Parsing Is Such Sweet Sorrow: Shakespeare through the lens of statistics

Nate Silver re-launches a vastly expanded FiveThirtyEight and amongst the new content we find a gloriously nerdy essay by Emma Pierson that begins with: 

More than 400 years after Shakespeare wrote it, we can now say that “Romeo and Juliet” has the wrong name. Perhaps the play should be called “Juliet and Her Nurse,” which isn’t nearly as sexy, or “Romeo and Benvolio,” which has a whole different connotation.

I discovered this by writing a computer program to count how many lines each pair of characters in “Romeo and Juliet” spoke to each other, with the expectation that the lovers in the greatest love story of all time would speak more than any other pair. I wanted Romeo and Juliet to end up together — if they couldn’t in the play, at least they could in my analysis — but the math paid no heed to my desires. Juliet speaks more to her nurse than she does to Romeo; Romeo speaks more to Benvolio than he does to Juliet. Romeo gets a larger share of attention from his friends (Benvolio and Mercutio) and even his enemies (Tybalt) than he does from Juliet; Juliet gets a larger share of attention from her nurse and her mother than she does from Romeo. The two appear together in only five scenes out of 25. We all knew that this wasn’t a play predicated on deep interactions between the two protagonists, but still.

From there she goes on to explore all of Shakespeare's lovers and how much, or how little they talked to each other, making an interactive visualisation that brings new perspective to the plays (for example, see how in the comedies there are separate relationships that draw our attention whereas the tragedies have the lovers front and center.)

Using Language to Shape a Creative Culture

IDEO's Tom Kelley and David Kelley in HBR:

IDEO’s favorite antidote to negative speech patterns is the phrase “How might we…?”  It was introduced to us by Charles Warren, now salesforce.com’s senior vice president of product design, as an op­timistic way of seeking out new possibilities in the world. In a matter of weeks, it went viral at our firm and it’s stuck ever since. In three disarmingly simple words, it captures much of our perspective on creative groups. The “how” suggests that improvement is always possible. The only question remain­ing is how we will find success. The word “might” temporarily lowers the bar a little. It allows us to consider wild or improbable ideas instead of self-editing from the very beginning, giving us more chance of a breakthrough. And the “we” establishes own­ership of the challenge, making it clear that not only will it be a group effort, but it will be our group. Anyone who has worked with IDEO in the past decade or participated in OpenIDEO’s social innovation challenges has undoubtedly heard the phrase.

Other-initiated Repair: The Syllable Everyone Recognizes

The New York Times:

Are there words that are universally understood, across all countries and cultures? A team of linguists has proposed one: “huh.”

Huh?

In a paper published on Friday in the journal PLOS One, researchers at the Max Planck Institute for Psycholinguistics in the Netherlands announced that they had found strikingly similar versions in languages scattered across five continents, suggesting that “Huh?” is a universal word.

The study, conducted by Mark Dingemanse, Francisco Torreira and Nick Enfield, closely examined variations of the word — defined as “a simple syllable with a low-front central vowel, glottal onset consonant, if any, and questioning intonation” — in 10 languages, including Dutch, Icelandic, Mandarin Chinese, the West African Siwu and the Australian aboriginal Murrinh-Patha.

The researchers also looked at other words and expressions used to elicit clarification during conversation, a function that linguists refer to as “other-initiated repair.” But only “Huh?,” they write, occurs across languages whose phonetic patterns otherwise vary greatly.

And Answers

I've always had a fascination with questions and answers. The how and why of asking questions and answering them. Lately this fascination has been rekindled because I've been spending a lot of time thinking about the processes of collaborative communication. 

You already know each other, you are clients or service providers, freelancers, interns, co-workers, you know each other. You've been working together for a while and have found the routines of how you share information.

It is at this stage that we begin to answer the wrong questions. Or more precisely answering most questions wrongly. 

We think we know how the other person works, and how the other person thinks, so we begin to answer collaborative questions with what we think they want to hear, or what we think is the answer to a better question. Collaborative confusion ensues. 

I am reminded of a great scene from an episode of The West Wing. I forget the episode's plot but despite paraphrasing it many times remember the scene vividly. 

The White House Press Secretary is being prepared for a deposition by White House Council. After a few hours of going back and forth the lawyer casually asks the Press Secretary "can you tell me the time?" 

She replies, "It's 2:35."

He becomes, well, angry. Sternly he tells her, "stop that, stop doing that. I asked you, 'can you tell me the time?' and the answer is yes. Stop answering the question you think you heard, answer the question I asked."

That's it. 

Stop answering the wrong questions. 
Stop answering the question you thought you heard. 
Stop answering the question you think they should have asked.
Stop answering the question with too much information and not enough answer.
Stop answering the question undecidedly. 
Stop answering the question by pivoting the subject and saying something else you want to share. (Technique used most frequently during political debates.)
Stop answering the question in a way that hides the fact you don't know the answer. (Just say I don't know. Let me figure it out.)
Stop answering the question by providing more questions so you can buy yourself more time. (Just say I'm not done. I need more time.)
Stop answering the question without providing a solution. 

Can you tell me the time?

Answer the situation, the problem, the question they asked. 

