dream

Umberto Eco on books

art, business, history, language & literature, on writing, religion / /

From Umberto Eco’s “Vegetal and mineral memory: The future of books” (Al-Ahram Weekly: 20—26 November 2003):

Libraries, over the centuries, have been the most important way of keeping our collective wisdom. They were and still are a sort of universal brain where we can retrieve what we have forgotten and what we still do not know. If you will allow me to use such a metaphor, a library is the best possible imitation, by human beings, of a divine mind, where the whole universe is viewed and understood at the same time. A person able to store in his or her mind the information provided by a great library would emulate in some way the mind of God. In other words, we have invented libraries because we know that we do not have divine powers, but we try to do our best to imitate them. …

First of all, we know that books are not ways of making somebody else think in our place; on the contrary, they are machines that provoke further thoughts. Only after the invention of writing was it possible to write such a masterpiece of spontaneous memory as Proust’s A la Recherche du Temps Perdu. Secondly, if once upon a time people needed to train their memories in order to remember things, after the invention of writing they had also to train their memories in order to remember books. Books challenge and improve memory; they do not narcotise it. …

YET IT IS EXACTLY AT THIS POINT that our unravelling activity must start because by hypertextual structure we usually mean two very different phenomena. First, there is the textual hypertext. In a traditional book one must read from left to right (or right to left, or up to down, according to different cultures) in a linear way. One can obviously skip through the pages, one—once arrived at page 300—can go back to check or re- read something at page 10—but this implies physical labour. In contrast to this, a hypertextual text is a multidimensional network or a maze in which every point or node can be potentially connected with any other node. Second, there is the systemic hypertext. The WWW is the Great Mother of All Hypertexts, a world-wide library where you can, or you will in short time, pick up all the books you wish. The Web is the general system of all existing hypertexts. …

Simply, books have proved to be the most suitable instrument for transmitting information. There are two sorts of book: those to be read and those to be consulted. As far as books-to-be-read are concerned, the normal way of reading them is the one that I would call the ‘detective story way’. You start from page one, where the author tells you that a crime has been committed, you follow every path of the detection process until the end, and finally you discover that the guilty one was the butler. End of the book and end of your reading experience. …

Then they are books to be consulted, like handbooks and encyclopaedias. Encyclopaedias are conceived in order to be consulted and never read from the first to the last page. …

Hypertexts will certainly render encyclopaedias and handbooks obsolete. Yesterday, it was possible to have a whole encyclopaedia on a CD-ROM; today, it is possible to have it on line with the advantage that this permits cross references and the non-linear retrieval of information. …

Books belong to those kinds of instruments that, once invented, have not been further improved because they are already alright, such as the hammer, the knife, spoon or scissors. …

TWO NEW INVENTIONS, however, are on the verge of being industrially exploited. One is printing on demand: after scanning the catalogues of many libraries or publishing houses a reader can select the book he needs, and the operator will push a button, and the machine will print and bind a single copy using the font the reader likes. … Simply put: every book will be tailored according to the desires of the buyer, as happened with old manuscripts.

The second invention is the e-book where by inserting a micro- cassette in the book’s spine or by connecting it to the internet one can have a book printed out in front of us. Even in this case, however, we shall still have a book, though as different from our current ones as ours are different from old manuscripts on parchment, and as the first Shakespeare folio of 1623 is different from the last Penguin edition. Yet, up to now e-books have not proved to be commercially successful as their inventors hoped. … E-books will probably prove to be useful for consulting information, as happens with dictionaries or special documents. …

Indeed, there are a lot of new technological devices that have not made previous ones obsolete. Cars run faster than bicycles, but they have not rendered bicycles obsolete, and no new technological improvements can make a bicycle better than it was before. The idea that a new technology abolishes a previous one is frequently too simplistic. Though after the invention of photography painters did not feel obliged to serve any longer as craftsmen reproducing reality, this did not mean that Daguerre’s invention only encouraged abstract painting. There is a whole tradition in modern painting that could not have existed without photographic models: think, for instance, of hyper-realism. Here, reality is seen by the painter’s eye through the photographic eye. This means that in the history of culture it has never been the case that something has simply killed something else. Rather, a new invention has always profoundly changed an older one. …

The computer creates new modes of production and diffusion of printed documents. …

Today there are new hypertextual poetics according to which even a book-to-read, even a poem, can be transformed to hypertext. At this point we are shifting to question two, since the problem is no longer, or not only, a physical one, but rather one that concerns the very nature of creative activity, of the reading process, and in order to unravel this skein of questions we have first of all to decide what we mean by a hypertextual link. …

In order to understand how texts of this genre can work we should decide whether the textual universe we are discussing is limited and finite, limited but virtually infinite, infinite but limited, or unlimited and infinite.

