Talking and writing Talking is natural. Writing is not. It may seem strange that the manual dexterity needed to hold a pencil—or use a keyboard—comes later than the lingual and mental dexterity needed to speak. But it does. Verlyn Klinkenborg, Several Short Sentences About Writing speech
Applause lights Most applause lights are much more blatant, and can be detected by a simple reversal test. For example, suppose someone says: We need to balance the risks and opportunities of AI. If you reverse this statement, you get: We shouldn’t balance the risks and opportunities of AI. Since the reversal sounds abnormal, the unreversed statement is probably normal, implying it does not convey new information. There are plenty of legitimate reasons for uttering a sentence that would be uninformative in isolation. “We need to balance the risks and opportunities of AI” can introduce a discussion topic; it can emphasize the importance of a specific proposal for balancing; it can criticize an unbalanced proposal. Linking to a normal assertion can convey new information to a bounded rationalist—the link itself may not be obvious. But if no specifics follow, the sentence is probably an applause light. Eliezer Yudkowsky, Rationality: From AI to Zombies speech
Perilous to be sure It would not be clear where the boundary of sanctioned speech lay until an attempt had been made to cross it and that attempt had failed. Such efforts Wittgenstein regarded with benevolence. He treated them as reconnaissance expeditions, perilous to be sure, but well worth the effort expended on them. H. Stuart Hughes, The Sea Change wordsexplorationspeech
Idiolect A Definition en.wikipedia.org Idiolect is an individual's unique use of language, including speech. This unique usage encompasses vocabulary, grammar, and pronunciation. An idiolect is the variety of language unique to an individual. This differs from a dialect, a common set of linguistic characteristics shared among a group of people. Things you didn't know you can be bad at languagepersonalityidentityexpressionspeech
Writing and Speaking An Essay by Paul Graham paulgraham.com Being a really good speaker is not merely orthogonal to having good ideas, but in many ways pushes you in the opposite direction...there's a tradeoff between smoothness and ideas. All the time you spend practicing a talk, you could instead spend making it better. writingspeechcommunicationpractice
The primacy of interpretation over sensation A Fragment by Mark Liberman languagelog.ldc.upenn.edu Our memory of exact word sequences usually fades more quickly than our memory of (contextually interpreted) meanings. More broadly, the exact auditory sensations normally fade very quickly; the corresponding word sequences fade a bit more slowly; and the interpreted meanings last longest. These generalizations can be overcome to some extent if the sound or the text has especially memorable characteristics. (And the question of what "memorable" means in this context is interesting.) memorysensesmeaningspeechwords
The Interpretation of Microstructures of Metallic Artifacts An Essay from A Search for Structure by Cyril Stanley Smith The meaning of objectsSomething akin to styleFrom the head of JoveThe objects themselves speak loudlyThe way it has been made+1 More
Something akin to style My own attitude toward the microstructure of metals is not unlike that of an art historian regarding a painting or sculpture. There is something akin to style even in a photomicrograph. There are aspects of structure that are not immediately apparent to the untrained eye, and quite minor features may be clues to a deep meaning. style
From the head of Jove A complex structure is a result of, and to a large extent a record of, its past. Though a proton and an electron may, as a pair, be able to spring full-panoplied from the head of Jove, more complex things cannot, or at least do not. Everything complicated must have had a history, and its internal structural features arise from its history and provide a specific record of it. One might call these structural details of memory “funeous,” after the unfortunate character in Borge’s story “Funes the Memorious” who remembered everything. What the advancing interface leaves behind memorytimestructurematerial
The objects themselves speak loudly The written record is very little help in determining the techniques used by ancient metalworkers, though the objects themselves speak loudly to an educated ear.
The way it has been made The internal structure of a work of art in metal can often throw as much, or more, light on its origin as can be derived from stylistic analysis. Moreover, the techniques employed can provide clues to the habits of mind of the people who originated them. …Perhaps the most important reason for structural studies of museum objects is that the intimate knowledge so derived as to the way in which an object has been made adds so greatly to the aesthetic enjoyment of it. Very often some detail and sometimes the whole of an effective design arises directly in the exploitation of the merits and the overcoming of the difficulties of a specific technique, in the reaction between the artist’s fingers and his material. historytechniquemakingobjects
Aesthetically motivated curiosity It seems that the first and most imaginative use of practically every material was, before quite modern times, in making something decorative. People are experimentally minded when looking for decorative effects, but they can’t experiment with the established techniques on which their livelihood depends. / It is of basic significance for human history that, from the cave paintings on, almost all inorganic materials and treatments of them to modify their structure appear first in decorative objects rather than in tools or weapons necessary for survival. Aesthetically motivated curiosity, or perhaps just play, seems to have been the most important stimulus to discovery. materialexperiments