Summer Reading: The Novels of Max Barry

Continuing my suggestions of books to read this summer I share with you the novels of Max Barry. 

I'm always fascinated by people in creative fields that are adamant to the idea of reading fiction. There you are having a casual conversation, you suggest a novel you think they will find interesting and they strongly oppose the idea. They don't read fiction (often they also say they never watch tv or attend any live performances.) 

And while I can see why anyone would think that somehow things like reading fiction are just entertainment and could not possibly lend themselves to teach us anything, what kind of creative work could they be creating when they deprive themselves of the enjoyment (and education) of watching someone manipulate language to convey messages in ways that are often profound and revealing. 

Besides, the more we study the brain, they more we learn how important fiction can be in neurological development. 

This is why I am recommending the novels of Max Barry. He is an astute observer of life and has tackled subjects dear to me (and this blog) in his novels. From marketing, advertising and branding to management, leadership and productivity to, in his latest novel, released today, poetry, language and influence. Each written with clear insights and full of enjoyable surprises. If you are interested in those areas there is much to be learned from his novels, while having a great deal of fun.

At an exclusive school somewhere outside of Arlington, Virginia, students aren’t taught history, geography, or mathematics—at least not in the usual ways. Instead, they are taught to persuade. Here the art of coercion has been raised to a science. Students harness the hidden power of language to manipulate the mind and learn to break down individuals by psychographic markers in order to take control of their thoughts. The very best will graduate as “poets”: adept wielders of language who belong to a nameless organization that is as influential as it is secretive.

Whip-smart orphan Emily Ruff is making a living running a three-card Monte game on the streets of San Francisco when she attracts the attention of the organization’s recruiters. She is flown across the country for the school’s strange and rigorous entrance exams, where, once admitted, she will be taught the fundamentals of persuasion by Brontë, Eliot, and Lowell—who have adopted the names of famous poets to conceal their true identities. For in the organization, nothing is more dangerous than revealing who you are: Poets must never expose their feelings lest they be manipulated. Emily becomes the school’s most talented prodigy until she makes a catastrophic mistake: She falls in love.

Meanwhile, a seemingly innocent man named Wil Jamieson is brutally ambushed by two strange men in an airport bathroom. Although he has no recollection of anything they claim he’s done, it turns out Wil is the key to a secret war between rival factions of poets and is quickly caught in their increasingly deadly crossfire. Pursued relentlessly by people with powers he can barely comprehend and protected by the very man who first attacked him, Wil discovers that everything he thought he knew about his past was fiction. In order to survive, must journey to the toxically decimated town of Broken Hill, Australia, to discover who he is and why an entire town was blown off the map.

As the two narratives converge, the shocking work of the poets is fully revealed, the body count rises, and the world crashes toward a Tower of Babel event which would leave all language meaningless. Max Barry’s most spellbinding and ambitious novel yet, Lexicon is a brilliant thriller that explores language, power, identity, and our capacity to love—whatever the cost.

Scientist Charles Neumann loses a leg in an industrial accident. It's not a tragedy. It's an opportunity. Charlie always thought his body could be better. He begins to explore a few ideas. To build parts. Better parts.

Prosthetist Lola Shanks loves a good artificial limb. In Charlie, she sees a man on his way to becoming artificial everything. But others see a madman. Or a product. Or a weapon.

A story for the age of pervasive technology, Machine Man is a gruesomely funny unraveling of one man's quest for ultimate self-improvement.

Stephen Jones is a shiny new hire at Zephyr Holdings. From the outside, Zephyr is just another bland corporate monolith, but behind its glass doors business is far from usual: the beautiful receptionist is paid twice as much as anybody else to do nothing, the sales reps use self help books as manuals, no one has seen the CEO, no one knows exactly what they are selling, and missing donuts are the cause of office intrigue. While Jones originally wanted to climb the corporate ladder, he now finds himself descending deeper into the irrational rationality of company policy. What he finds is hilarious, shocking, and utterly telling.

Taxation has been abolished, the government has been privatized, and employees take the surname of the company they work for. It's a brave new corporate world, but you don't want to be caught without a platinum credit card--as lowly Merchandising Officer Hack Nike is about to find out. Trapped into building street cred for a new line of $2500 sneakers by shooting customers, Hack attracts the barcode-tattooed eye of the legendary Jennifer Government. A stressed-out single mom, corporate watchdog, and government agent who has to rustle up funding before she's allowed to fight crime, Jennifer Government is holding a closing down sale--and everything must go.

A wickedly satirical and outrageous thriller about globalization and marketing hype, Jennifer Government is the best novel in the world ever.

When Scat comes up with the idea for the hottest new soda ever, he's sure he'll retire the next rich, savvy marketing success story. But in the treacherous waters of corporate America there are no sure things--and suddenly Scat has to save not only his idea but his yet-to-be-realized career. With the help of the scarily beautiful and brainy 6, he sets out on a mission to reclaim the fame and fortune that, time and again, eludes him. This brilliantly scathing debut is a hilarious send-up of celebrity, sexual politics, corporate America, and the fleeting status that comes with getting to the table first--before the other guy has you for lunch.