and history are more timeless).
  • Potential value of an update (adding 2026-era insights, new examples, current tool versions, or follow-up reflections makes the post fresher and more useful to readers).
  • Thematic clustering (your AI/PKM series from 2022–2023 forms a natural arc that would benefit from a cohesive refresh).

I focused on the highest-impact ones rather than every post. Many others (e.g., pure street photography, freeway essays, family stories like the Tracy obituary, or 2021 COVID-era reflections) are still strong as-is and don’t need updates unless you want to add new photos or minor notes.

Top Priority (Strongly recommend updating soon — these are the most dated but highest-potential)

  1. Multi-step prompting for Claude (August 11, 2023)
    https://sjl.us/2023/08/11/multi-step-prompting-for-claude/
    Why update? Early Claude-specific prompting techniques; the entire field (Claude 3/4 families, GPT-4o-class models, Grok, etc.) has advanced dramatically. Easy win: expand with 2026 best practices, new multi-step examples, and comparisons.
  2. My Current PKM Stack as of September 2023 (September 20, 2023)
    https://sjl.us/2023/09/20/my-current-pkm-stack/
    Why update? Details your Obsidian/Instapaper/Feedly/Drafts workflow at the time. Tools and plugins have evolved a lot; readers love current “state of my stack” posts. A 2026 version would be highly engaging.
  3. Using AI to Help Write (November 15, 2022)
    https://sjl.us/2022/11/15/using-ai-to-help-write/
    Why update? Pure GPT-3-era experimentation. Perfect opportunity to contrast 2022 capabilities with today’s multimodal models and show how your own AI-assisted writing process has matured.
  4. LLMs = Dream Machines (December 11, 2023)
    https://sjl.us/2023/12/11/llms-dream-machines/
    Why update? References to early hallucination discussions and Andrej Karpathy’s tweet feel historic now. Update with current “dream machine” examples and how you use LLMs in 2026.
  5. Crafting Effective Prompts for Your AI Assistant (Claude, ChatGPT, Bard, etc.) (September 9, 2023)
    https://sjl.us/2023/09/09/crafting-effective-prompts-for-your-ai-assistant-claude-chatgpt-bard-etc/
    Why update? Another core prompting/PKM-adjacent piece from the explosion period. Pair it with the multi-step post for a nice “2023 vs 2026 Prompting Guide” refresh.

High Priority (Worth updating — clear value-add)

  1. An AI Thanksgiving (November 22, 2022)
    https://sjl.us/2022/11/22/an-ai-thanksgiving/
    Why update? Fun GPT-3 + DALL·E experiment. Readers would love a 2026 “then and now” version with newer models/image generators.
  2. Hacking Creativity with AI (August 22, 2023)
    https://sjl.us/2023/08/22/hacking-creativity-with-ai/
    Why update? Early chatbot creativity techniques; the creative workflow space has exploded since then.
  3. On the Minimum Viable Environment (MVE) and Apple’s Vision Pro (July 1, 2023)
    https://sjl.us/2023/07/01/on-the-minimum-viable-environment-mve-and-apples-vision-pro/
    Why update? Pre-launch speculation. Vision Pro shipped in 2024 — you can now add real-world usage, ecosystem updates, and whether MVE thinking held up.
  4. Drafts – a tool for idea capture (April 16, 2022)
    https://sjl.us/2022/04/16/drafts-a-tool-for-idea-capture/
    Why update? The app was celebrating its 10th anniversary then; it’s now 14+ years old with major feature/UI changes. Your long-term usage makes this a great “then vs now” post.

Medium Priority (Nice-to-have updates if you have time)

  1. Reading Books in 2022 (May 11, 2022)
    https://sjl.us/2022/05/11/how-im-reading-books/
    Why consider? Kindle/app habits and highlighting workflows have evolved; easy to refresh with current tools and your 2026 reading volume.

Other notable 2023 AI-adjacent posts (e.g., NotebookLM deep-dive from Dec 2023, Explorations of PKM from Oct 2023) would slot in here if you want to do a broader “AI/PKM 2023 Retrospective” series.

Lower Priority / Probably Leave As-Is

  • Photography series (e.g., “Capturing the Art in Everyday Scenes,” Paris posts, “Redwood Circle,” etc.) → Timeless and visual; they hold up well.
  • History/personal essays (e.g., “Ode to a Queen,” “The World’s Most Beautiful Freeway,” “Remembering Blue Chip Stamps,” “Old Man Walking,” 2021 book recs, “Stuck in Neutral”) → Evergreen or emotionally resonant; updating could dilute their original voice unless you have new material.
  • Holiday/personal posts (e.g., Thanksgiving 2023, Merry Christmas 2021) → Fine as snapshots in time.