First of all, we should make a distinction between systems and texts. A system, for instance a linguistic system, is the whole of the possibilities displayed by a given natural language. A finite set of grammatical rules allows the speaker to produce an infinite number of sentences, and every linguistic item can be interpreted in terms of other linguistic or other semiotic items—a word by a definition, an event by an example, an animal or a flower by an image, and so on and so forth. …

Grammars, dictionaries and encyclopaedias are systems: by using them you can produce all the texts you like. But a text itself is not a linguistic or an encyclopaedic system. A given text reduces the infinite or indefinite possibilities of a system to make up a closed universe. If I utter the sentence, ‘This morning I had for breakfast…’, for example, the dictionary allows me to list many possible items, provided they are all organic. But if I definitely produce my text and utter, ‘This morning I had for breakfast bread and butter’, then I have excluded cheese, caviar, pastrami and apples. A text castrates the infinite possibilities of a system. …

Take a fairy tale, like Little Red Riding Hood. The text starts from a given set of characters and situations—a little girl, a mother, a grandmother, a wolf, a wood—and through a series of finite steps arrives at a solution. Certainly, you can read the fairy tale as an allegory and attribute different moral meanings to the events and to the actions of the characters, but you cannot transform Little Red Riding Hood into Cinderella. … This seems trivial, but the radical mistake of many deconstructionists was to believe that you can do anything you want with a text. This is blatantly false. …

Now suppose that a finite and limited text is organised hypertextually by many links connecting given words with other words. In a dictionary or an encyclopaedia the word wolf is potentially connected to every other word that makes up part of its possible definition or description (wolf is connected to animal, to mammal to ferocious, to legs, to fur, to eyes, to woods, to the names of the countries in which wolves exist, etc.). In Little Red Riding Hood, the wolf can be connected only with the textual sections in which it shows up or in which it is explicitly evoked. The series of possible links is finite and limited. How can hypertextual strategies be used to ‘open’ up a finite and limited text?

The first possibility is to make the text physically unlimited, in the sense that a story can be enriched by the successive contributions of different authors and in a double sense, let us say either two-dimensionally or three-dimensionally. By this I mean that given, for instance, Little Red Riding Hood, the first author proposes a starting situation (the girl enters the wood) and different contributors can then develop the story one after the other, for example, by having the girl meet not the wolf but Ali Baba, by having both enter an enchanted castle, having a confrontation with a magic crocodile, and so on, so that the story can continue for years. But the text can also be infinite in the sense that at every narrative disjunction, for instance, when the girl enters the wood, many authors can make many different choices. For one author, the girl may meet Pinocchio, for another she may be transformed into a swan, or enter the Pyramids and discover the treasury of the son of Tutankhamen. …

AT THIS POINT one can raise a question about the survival of the very notion of authorship and of the work of art, as an organic whole. And I want simply to inform my audience that this has already happened in the past without disturbing either authorship or organic wholes. The first example is that of the Italian Commedia dell’arte, in which upon a canovaccio, that is, a summary of the basic story, every performance, depending on the mood and fantasy of the actors, was different from every other so that we cannot identify any single work by a single author called Arlecchino servo di due padroni and can only record an uninterrupted series of performances, most of them definitely lost and all certainly different one from another.

Another example would be a jazz jam session. … What I want to say is that we are already accustomed to the idea of the absence of authorship in popular collective art in which every participant adds something, with experiences of jazz-like unending stories. …

A hypertext can give the illusion of opening up even a closed text: a detective story can be structured in such a way that its readers can select their own solution, deciding at the end if the guilty one should be the butler, the bishop, the detective, the narrator, the author or the reader. They can thus build up their own personal story. Such an idea is not a new one. Before the invention of computers, poets and narrators dreamt of a totally open text that readers could infinitely re-compose in different ways. Such was the idea of Le Livre, as extolled by Mallarmé. Raymond Queneau also invented a combinatorial algorithm by virtue of which it was possible to compose, from a finite set of lines, millions of poems. In the early sixties, Max Saporta wrote and published a novel whose pages could be displaced to compose different stories, and Nanni Balestrini gave a computer a disconnected list of verses that the machine combined in different ways to compose different poems. …

All these physically moveable texts give an impression of absolute freedom on the part of the reader, but this is only an impression, an illusion of freedom. The machinery that allows one to produce an infinite text with a finite number of elements has existed for millennia, and this is the alphabet. Using an alphabet with a limited number of letters one can produce billions of texts, and this is exactly what has been done from Homer to the present days. In contrast, a stimulus-text that provides us not with letters, or words, but with pre-established sequences of words, or of pages, does not set us free to invent anything we want. …

