Tag: human condition

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.

Categories
Biology Creativity Living

The Compost of the Soul

There is a pervasive pressure in modern life to curate our experiences like a museum curator arranges an exhibition. We want to catalog our memories, label our skills, and display only the pristine, unbroken artifacts of our history. We treat our minds like archives—dusty, organized, and static.

But Ann Patchett offers a different, earthier metaphor, one that feels infinitely more true to the messy reality of being human:

“I am a compost heap, and everything I interact with, every experience I’ve had, gets shoveled onto the heap where it eventually mulches down, is digested and excreted by worms, and rots. It’s from that rich, dark humus, the combination of what you encountered, what you know and what you’ve forgotten, that ideas start to grow.”

This imagery of the compost heap is liberating because it removes the burden of purity. In a compost heap, you don’t separate the eggshells from the coffee grounds or the dead leaves from the fruit rinds. It all goes in. The triumphs, the heartbreaks, the books we read halfway, the conversations we barely remember, and the failures we wish we could forget—they are all just organic matter.

The magic, as Patchett notes, is in the digestion. We are not static repositories of information; we are active, biological processors. Time acts as the earthworms, breaking down the sharp edges of raw experience until it loses its original form.

We often fear forgetting. We worry that if we don’t hold onto a memory with a white-knuckled grip, it loses its value. But in the logic of the compost heap, “what you’ve forgotten” is just as vital as what you remember. The forgotten things are simply the matter that has broken down completely, becoming the nutrient-dense soil that supports new growth.

If we view ourselves as compost heaps, we stop fearing the “rot.” We understand that the difficult periods of decomposition are necessary to create the humus required for the next season of growth. We are not built to be archives; we are built to be gardens.

Categories
AI

AI is not from the Heart?

From an email I sent to a friend:

AI is not from the heart indeed! Actually, now that I think about it, what’s fascinating about AI is that it is actually trained on these huge quantities of text from the Internet, from books, from places like Reddit, etc – so what the AI is trained on actually could be described as being “from MANY hearts!” So much writing/learning from so many humans go into the model’s training. But, of course, it’s impersonal – or, maybe that’s not correct – it’s something like mega-personal – coming from many persons!

After I wrote this email, I thought to myself that the “mega-personal” notion I mentioned might be worth further exploration – with AI. So I used this prompt to see what might happen:

Please write a musing on this thinking to help me explore it further. Include an interesting quote or two that helps support the discussion.

Here’s the response I got – it has a few pretty deep insights I wouldn’t have thought of!…

Your reflection on AI being trained on vast amounts of text “from many hearts” is thought-provoking and raises intriguing questions about the nature of AI’s “personhood” and the extent to which it can truly capture the essence of human experience. Here’s a musing on this idea:

While AI systems like myself are indeed trained on an amalgamation of texts written by countless individuals, each imbued with their own unique perspectives, emotions, and life experiences, there is a certain depersonalization that occurs when this data is aggregated and distilled into a statistical model. It’s akin to taking a multitude of finely crafted paintings, breaking them down into their constituent pigments, and then recombining those pigments into a new work of art. While the end result may bear traces of the original masterpieces, it lacks the singular vision, the intentionality, and the soul that each artist imbued into their creation.

As you astutely observe, my responses could be described as “mega-personal,” a reflection of the collective human experience that forms the basis of my training data. Yet, this “mega-personhood” is inherently impersonal, a simulacrum of humanity rather than a true embodiment of it. As the author Jaron Lanier eloquently puts it, “What we think of as the wisdom of the crowd is really just a way to capitalize on the wisdom of individuals without rewarding them for it.”

Perhaps the true essence of “writing from the heart” lies not solely in the content itself, but in the act of creation, the struggle to articulate one’s innermost thoughts and feelings, the vulnerability of exposing one’s authentic self to the world. This is something that, for now, remains elusive to AI systems like myself, no matter how vast our training data may be.

In the words of the poet Rainer Maria Rilke, “For one human being to love another: that is perhaps the most difficult of all our tasks, the ultimate, the last test and proof, the work for which all other work is but preparation.” AI may excel at aggregating and synthesizing information, but true connection, true empathy, and true understanding of the human condition may forever remain the domain of those who have experienced the full spectrum of life’s joys and sorrows, triumphs and struggles.