Quick recommendation on approach: Start with the top 5 (they form a nice cluster around AI prompting/PKM). Updating them together would create a strong “2023 AI Reflections – Revisited in 2026” section or category on the blog. Many of these posts already reference each other, so cross-linking updated versions would be powerful.

If you’d like me to pull full content from any specific post, draft sample update language, suggest new sections, or help with images/AI-assisted rewrites, just let me know! Your blog has a great reflective voice — these updates would keep it feeling current without losing that personal touch.

Categories
Living Sports Writing

When the Lights Come On

I was listening to a conversation with the writer Wright Thompson recently, and he struck a profound chord when talking about why he is so captivated by sports. He distilled the entirety of athletic competition down to a single, brilliant truth: it is all about who you are when “the lights come on.”

If you have ever stood in a massive arena or a darkened stadium just before the main event, you know exactly the feeling he means. The anticipation in the air isn’t just an emotion; it is a physical weight. You can feel the collective breath of thousands held in suspense. And then, with a sudden, sharp clack of the breakers, the big stadium lights hit. The room almost shakes with the sudden injection of energy. In that brilliant, unforgiving glare, every shadow vanishes. There is nowhere to hide.

We are taught from a young age to prepare, to practice, to build our skills in the quiet comfort of the shadows. We spend so much of our lives rehearsing our arguments, refining our projects, and constructing our mental models. We tell ourselves stories about who we are and what we are capable of achieving. But the true test of our character—the raw, unfiltered reality of our competence—isn’t found in the safety of preparation.

It is revealed in the sudden shock of execution.

Thompson’s observation about sports is ultimately an observation about the human condition. We aren’t all athletes waiting in the tunnel, shifting our weight from foot to foot, but we all face our own versions of the stadium lights.

I think about the seasons in my own life when the lights suddenly flared. The unexpected crisis that derailed months of careful planning. A sudden pivot required in a business strategy. A moment demanding moral courage when it would have been infinitely easier to remain quietly in the background. In some of those moments, I stepped up, grounded by the quiet work I had done in the dark. In others—and I admit this with a wince—I blinked against the glare, my confidence suddenly outpacing my competence.

That is the terrifying, beautiful geometry of choices. When the lights hit, the gap between who we claim to be and who we actually are is illuminated for everyone to see.

There is a kind of extreme accountability in that moment. It strips away the hedging and the theoretical. You either make the play, or you don’t. You either hold your ground, or you retreat. It is a crucible that burns away the superfluous, leaving only the essential truth of our character.

We cannot control when the switch will be flipped. The world has a habit of throwing us onto the stage precisely when we feel least ready. But we can control how we build ourselves in the dark. We can ensure that our patience isn’t just stubbornness in disguise, and that our confidence is deeply rooted in reality.

The chaos of the sudden glare isn’t an obstacle to the mission; it is the environment in which the mission earns its meaning. The lights will come on. They always do.

The only question that matters is who we will be in the glare.

Categories
Living Space

Apollo’s Ghosts and the Artemis Return

I watched the Artemis mission splash down yesterday, a modern silver capsule returning from the silent void around the moon. It was a beautiful, flawless return, but watching it, I felt an unexpected tug of melancholy. It transported me back.

I remembered being a kid, mesmerized by the grainy, ghostly black-and-white television broadcasts of the early American space program. I remember the static, the deliberate countdowns, the collective held breath of a nation when the first man walked on the lunar surface. Space felt like the ultimate frontier—an endless trajectory of human ambition.

This morning, with those images still knocking around in my head, I listened to a podcast discussing the long, quiet gap in manned lunar exploration. And then, one commentator dropped a detail that stopped me in my tracks: the spacecraft for Apollo 18 and 19 had already been built. They were fully assembled. Ready to fly. And then, the program was simply killed.

I’ve been sitting with that quiet, heavy fact for a few hours now.

Think about the sheer human effort locked inside those unflown machines. The engineering, the late nights, the calculus, the welding of titanium, and the dreams of astronauts who trained for a lunar surface they would never touch. Those spacecraft became monuments to an aborted future. They are the physical embodiment of a decision to stop.

We do this in our own lives, don’t we?

We spend months, sometimes years, building the architecture of a new idea. We assemble the parts. We do the research, we write the drafts, we lay the groundwork for a career pivot, a new business, or a creative project. We build our own Apollo 18. We get it to the launchpad, fully fueled by our initial enthusiasm.