At the last borderline of free textuality there can be a text that starts as a closed one, let us say, Little Red Riding Hood or The Arabian Nights, and that I, the reader, can modify according to my inclinations, thus elaborating a second text, which is no longer the same as the original one, whose author is myself, even though the affirmation of my authorship is a weapon against the concept of definite authorship. …

A BOOK OFFERS US A TEXT which, while being open to multiple interpretations, tells us something that cannot be modified. … Alas, with an already written book, whose fate is determined by repressive, authorial decision, we cannot do this. We are obliged to accept fate and to realise that we are unable to change destiny. A hypertextual and interactive novel allows us to practice freedom and creativity, and I hope that such inventive activity will be implemented in the schools of the future. But the already and definitely written novel War and Peace does not confront us with the unlimited possibilities of our imagination, but with the severe laws governing life and death. …

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Poetry: Johnny Mercer’s “Early Autumn”

art, language & literature / /

Man, these are beatiful, evocative lyrics by Johnny Mercer:

When an early autumn walks the land and chills the breeze
and touches with her hand the summer trees,
perhaps you’ll understand what memories I own.

There’s a dance pavilion in the rain all shuttered down,
a winding country lane all russet brown,
a frosty window pane shows me a town grown lonely.

That spring of ours that started so April-hearted,
seemed made for just a boy and girl.
I never dreamed, did you, any fall would come in view
so early, early.

Darling if you care, please, let me know,
I’ll meet you anywhere, I miss you so.
Let’s never have to share another early autumn.

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Van Gogh on death

art, commonplace book, history, language & literature, religion / /

From Roger Ebert’s “Go gentle into that good night” (Roger Ebert’s Journal: 2 May 2009):

Van Gogh in Arles wrote this about death:

Looking at the stars always makes me dream, as simply as I dream over the black dots representing towns and villages on a map. Why? I ask myself, shouldn’t the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take a train to get to Tarascon or Rouen, we take death to reach a star. We cannot get to a star while we are alive any more than we can take the train when we are dead. So to me it seems possible that cholera, tuberculosis and cancer are the celestial means of locomotion. Just as steamboats, buses and railways are the terrestrial means. To die quietly of old age, would be to go there on foot.

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The color of the TV you watch determines the color of your dreams

cool stuff, science / /

From Richard Alleyne’s “Black and white TV generation have monochrome dreams” (The Telegraph: 17 October 2008):

New research suggests that the type of television you watched as a child has a profound effect on the colour of your dreams.

While almost all under 25s dream in colour, thousands of over 55s, all of whom were brought up with black and white sets, often dream in monchrome – even now.

…

Research from 1915 through to the 1950s suggested that the vast majority of dreams are in black and white but the tide turned in the sixties, and later results suggested that up to 83 per cent of dreams contain some colour.

Since this period also marked the transition between black-and-white film and TV and widespread Technicolor, an obvious explanation was that the media had been priming the subjects’ dreams.

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Gottman on relationships

science / /

From THE MATHEMATICS OF LOVE: A Talk with John Gottman (Edge: 14 April 2004):

So far, his surmise is that “respect and affection are essential to all relationships working and contempt destroys them. It may differ from culture to culture how to communicate respect, and how to communicate affection, and how not to do it, but I think we’ll find that those are universal things”.

…

Another puzzle I’m working on is just what happens when a baby enters a relationship. Our study shows that the majority (67%) of couples have a precipitous drop in relationship happiness in the first 3 years of their first baby’s life. That’s tragic in terms of the climate of inter-parental hostility and depression that the baby grows up in. That affective climate between parents is the real cradle that holds the baby. And for the majority of families that cradle is unsafe for babies.

…

So far I believe we’re going to find that respect and affection are essential to all relationships working and contempt destroys them. It may differ from culture to culture how to communicate respect, and how to communicate affection, and how not to do it, but I think we’ll find that those are universal things.

…

Bob Levenson and I were very surprised when, in 1983, we found that we could actually predict, with over 90 percent accuracy, what was going to happen to a relationship over a three-year period just by examining their physiology and behavior during a conflict discussion, and later just from an interview about how the couple viewed their past. 90% accuracy!

…

That was surprising to us. It seemed that people either started in a mean-spirited way, a critical way, started talking about a disagreement, started talking about a problem as just a symptom of their partner’s inadequate character, which made their partner defensive and escalated the conflict, and people started getting mean and insulting to one another. That predicted the relationship was going to fall apart. 96% of the time the way the conflict discussion started in the first 3 minutes determined how it would go for the rest of the discussion. And four years later it was like no time had passed, their interaction style was almost identical. Also 69% of the time they were talking about the same issues, which we realized then were “perpetual issues” that they would never solve. These were basic personality differences that never went away. She was more extroverted or she was more of an explorer or he was more punctual or frugal.

