On the nuances of e-laughter

Let’s start with the fundamentals. The basic unit of written laughter, which we’ve long known from books and comics, is “ha.” The “ha” is like a Lego, a building block, with which we can construct more elaborate hilarity. It sounds like a real laugh. Ha! The “ha” is transparent, like “said.” If you’re chatting or texting, a single “ha” means that a joke has occurred, and you’re respectfully tipping your hat to it, but that’s all it deserves. If I say something hilarious and I get one “ha,” it’s a real kick in the teeth. If I make a mild observation, a “ha” is just great.
 
The feel-good standard in chat laughter is the simple, classic “haha”: a respectful laugh. “Haha” means you’re genuinely amused, and that maybe you laughed a little in real life. (The singsong Nelson Muntz-style “ha ha,” of course, is completely different—we don’t do this to our friends. There’s also the sarcastic “ha ha,” a British colleague reminded me: he’s used to reading “ha ha” as “Oh, ha ha,” as in, Aren’t you a wag. “But I’m learning to read it as good,” he said. Poor guy.) “Hahaha” means that you’re really amused: now you’re cooking. More than three “ha”s are where joy takes flight. When you’re doing this, you’re laughing at your desk and your co-workers can hear you, or you’re texting with both hands, clacking and laughing away. Somebody has been naughty and fun: a scandalous remark, a zinger, a gut laugh, the high-grade stuff. If things get totally bananas, you might throw a few “j”s in there, because you’re too incapacitated by joy to type properly.
 
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Then there’s the mysterious “hehe.” “Hehe” is a younger person’s e-laugh. My stepsister has used it, and she’s a person who also says “hiiii”—but, reassuringly to me, she’s also one of the best hahahahaha-ers in the business. A friend who’s in his thirties and savvy, with friends of all ages, uses “hehe.” I find it charming—he’s a perfect speller, and he’s a lively, tidy writer, and his “hehe”s are a strange mystery. I know what they mean: friendly, somewhat sneaky giggling at a shared joke. But why the single “e”?
 
I consider “hehe” to be the “woah” of laughter—an odd but common enough misspelling of a common term of social communication. I think it’s “hee hee,” our conspiratorial buddy, sweetly shortened to “haha” length in a slightly bizarre way. Is it more a masculine “hee hee”—literally a bunch of “he”s? Is it a squished-up “heh,” with some filigree? Is it a cross between “haha,” “hee hee,” and “heh”?
 

Sarah Larson breaks down hahaha vs hehehe.

Hahahe! Wait, is that allowed?

Susan Orlean on writing

Q. If you look at work you did much earlier in your career, what are some of the ways that lack of confidence would show itself?
 
A. The real evidence of confidence is writing more simply and in a plainer way. It’s when, as a writer, I’m not defending my choice of subject. I’m not constantly doubling down on why you should read my story.
 
I’m not sure that I could point to word choice or something so specific as that. But I now believe that I can state my case without providing all sorts of defense for it, and that the reader will follow me.
 

From a fabulous interview with New Yorker staff writer Susan Orlean on the magic and mystery of writing. That line is so true and great, it bears repeating: “The real evidence of confidence is writing more simply and in a plainer way.

My first drafts of posts here are often longer than the final product, and no one ever accused me of brevity. Also, the more confident I am in a post, the less I use the first person subject, the fewer times I use the word “I” as in “I think” or “I believe.” This is my blog, of course these are my ideas, yet when my confidence isn't to the brim, my voice hedges by dipping into the explicitly subjective tone. If the goal is strong ideas, weakly held, it's still best to express them as if they're strongly held.

Also from the interview, also great:

Q. Did you come up with other techniques as well to discipline your writing?
 
A. I absolutely treat myself like a factory. A word factory. That’s been really helpful for me because writing is very mysterious, and the creative process is very mysterious. It’s comforting to have a few mechanical tools at hand to help balance that sense of mystery.
 
First of all, if you don’t have a deadline, give yourself one and take it seriously. Secondly, I am thoroughly dependent on having a daily word count as a goal that I have to hit. If I get it done in an hour, I have the afternoon off. If it takes me until midnight, it takes me until midnight. The value of that is it makes concrete a process that otherwise seems ephemeral.
 
It also means you can look at a calendar and say, “If I’m writing a 100,000-word book, I will be done on this day if I keep my schedule going.” You’re no longer looking into the void and thinking, “Oh God, it’s me and this blank screen.”
 
I also think if you’ve got writer’s block, you don’t have writer’s block. You have reporter’s block. You only are having trouble writing because you don’t actually yet know what you’re trying to say, and that usually means you don’t have enough information. That’s the signal to walk away from the keyboard, think about what it is that you don’t really know yet, and go do that reporting.