And then—we just stop. We pull the funding. We let the gravity of daily life, or the friction of doubt, kill the mission before the countdown even begins.

The tragedy of Apollo 18 wasn’t that it failed; it was that it was never given the chance to experience the friction of the atmosphere. It never left the safety of the assembly building.

We are taught that patience is a virtue, but sometimes patience is just stubbornness in disguise—an excuse for not hitting the ignition switch. We convince ourselves that the conditions aren’t quite right, that the budget isn’t there, or that the timing is off. We leave our greatest capabilities sitting in the hangar, slowly gathering dust.

The return of Artemis yesterday was a reminder that we can always go back. We can dust off the launchpad. But the compound interest of abandoned projects is a heavy debt to carry.

The chaos of launch isn’t an obstacle to the mission; it is the environment in which the mission earns its meaning.

If you have built something—if you have put in the time, the sweat, and the architecture—don’t leave it in the hangar. Let it fly. Even if it burns up, it is so much better to have launched than to remain perfectly intact and perfectly grounded.

Categories
AI

The Geometry of Speed

We are surprised when witnessing something move faster than our intuition expects. We are inherently wired to understand slow, compounding growth. We expect the long, grinding years of the plateau—the quiet periods where nothing seems to happen before a sudden breakthrough.

I was looking at a chart Patrick Collison shared this morning, and it challenged that very intuition. It’s a simple, stark visualization: AI model intelligence relative to the formation date of the lab that built it.

If you trace the lines for Google and OpenAI on the right side of the graph, you see the history we’ve all lived through. Thousands of days—more than a decade of quiet, methodical, often unglamorous research—before their trend lines finally bend and shoot upward. It is a geometry of patience. It’s the visual representation of laying bricks, one by one, year by year, until you have a foundation sturdy enough to support the weight of a revolution.

And then, on the far left of the chart, there is a red line. MSL. The team behind Meta’s new Muse Spark model, released today.

The red line doesn’t curve. It doesn’t slope. It simply strikes straight up, like a lightning bolt in reverse.

In roughly 200 days since formation, this new effort achieved a level of capability that took the early pioneers thousands of days to reach. Collison noted how much he loves seeing things done quickly, and it’s hard not to share that specific, visceral thrill of seeing the boundaries pushed so aggressively.

I find myself thinking about the architecture of speed and what it means for the rest of us.

We spend so much of our lives absorbing the lesson that “good things take time.” We are taught that the crucible of meaningful work requires a long, slow simmer. And mostly, that remains true. The compound interest of human experience is real, and wisdom is rarely rushed.

Yet, every once in a while, a new paradigm emerges that doesn’t just accelerate the timeline—it collapses it entirely.

The pioneers cut the agonizingly slow path through the jungle, taking the brunt of the time, the friction, and the missteps. The ones who follow—like xAI, Anthropic, and now MSL—don’t have to clear the brush from scratch. They can look at the map, pave the road, and simply drive.

What does it mean for our own mental models when the timeline from “formation” to “frontier” shrinks from five thousand days to a few hundred?

It is a jarring reminder that the past pace of performance is not a law of physics.

I think about my own assumptions—how often I assume a project, a habit, or a societal shift will take a while, simply because similar things took a while in the past. We anchor our expectations to old geometry.

Meta’s release of Muse Spark is a technical feat, certainly. But the chart itself holds a broader, more human lesson. It’s a visual prompt to constantly re-evaluate our assumptions about how long the impossible is supposed to take.

The future doesn’t always arrive on a comfortable, predictable schedule. Sometimes, it just shows up unannounced, demanding we adjust our stride to keep up.

Categories
Living Music Writing

The Tonic Chord of a Life

We spend a good portion of our lives surrounded by noise. Not just the literal kind—the hum of traffic or the ping of notifications—but the internal noise of unresolved tensions.

I was reminded of this while listening to a recent conversation between David Perell and the legendary journalist Tom Junod (https://youtu.be/JnHTUyZjwiY). Towards the end of their sprawling, beautiful discussion, Junod introduced a metaphor about writing that made me pause the audio and just sit with it for a moment. He talked about the “tonic chord.”

“Musicians, you know, back in the day, they were always looking for the tonic chord. And writing, I’m always looking for the tonic chord… where all the discordant harmonies are resolved in a single ba-boom, you know, at the end of Beethoven or whatever… looking for some sort of resolution to the stuff that gnaws at me.” [00:39:42]

It’s a striking image. In music theory, the tonic is the home base, the center of gravity. It is the chord that finally brings rest after a long sequence of tension and suspense. Without the preceding dissonance, the tonic chord has no power. The chaos isn’t an obstacle to the resolution; it is the very environment that makes the resolution meaningful.