Some couples were caught by the web of these perpetual issues and made each other miserable, they were “grid locked” like bumper-to-bumper traffic with these issues, while other couples had similar issues but coped with them and had a “dialogue” that even contained laughter and affection. It seemed that relationships last to the extent that you select someone whose annoying personality traits don’t send you into emotional orbit. Once again conventional wisdom was wrong. The big issue wasn’t helping couples resolve their conflicts, but moving them from gridlock to dialogue. And the secret of how to do that turned out to be having each person talk about their dream within the conflict and bringing Viktor Frankl’s existential logotherapy into the marital boxing ring. Once people talked about what they wished for and hoped for in this gridlock conflict and the narrative of why this was so important to them, in 86% of the cases they would move from gridlock to dialogue. Again a new door opened. Not all marital conflicts are the same. You can’t teach people a set of skills and just apply them to every issue. Some issues are deeper, they have more meaning. And then it turned out that the very issues that cause the most pain and alienation can also be the greatest sources of intimacy and connection.

Another surprise: we followed couples for as long as 20 years, and we found that there was another kind of couple that didn’t really show up on the radar; they looked fine, they weren’t mean, they didn’t escalate the conflict — but about 16 to 22 years after the wedding they started divorcing. They were often the pillars of their community. They seemed very calm and in control of their lives, and then suddenly they break up. Everyone is shocked and horrified. But we could look back at our early tapes and see the warning signs we had never seen before. Those people were people who just didn’t have very much positive connection. There wasn’t very much affection — and also especially humor — between them.

…These sorts of emotionally disconnected relationships were another important dimension of failed relationships. We learned through them that the quality of the friendship and intimacy affects the nature of conflict in a very big way.

…

One of the major things we found is that honoring your partner’s dreams is absolutely critical. A lot of times people have incompatible dreams — or they don’t want to honor their partner’s dreams, or they don’t want to yield power, they don’t want to share power. So that explains a lot of times why they don’t really belong together.

Psycho-physiology is an important part of this research. It’s something that Bob Levenson brought to the search initially, and then I got trained in psycho-physiology as well. And the reason we’re interested in what was happening in the body is that there’s an intimate connection between what’s happening to the autonomic nervous system and what happening in the brain, and how well people can take in information — how well they can just process information — for example, just being able to listen to your partner — that is much harder when your heart rate is above the intrinsic rate of the heart, which is around a hundred to a hundred and five beats a minute for most people with a healthy heart.

At that point we know, from Loren Rowling’s work, that people start secreting adrenalin, and then they get into a state of diffuse physiological arousal (or DPA) , so their heart is beating faster, it’s contracting harder, the arteries start getting constricted, blood is drawn away from the periphery into the trunk, the blood supply shuts down to the gut and the kidney, and all kinds of other things are happening — people are sweating, and things are happening in the brain that create a tunnel vision, one in which they perceive everything as a threat and they react as if they have been put in great danger by this conversation.

…

Because men are different. Men have a lot of trouble when they reach a state of vigilance, when they think there’s real danger, they have a lot of trouble calming down. and there’s probably an evolutionary history to that. Because it functioned very well for our hominid ancestors, anthropologists think, for men to stay physiologically aroused and vigilant, in cooperative hunting and protecting the tribe, which was a role that males had very early in our evolutionary history. Whereas women had the opposite sort of role, in terms of survival of the species, those women reproduced more effectively who had the milk-let-down reflex, which only happens when oxytocin is secreted in the brain, it only happens when women — as any woman knows who’s been breast-feeding, you have to be able to calm down and relax. But oxytocin is also the hormone of affiliation. So women have developed this sort of social order, caring for one another, helping one another, and affiliating, that also allows them to really calm down and have the milk let-down reflex. And so — it’s one of nature’s jokes. Women can calm down, men can’t; they stay aroused and vigilant.

…

Physiology becomes really critical in this whole thing. A provocative finding from Alyson Shapiro’s recent dissertation is that if we take a look at how a couple argues when the woman is in the sixth month of pregnancy, we can predict over half the variation in the baby, the three-month-old baby’s vagal tone, which is the ability of the vagus nerve, the major nerve of the parasympathetic branch of the autonomic nervous system, which is responsible for establishing calm and focusing attention. That vagus nerve in the baby is eventually going to be working well if the parents, during pregnancy, are fighting with each other constructively. That takes us into fetal development, a whole new realm of inquiry.