“Distraction is a kind of obesity of the mind”

Matthew Crawford has written a new book The World Beyond Your Head: On Becoming an Individual in an Age of Distraction. In an interview with the Guardian, he discussed the heightened competition for what I've often called the only finite resource in tech, user attention.

“I realised how pervasive this has become, these little appropriations of attention,” he says. “Figuring out ways to capture and hold people’s attention is the centre of contemporary capitalism. There is this invisible and ubiquitous grabbing at something that’s the most intimate thing you have, because it determines what’s present to your consciousness. It makes it impossible to think or rehearse a remembered conversation, and you can’t chat with a stranger because we all try to close ourselves off from this grating condition of being addressed all the time.”
 
He points out that the only quiet, distraction-free place in the airport is the business-class lounge, where all you hear is “the occasional tinkling of a spoon against china”. Silence has become a luxury good. “The people in there value their silence very highly. If you’re in that lounge you can use the time to think creative, playful thoughts; you could come up with some brilliant marketing scheme that you would then use to determine the character of the peon section. You can think of it as a transfer of wealth. Attention is a resource, convertible into actual money. ”
 
...
 
“We increasingly encounter the world through these representations that are addressed to us, often with manipulative intent: video games, pornography, gambling apps on your phone,” he says. “These experiences are so exquisitely attuned to our appetites that they can swamp your ordinary way of being in the world. Just as food engineers have figured out how to make food hyper-palatable by manipulating fat, salt and sugar, similarly the media has become expert at making irresistible mental stimuli.” Distraction is a kind of obesity of the mind, in other words, with results that could be just as hazardous for our health.
 

I've certainly felt, in recent times, like some sort of information addict, with my smartphone playing the part of drug dealer sitting over my shoulder, offering a free and never ending supply of, well, whatever I want. It would seem to follow that the returns to self-control have increased as well, and Crawford notes that “the rich can hire “professional naggers” – tutors for their children, personal trainers – in effect outsourcing their own self-control.”

In Renaissance times, obesity was a signal of wealth and thus seen as attractive. In an age of cheap and plentiful calories, a signal of wealth is being fit, which may indicate good genetics and self-discipline but may also mean you can afford a personal trainer and home chef.

In tech we're constantly chasing the holy grail of personalization and more precise targeting of content, advertising, services, etc. Crawford sees the glass half full in this scenario, a rise of self-obsession that transfers power and wealth to companies.

It is tempting to see the advent of this crisis as technological, but for Crawford it’s more that the technology has created the perfect vehicles for our self-obsession. Individual choice has been fetishised to the point where we have thrown away many of the structures – family, church, community – that helped us to make good decisions, and handed more and more power to corporations.
 

I can cite many examples of how the internet has improved the world; I'm hardly a technology alarmist. Still, I find it more necessary these days to hone my self-control and find ways to cocoon my mind in quiet from time to time.

I was in Taiwan for 6 days last week, and I bought a 300MB data package from AT&T for the week [the AT&T Passport, as they call these all-in-one international bundles, is one of the few customer-friendly things they've added travelers; no more trying to cobble together a suitable international bundle yourself across text, data, voice]. While there, I'd get in the habit of turning on cellular data for short sips at moments when I really needed it—to get directions to my next destination via Google Maps, look up restaurants, coordinate meetups with friends, post a photo to Instagram—and the rationing kept me off the phone most of the day. Most my phone's apps, besides the camera, aren't all that enticing without network access. The enforced data hibernation felt like meditation.

My last morning in Taiwan, I had a taxi driver take me out to Jiufen, a small coastal town, supposedly an inspiration for many of the settings in Miyazaki's wonderful Spirited Away. Cutting through the center of town was one of what they call an “old street,” a sort of pedestrian alley lined with shops and decorated in a deliberate retro style. Many towns in Taipei have one as they are honey traps for tourists.

Because my flight back to the U.S. was that afternoon, I arrived at the Jiufen Old Street really early, before any tourists had appeared. I strolled down the winding alley while shop owners were just beginning to open doors and prepare for the tourist hordes to come. Some proprietors were rolling out dough to make taro balls, the popular local delicacy, while others were grilling meat or heating up tofu stew. It was very quiet, and many times I turned a corner to find myself the only person in that segment of the street. I was almost out of data allotment on my phone so I kept it off as I ambled to and fro.

Near the end of the street, I stopped to purchase a bowl of taro balls in ice, and I ate from it as I walked the last segment of the street. Every tourist guidebook probably tells you to purchase the taro balls while there, and you know what? They're right. Those things are damn great.

