Sarah Perry is a contributing editor of Ribbonfarm.

Why do some stories become popular, retold for hundreds of years, while others are forgotten? Why do you see the particular stories that you see in your social media feed and on the news? How can we tell whether stories are true? And why are false stories so maddeningly popular?

Here I will look at stories as if they were biological organisms. Stories can’t reproduce themselves; they rely on humans for their survival and reproduction. In that sense, stories are symbiotic (or perhaps parasitic) in their relationship with humans. New stories are constantly being invented, using existing and novel devices and elements. They take as their subject matter factual happenings, imaginings, or both. They are transmitted and retold at different rates; most stories peter out and die, while a few sweep across the world in hours. They exhibit all the hallmarks for natural selection to act: variation, differential survival and reproduction, and heritability. Reproduction is complicated. Stories may transmit copies of themselves (reprintings, oral retellings), or they may transmit their traits to new generations of stories.
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Sarah Perry is a contributing editor of Ribbonfarm.

Vienna, late 18th century, alternate timeline.

In the beginning, there was just the tinkerer. One night, after attending a magic show at the palace, he got drunk and made a bet with a rival courtier. A few months later, he unveiled a marvelous contraption before a palace audience.

The contraption was an automaton, dressed as a Turkish sorcerer. It sat at a desk filled with complicated gears and levers, with a chessboard on top. The Turk played a decent game of chess, beating dukes, princes, and visiting American statesmen. Its reputation spread, and with it the reputation of Vienna as a hub of technological development.

Tinkerers from Austria to America set about making their own Mechanical Turks (as well as Mechanical Russians, Yankees, and chess-playing shepherdesses). Only a few succeeded; most were in Vienna. Of those half-dozen that succeeded, all were known to be acquainted with some down-on-his-luck chess master who, incidentally, was not overly tall or rotund.

Vienna’s reputation continued to spread, and it became fashionable for wealthy patrons to support chess automata and exhibit them. Unfortunately, one of the impoverished chess players got the flu. During his performance, such a loud fit of coughing emanated from his automaton’s desk that the audience was scandalized. The Turk, a hoax! The entire reputation of Vienna was on the line. [Read more…]

Sarah Perry is a contributing editor of Ribbonfarm.

In Minimum Viable Superorganism, Kevin Simler posits a minimal structure by which an institution made up of self-interested participants can achieve its goals:

Individuals should grant social status to others for advancing the superorganism’s goals.

There are two definitive activities within the prestige economy:

In this model, prestige inequalities are not socially harmful, but a consequence of a system that harnesses self-interest to achieve the goal of “from each according to his ability, to each according to his need.”

This bears only a vague resemblance to the system we currently find ourselves in. And that’s not a criticism of the model. Humans as a species are unimaginably richer now than in ancestral times, compared to how many of us there are. Why, given this ingenious mechanism for the distribution of talents and resources, is there still so much hunger, misery, and boredom? [Read more…]

I did a couple of podcasts in the last few months.

The first was with Aaron Lammer of Longform in November, at their studio in Brooklyn. We talked about living versus observing gonzo lifestyles, developing an identity as a reader and as a writer, life scripts and going off them, and a lot more.

Longform podcast

The second was with Shane Parrish of Farnam Street, over Skype (so there’s a bit of static in parts). We started off talking about Tempo, various styles of decision-making, staying grounded in reality by maintaining cracks in your mental models, being shaped by the work you do and the books you read, and so forth. I think I rambled a bit in this one. Note to self, chunk it up.

Farnam Street Knowledge Project podcast.

I am recording one more podcast, with Dan and Ian over at Tropical MBA, tomorrow. So you can look out for that in the next few weeks. I’ll try and talk about stuff I haven’t already covered in these two.

Podcasts are interesting. I’ve done a few radio programs and podcasts over the years, but there does seem to be a big spike in the medium (I think the last one I did before this spate of requests was in 2013). Several readers have suggested that I ought to try my hand at the game, but I don’t have any good ideas that lend themselves to the format. Plus it seems like a lot of work, so for the moment, I’ve decided to stay out of the game. Being on others’ podcasts is fun though. For those of you who like audio though, it seems Pocket now offers audio for arbitrary content. I haven’t yet tried it, but maybe you’ll like having ribbonfarm posts read out to you.

I’m having a lot of fun taking a break from writing and playing around with comics, which is why I haven’t yet done a real long-form post yet this year. Also because all the posts in my drafts folder seem to be long and complicated, and are taking forever to finish in the midst of a rather messy start to my year on the consulting side.

In other random news, I also recently upgraded to an iPad Pro with a Pencil, and it’s a life-changer for anyone who makes heavy use of thinking tools. Worth getting. It’s better than pen and paper.

Sarah Perry is a contributing editor of Ribbonfarm.

If we hear the metaphor “life is a joke,” our usual inference is a negative one: that a joke is a pitiful and sad thing for life to be, that life should be more than a “mere” joke. It seems to be a negative judgment of both life and humor.

Here I will explore the difficulties of living life as a joke, a feat that requires agency, intelligence, creativity, and hard work, and has perhaps been achieved by only a handful of sages throughout history, if at all. I will examine other common metaphors for life, and see how they compare to life-as-joke on moral and aesthetic grounds. A joke is itself a complex cognitive phenomenon; I will review the most promising theory of humor from cognitive science, that of Hurley, Dennett, and Adams, to highlight the technical problems of the phenomenon of life as a joke. I will distinguish mere deception and other phenomena that might first appear to be living life as a joke, but upon closer inspection are lesser things. Finally I will present a few candidates for successful lives-as-jokes: Laozi and Zhuangzi, Socrates, and Andy Kaufman. I will argue that a joke is an excellent thing for a life to be, though of course very few can achieve it.
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Sarah Perry is a contributing editor of Ribbonfarm.

According to the theory of cultural evolution, rituals and other cultural elements evolve in the context of human beings. They depend on us for their reproduction, and sometimes help us feel good and accomplish our goals, reproductive and otherwise. Ritual performances, like uses of language, exhibit a high degree of variation; ritual performances change over time, and some changes are copied, some are not. As with genetic mutation, ritual novelty is constantly emerging.

The following presents several ecological metaphors for ritual adaptation: sexual selection, the isolated island, and the clearcut forest. Once these metaphors are established, I will explain how they apply to ritual, and suggest some policy recommendations based on this speculation.

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