…

You have to study gay and Lesbian couples who are committed to each other as well as heterosexual couples who are committed to each other, and try and match things as much as you can, like how long they’ve been together, and the quality of their relationship. And we’ve done that, and we find that there are two gender differences that really hold up.

One is that if a man presents an issue, to either a man he’s in love with or a woman he’s in love with, the man is angrier presenting the issue. And we find that when a woman receives an issue, either from a woman she loves or a man she loves, she is much more sad than a man would be receiving that same issue. It’s about anger and sadness. Why? Remember, Bowlby taught us that attachment and loss and grief are part of the same system. So women are finely tuned to attaching and connecting and to sadness and loss and grief, while men are attuned to defend, stay vigilant, attack, to anger. My friend Levenson did an acoustic startle study (that’s where you shoot of a blank pistol behind someone’s head when they least expect it). Men had a bigger heart rate reactivity and took longer to recover, which we would expect, but what even more interesting is that when you asked people what they were feeling, women were scared and men were angry.

So that’s probably why those two differences have held up. Physiologically people find over and over again in heterosexual relationships — and this hasn’t been studied yet in gay and Lesbian relationships — that men have a lower flash point for increasing heart-rate arousal, and it takes them longer to recover. And not only that, but when men are trying to recover, and calm down, they can’t do it very well because they keep naturally rehearsing thoughts of righteous indignation and feeling like an innocent victim. They maintain their own vigilance and arousal with these thoughts, mostly of getting even, whereas women really can distract themselves and calm down physiologically from being angered or being upset about something. If women could affiliate and secrete oxytocin when they felt afraid, they’s even calm down faster, probably.

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Denver International Airport, home to alien reptilians enslaving children in deep dungeons

1 Comment / art, history, politics, religion, security, weird / /

From Jared Jacang Maher’s “DIA Conspiracies Take Off” (Denver Westword News: 30 August 2007):

Chris from Indianapolis has heard that the tunnels below DIA [Denver International Airport] were constructed as a kind of Noah’s Ark so that five million people could escape the coming earth change; shaken and earnest, he asks how someone might go about getting on the list.

…

Today, dozens of websites are devoted to the “Denver Airport Conspiracy,” and theorists have even nicknamed the place “Area 52.” Wikipedia presents DIA as a primary example of New World Order symbolism, above the entry about the eyeball/pyramid insignia on the one-dollar bill. And over the past two years, DIA has been the subject of books, articles, documentaries, radio interviews and countless YouTube and forum board postings, all attempting to unlock its mysteries. While the most extreme claim maintains that a massive underground facility exists below the airport where an alien race of reptilian humanoids feeds on missing children while awaiting the date of government-sponsored rapture, all of the assorted theories share a common thread: The key to decoding the truth about DIA and the sinister forces that control our reality is contained within the two Tanguma murals, “In Peace and Harmony With Nature” and “The Children of the World Dream of Peace.”

…

And not all these theorists are Unabomber-like crackpots uploading their hallucinations from basement lairs. Former BBC media personality David Icke, for example, has written twenty books in his quest to prove that the world is controlled by an elite group of reptilian aliens known as the Babylonian Brotherhood, whose ranks include George W. Bush, Queen Elizabeth II, the Jews and Kris Kristofferson. In various writings, lectures and interviews, he has long argued that DIA is one of many home bases for the otherworldly creatures, a fact revealed in the lizard/alien-faced military figure shown in Tanguma’s murals.

“Denver is scheduled to be the Western headquarters of the US New World Order during martial law take over,” Icke wrote in his 1999 book, The Biggest Secret. “Other contacts who have been underground at the Denver Airport claim that there are large numbers of human slaves, many of them children, working there under the control of the reptilians.”

On the other end of the conspiracy spectrum is anti-vaccination activist Dr. Len Horowitz, who believes that global viruses such as AIDS, Ebola, West Nile, tuberculosis and SARS are actually population-control plots engineered by the government. The former dentist from Florida does not speak about 2012 or reptiles — in fact, he sees Icke’s Jewish alien lizards as a Masonic plot to divert observers from the true earthly enemies: remnants of the Third Reich. He even used the mural’s sword-wielding military figure as the front cover of his 2001 book, Death in the Air.

“The Nazi alien symbolizes the Nazi-fascist links between contemporary population controllers and the military-medical-petrochemical-pharmaceutical cartel largely accountable for Hitler’s rise to power,” Horowitz explained in a 2003 interview with BookWire.