No one was on that last segment of street except an old man carrying a large bag of rice over his shoulder up the steps to a house. In that moment, I felt a peace that comes from a clear mind  and a complete absence of any want. It was a serenity I hadn't felt in so long that I can distinctly remember the moment it washed over me, the sensation of my mind exhaling and going still. Had my phone been on and connected to the internet I'm not sure I could have achieved it.

I thought back to this moment when reading this lovely piece on The Death of Awe in the Age of Awesome:

Travel writers like me spend a lot of time contemplating why people venture abroad. Not just the obvious enticements — relaxation, winter sun, cheap pilsner — but the emotional, soul-stirring stuff: the sustenance of the new. The awe. It has, I think, become one of the main incentives of our travelling lives. As spirituality wanes experience is the new faith, and we are refugees from the mundane.
 
But behind this quest for the big, beautiful and baffling is a disconcerting sense that wonder in the age of the bucket-list is under attack. From technology, from information overload, from the anti-spiritual cynicism of the post-hippy world. In an era where a child has only to hold a five-inch screen in front of their face to gorge themselves on the apparent miracle of a one-inch Dora the Explorer hatching from a two-tone chocolate shell, awe has started to feel increasingly elusive.
 
It doesn’t take a bona fide philosopher to understand that this diminution of the human experience is an inevitable price of social progress. Awe, after all, used to be much easier to come by. Imagine you’re a Stone-age hunter witnessing a solar eclipse (not like last month’s anticlimactic, cloud-snuffed eclipse. A proper one.). Suddenly, the sun is extinguished. You don’t know it’s a temporary phenomenon, an orbital idiosyncrasy. So you tremble, piss your mammoth-skin pants, invent Gods! That’s a great big uppercut of awe.
 

At the end of Jiufen Old Street, I stopped to look out at houses perched along the side of the mountain which sloped down to the sea.

I heard them before I saw them, the first tour groups to catch up to me. Throngs of mainland Chinese and Japanese tour groups, mostly middle-aged to senior travelers, led by young guides holding flags and trying, with moderate success, to herd their flock. They jockeyed for position with each other, filling the alley two or three people wide. I fought my way back through them as best I could. That moment of peace was gone. Even in the real world, it's hard to stay away for long.

What causes the placebo effect?

Via Marginal Revolution, results of a fascinating study into what causes the placebo effect when it comes to wine.

When consumers taste cheap wine and rate it highly because they believe it is expensive, is it because prejudice has blinded them to the actual taste, or has prejudice actually changed their brain function, causing them to experience the cheap wine in the same physical way as the expensive wine? Research in the Journal of Marketing Research has shown that preconceived beliefs may create a placebo effect so strong that the actual chemistry of the brain changes.
 

The next time you open a bottle to serve your diner guests, tell them it's more expensive than it actually is. It's a free way to boost their enjoyment!

Some people may be more susceptible to the placebo effect than others, though research is very sparse.

Boys Don't Cry

Frank Ocean's next album will be titled Boys Don't Cry.

With their songs about primary emotions like love and sadness, the Cure are in many ways a boy band. They are very easy to become infatuated with, but they are safe, and safety is a great part of their appeal. Even at their most funereal—and they once wrote a song called “The Funeral Party”—the Cure make comfort music. Compared with the volatility of punk, or the bombast of Meatloaf and Led Zeppelin, who both placed high on the charts in 1979, the Cure were subdued—they took the heat out of playing guitar. “Boys Don’t Cry” arrived in the wake of punk, but it wasn’t about anger; it was about love. It’s a simple song about a broken heart, and it sounds like a summer’s day—a summer’s day that threatens to dissolve into rain.
 
There are many contemporary pop musicians making music that sounds like the Cure, but Frank Ocean isn’t one of them. And yet, like Smith, Ocean is very capable of writing songs that are in thrall to pasts made more painful, and yet more perfect, by memory. His second* mixtape, released in 2011, was called “nostalgia, ULTRA.” On its ninth track, “There Will Be Tears,” Ocean sings, “I can’t be there with you, but I can dream.” The “you” of the lyric is an absent father; in the song’s verse, Ocean remembers his grandfather as “the only dad I’d ever know.” “Hide my face, hide my face, can’t let ’em see my crying,” he sings, “’cause these boys didn’t have no fathers neither.” In this song, the command that boys don’t cry feels especially cruel, bound up with a version of masculinity in which fathers must never be missed, or mourned. “You can’t miss what you ain’t had,” Ocean goes on. “Well I can, I’m sad.”
 

His last album channel ORANGE was so great.