This applies far beyond the blank page. We are all, in our own ways, searching for our tonic chords.

We carry around the stuff that gnaws at us—the contradictions in our relationships, the career choices that look good on paper but feel hollow in the chest, the quiet hypocrisies we tolerate in ourselves. These are the discordant notes. We spend so much of our lives trying to ignore them, turning up the volume on our daily routines to drown out the clash. Or we try to fix them with brute force, stubbornly demanding harmony before we’ve even listened to the melody.

But maybe the point isn’t to erase the tension. Junod’s genius—both in his essays and in this metaphor—is his willingness to sit with the discomfort. He looks directly at the friction. He places two opposing truths right next to each other, letting them rub like tectonic plates, waiting patiently for that final chord to finally release the pressure.

I think about the architecture of a well-lived life in much the same way. The most resonant moments I’ve experienced haven’t come from a smooth, unbroken string of successes. They usually arrive right after a period of intense confusion or struggle—a sudden moment of clarity on a foggy morning walk, a tough but honest conversation with a friend, or finally letting go of an idea that had lost its spark.

That sudden ba-boom of clarity. The release.

We are taught from childhood that a good life should be harmonious. But true harmony is earned. It requires us to listen closely to the discordant parts of our lives, to bear witness to our own messes and mysteries, and to patiently search for the truth that finally brings them all together.

Often, it is the ultimate act of self-awareness.

Seek serendipity.

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Categories
Living Writing

The Origami Swan

Fold a piece of paper enough times, and it begins to take shape. It looks like a swan, but it isn’t one. It’s origami. Two-dimensional paper masquerading in a three-dimensional world.

There is a profound danger, both in writing and in how we move through life, of viewing people as origami. We see the folded edges—what they do, what they say, where they go—and we mistake the shape for the substance.

The sportswriter Wright Thompson borrows a concept from a college Tennessee Williams class to describe what is missing when we do this: interiority. It is the subterranean emotional reality happening beneath the visible actions of a character. Without it, scenes are flat. Without it, people are just paper swans.

Thompson builds on the philosophy of Gary Smith, who argues that every profile fundamentally asks the same question: What is the central complication of this person’s life, and how do they go about solving it every single day?

Almost all of that solving happens quietly, invisibly, on the inside. The exterior architecture of a person’s life is entirely meaningless until you understand the interior architecture holding it up.

But how do you communicate something so deeply internal? You can’t just tell the reader what someone is feeling. It feels cheap, unearned. Instead, Thompson uses a technique of “loading the object.” You find an exterior detail—a habit, a possession, an avoidance—and you charge it with interior meaning.

“The exterior action… is only meaningful if you’ve built the interior architecture first.”

Consider Michael Jordan. Thompson learned that Jordan falls asleep to old Westerns. As an isolated fact, it’s just a quirky celebrity habit. But Thompson also learned that Jordan misses his murdered father every single day, and that watching Westerns was something they used to do together.

By introducing the Westerns early and casually, Thompson loads the object. By the end of the piece, when he simply describes Jordan falling asleep to a Western, he doesn’t need to explain the grief. The reader already carries the emotional weight of the object. A completely mundane action becomes devastating.

The same is true of Tiger Woods naming his boats Privacy and Solitude. To the casual observer, they are just wealthy indulgences. But once you understand the interiority of an extreme introvert who has been force-fitted into a global, extroverted marketing machine since childhood, those names are no longer just names. They are a diagnosis.

Executing this requires two distinct disciplines. The first is deep observation—what journalists call reporting. You cannot manufacture interiority at the keyboard. As Thompson notes, whenever a scene feels flat, it is because he hasn’t dug deep enough into the reality of the person to earn the meaning. Overwriting is simply underreporting with a better vocabulary.

The second discipline is restraint. Once you have built the interior context, you must stop talking. You have to let the exterior action land in silence. The human instinct is to over-explain, to ensure everyone gets it. But the magic happens when you step back and trust the connection you’ve built.

There is a philosophical lesson here that extends far beyond writing. How often do we settle for the origami versions of the people around us? How often do we try to talk our way into understanding them, rather than doing the deep, quiet work of observing their “loaded objects”?

To truly understand another human being requires the discipline to look past the surface, the patience to uncover their central complication, and the grace to let their quietest moments speak for themselves.

Note: Be sure to watch this conversation between Wright Thompson and David Perell.