…

Although conspiracy theories vary widely, they all share three commonalities. “One is the belief that nothing happens by accident,” [Syracuse University professor Michael Barkun, author of the 2006 book A Culture of Conspiracy] points out. “Another is that everything is connected. And a third is that nothing is as it seems.” [Emphasis added]

…

[Alex] Christopher is a 65-year-old grandmother living in Alabama.

…

Christopher, on the other hand, was open to hearing anything. A man called her and said he had found an elevator at DIA that led to a corridor that led all the way down into a military base that also contained alien-operated concentration camps. She detailed this theory in her next book, Pandora’s Box II…

And the scale of DIA reflected this desire: It was to be the largest, most modern airport in the world. But almost as soon as ground was broken in 1989, problems cropped up. The massive public-works project was encumbered by design changes, difficult airline negotiations, allegations of cronyism in the contracting process, rumors of mismanagement and real troubles with the $700 million (and eventually abandoned) automated baggage system. Peña’s successor, Wellington Webb, was forced to push back the 1993 opening date three times. By the time DIA finally opened in February 1995, the original $1.5 billion cost had grown to $5.2 billion. Three months after that opening, the Congressional Subcommittee on Aviation held a special hearing on DIA in which one member said the Denver airport represented the “worst in government inefficiency, political behind-the-scenes deal-making, and financial mismanagement.” …

And what looked like a gamble in 1995 seems to have paid off for Denver. Today, DIA is considered one of the world’s most efficient, spacious and technologically advanced airports. It is the fifth-busiest in the nation and tenth-busiest in the world, serving some 50 million passengers in 2006.

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Paul Graham’s lessons for startups

business, technology / /

From Paul Graham’s “The Hardest Lessons for Startups to Learn“:

1. Release Early.

The thing I probably repeat most is this recipe for a startup: get a version 1 out fast, then improve it based on users’ reactions.

By “release early” I don’t mean you should release something full of bugs, but that you should release something minimal. Users hate bugs, but they don’t seem to mind a minimal version 1, if there’s more coming soon. …

I’ve seen a lot of startups die because they were too slow to release stuff, and none because they were too quick. …

Even if you had no users, it would still be important to release quickly, because for a startup the initial release acts as a shakedown cruise. If anything major is broken– if the idea’s no good, for example, or the founders hate one another– the stress of getting that first version out will expose it. And if you have such problems you want to find them early.

Perhaps the most important reason to release early, though, is that it makes you work harder. When you’re working on something that isn’t released, problems are intriguing. In something that’s out there, problems are alarming. There is a lot more urgency once you release. And I think that’s precisely why people put it off. They know they’ll have to work a lot harder once they do.

2. Keep Pumping Out Features.

Of course, “release early” has a second component, without which it would be bad advice. If you’re going to start with something that doesn’t do much, you better improve it fast. …

By “feature” I mean one unit of hacking — one quantum of making users’ lives better.

As with exercise, improvements beget improvements. … You should make your system better at least in some small way every day or two.

… Users love a site that’s constantly improving. In fact, users expect a site to improve. …

They’ll like you even better when you improve in response to their comments, because customers are used to companies ignoring them. If you’re the rare exception — a company that actually listens — you’ll generate fanatical loyalty. You won’t need to advertise, because your users will do it for you. …

If your product seems finished, there are two possible explanations: (a) it is finished, or (b) you lack imagination. Experience suggests (b) is a thousand times more likely.

3. Make Users Happy.

Improving constantly is an instance of a more general rule: make users happy. One thing all startups have in common is that they can’t force anyone to do anything. They can’t force anyone to use their software, and they can’t force anyone to do deals with them. A startup has to sing for its supper. That’s why the successful ones make great things. They have to, or die.

When you’re running a startup you feel like a little bit of debris blown about by powerful winds. The most powerful wind is users. They can either catch you and loft you up into the sky, as they did with Google, or leave you flat on the pavement, as they do with most startups. Users are a fickle wind, but more powerful than any other. If they take you up, no competitor can keep you down. …

The median visitor will arrive with their finger poised on the Back button. …

There are two things you have to do to make people pause. The most important is to explain, as concisely as possible, what the hell your site is about. … A startup should be able to explain in one or two sentences exactly what it does. … You probably shouldn’t even start a company to do something that can’t be described compellingly in one or two sentences.

The other thing I repeat is to give people everything you’ve got, right away. If you have something impressive, try to put it on the front page, because that’s the only one most visitors will see. Though indeed there’s a paradox here: the more you push the good stuff toward the front, the more likely visitors are to explore further. …

The industry term here is “conversion.” The job of your site is to convert casual visitors into users …

4. Fear the Right Things.

Another thing I find myself saying a lot is “don’t worry.” Actually, it’s more often “don’t worry about this; worry about that instead.” Startups are right to be paranoid, but they sometimes fear the wrong things. …

What you should fear, as a startup, is not the established players, but other startups you don’t know exist yet. They’re way more dangerous than Google because, like you, they’re cornered animals.

Looking just at existing competitors can give you a false sense of security. You should compete against what someone else could be doing, not just what you can see people doing. A corollary is that you shouldn’t relax just because you have no visible competitors yet. No matter what your idea, there’s someone else out there working on the same thing. …

And in any case, competitors are not the biggest threat. Way more startups hose themselves than get crushed by competitors. There are a lot of ways to do it, but the three main ones are internal disputes, inertia, and ignoring users. Each is, by itself, enough to kill you. But if I had to pick the worst, it would be ignoring users. If you want a recipe for a startup that’s going to die, here it is: a couple of founders who have some great idea they know everyone is going to love, and that’s what they’re going to build, no matter what.

Almost everyone’s initial plan is broken. If companies stuck to their initial plans, Microsoft would be selling programming languages, and Apple would be selling printed circuit boards. In both cases their customers told them what their business should be — and they were smart enough to listen. …

5. Commitment Is a Self-Fulfilling Prophecy.

I now have enough experience with startups to be able to say what the most important quality is in a startup founder, and it’s not what you might think. The most important quality in a startup founder is determination. Not intelligence — determination. …

Time after time VCs invest in startups founded by eminent professors. This may work in biotech, where a lot of startups simply commercialize existing research, but in software you want to invest in students, not professors. Microsoft, Yahoo, and Google were all founded by people who dropped out of school to do it. What students lack in experience they more than make up in dedication. …

In a startup, there’s always some disaster happening. So if you’re the least bit inclined to find an excuse to quit, there’s always one right there. …

You have to be the right kind of determined, though. I carefully chose the word determined rather than stubborn, because stubbornness is a disastrous quality in a startup. You have to be determined, but flexible …

6. There Is Always Room.

… There is always room for new stuff. At every point in history, even the darkest bits of the dark ages, people were discovering things that made everyone say “why didn’t anyone think of that before?” …

The reason we don’t see the opportunities all around us is that we adjust to however things are, and assume that’s how things have to be. …

So for all practical purposes, there is no limit to the number of startups. Startups make wealth, which means they make things people want, and if there’s a limit on the number of things people want, we are nowhere near it. …

7. Don’t Get Your Hopes Up.

Startup founders are naturally optimistic. They wouldn’t do it otherwise. But you should treat your optimism the way you’d treat the core of a nuclear reactor: as a source of power that’s also very dangerous. You have to build a shield around it, or it will fry you.

The shielding of a reactor is not uniform; the reactor would be useless if it were. It’s pierced in a few places to let pipes in. An optimism shield has to be pierced too. I think the place to draw the line is between what you expect of yourself, and what you expect of other people. It’s ok to be optimistic about what you can do, but assume the worst about machines and other people. …

Shielding your optimism is nowhere more important than with deals. If your startup is doing a deal, just assume it’s not going to happen. The VCs who say they’re going to invest in you aren’t. The company that says they’re going to buy you isn’t. The big customer who wants to use your system in their whole company won’t. Then if things work out you can be pleasantly surprised.

The reason I warn startups not to get their hopes up is not to save them from being disappointed when things fall through. It’s for a more practical reason: to prevent them from leaning their company against something that’s going to fall over, taking them with it.

For example, if someone says they want to invest in you, there’s a natural tendency to stop looking for other investors. That’s why people proposing deals seem so positive: they want you to stop looking. And you want to stop too, because doing deals is a pain. Raising money, in particular, is a huge time sink. So you have to consciously force yourself to keep looking. …

VCs and corp dev guys are professional negotiators. They’re trained to take advantage of weakness. [8] So while they’re often nice guys, they just can’t help it. And as pros they do this more than you. So don’t even try to bluff them. The only way a startup can have any leverage in a deal is genuinely not to need it. And if you don’t believe in a deal, you’ll be less likely to depend on it. …

The way to succeed in a startup is to focus on the goal of getting lots of users, and keep walking swiftly toward it while investors and acquirers scurry alongside trying to wave money in your face. …

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Night terrors

science, weird / /

From Science News’ “Night of the Crusher: The waking nightmare of sleep paralysis propels people into a spirit world“:

As a college student in 1964, David J. Hufford met the dreaded Night Crusher. Exhausted from a bout of mononucleosis and studying for finals, Hufford retreated one December day to his rented, off-campus room and fell into a deep sleep. An hour later, he awoke with a start to the sound of the bedroom door creaking open—the same door he had locked and bolted before going to bed. Hufford then heard footsteps moving toward his bed and felt an evil presence. Terror gripped the young man, who couldn’t move a muscle, his eyes plastered open in fright.

Without warning, the malevolent entity, whatever it was, jumped onto Hufford’s chest. An oppressive weight compressed his rib cage. Breathing became difficult, and Hufford felt a pair of hands encircle his neck and start to squeeze. “I thought I was going to die,” he says.

At that point, the lock on Hufford’s muscles gave way. He bolted up and sprinted several blocks to take shelter in the student union. “It was very puzzling,” he recalls with a strained chuckle, “but I told nobody about what happened.”

Hufford’s perspective on his strange encounter was transformed in 1971. He was at that time a young anthropologist studying folklore in Newfoundland, and he heard from some of the region’s inhabitants about their eerily similar nighttime encounters. Locals called the threatening entity the “old hag.” Most cases unfold as follows: A person wakes up paralyzed and perceives an evil presence. A hag or witch then climbs on top of the petrified victim, creating a crushing sensation on his or her chest.

It took Hufford another year to establish that what he and these people of Newfoundland had experienced corresponds to the event, lasting seconds or minutes, that sleep researchers call sleep paralysis. …

Sleep paralysis differs from nocturnal panic, in which a person awakens in terror with no memory of a dream. Neither does sleep paralysis resemble a night terror, in which a person suddenly emerges from slumber in apparent fear, flailing and shouting, but then falls back asleep and doesn’t recall the incident in the morning.

Curiously, although the word nightmare originally described sleep paralysis, it now refers to a fearful or disturbing dream, says Hufford, now at the Penn State Medical Center in Hershey, Pa. Several hundred years ago, the English referred to nighttime sensations of chest pressure from witches or other supernatural beings as the “mare,” from the Anglo-Saxon merran, meaning to crush. The term eventually morphed into nightmare—the crusher who comes in the night. …

Many who experience sleep paralysis also report sensations of floating, flying, falling, or leaving one’s body. The condition’s primary emotion, terror, sometimes yields to feelings of excitement, exhilaration, rapture, or ecstasy. “A small number of people, while acknowledging fear during initial episodes of sleep paralysis, come to enjoy the experience,” Cheyne says. …

Two brain systems contribute to sleep paralysis, Cheyne proposes. The most prominent one consists of inner-brain structures that monitor one’s surroundings for threats and launches responses to perceived dangers. As Cheyne sees it, REM-based activation of this system, in the absence of any real threat, triggers a sense of an ominous entity lurking nearby. Other neural areas that contribute to REM-dream imagery could draw on personal and cultural knowledge to flesh out the evil presence.

A second brain system, which includes sensory and motor parts of the brain’s outer layer, distinguishes one’s own body and self from those of other creatures. When REM activity prods this system, a person experiences sensations of floating, flying, falling, leaving one’s body, and other types of movement, Cheyne says. …

There is a kinship between waking nightmares starring Night Crushers and reports of alien abductions, McNally and Clancy find. For more than a decade, they have been studying people who claim to have been abducted by aliens from outer space. McNally and Clancy are convinced that these claims derive from sleep-paralysis hallucinations.

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Ben’s crazy dream

commonplace book / /

Following is a dream from my buddy Ben’s blog, in May 2002. Ben’s dreams are great. Most people’s dreams are boring as hell, at least when they’re retelling them to you, but I always enjoy Ben’s. In fact, I still have an email he sent me 5 years ago describing a dream he had involving floating and Bach’s music. Enjoy.

Dream 5/1/02

I dreamt last night of going to an alternative theatrical presentation of the works of Mark Twain, down at what started out to be Marshall, Missouri and ended up being Drury College, in Springfield. Jans and I did help stack sand bags for a fire station in Marshall, which became an impromptu fly fishing workshop. The college had the most amazing printed flyers, generated by their print shop. I went back to see the print shop, and the director of the library, who was in charge of the print shop, thought I was trying to hire away his prize employee. I saw the speech beforehand, but missed the performance itself. People talked about how amazing it was – the performance was ongoing, and focused on character sketches of various Mark Twain creations in everyday settings, so one could simply walk in and catch snapshots of it without losing the narrative flow.

Coinciding was an animation festival, which included cartoon and live-based animation, with special effects. Howard, of Kaldi’s coffee, had an entry about a man trying to fend of a giant mosquito that was keeping him up at night. One of the entries was a live action puppet show, with an interaction between a large, golden painted, crudely made beetle and a quarter that kept up a barrage of insults and challenges, underneath a glass dome, . To hear it, you had to stand right next to it, which I let the rest of the crowd know when they were trying to figure out why they couldn’t hear since I was the only one nearby.

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