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What is Naismith's Rule for calculating walking time in the mountains example explained with a mountain ridge with hikers and lines for the horizontal distance and time and ascent and time

Naismith's Rule for mountain hiking time

Naismith's Rule provides a quick estimate for hiking time in the mountains, intended for "easy expeditions." It suggests: 1 hour for every 3 miles (5km) walked +1 hour for every 2,000 ft (600m) of ascent For example, suppose your hike covers 6 miles with 2,000 ft of ascent. In that case, Naismith's Rule suggests allowing 3 hours total—2 hours for distance and 1 hour for elevation. (Here's a metric sketch of Naismith's Rule) Origins of Naismith's Rule William Naismith was a Scottish Mountaineer born in 1856. He spent years trekking in the Highlands and was, to be fair, probably made of nails. In the Scottish Mountaineering Club Journal in 1893, he wrote: "...a simple formula, that may be found useful in estimating what time men in fair condition should allow for easy expeditions, namely, an hour for every three miles on the map, with an additional hour for every 2,000 feet of ascent." The Scottish Mountaineering Club Journal, Vol. II, September 1892, No.3, p.136 (pdf) Does Naismith's Rule Work? A figure I learned that's stuck with me is that a brisk walk is around 4 mph. But that's actually pretty fast and wouldn't apply on a mountain trail and certainly not hiking up a mountain. So I've run into the challenge myself when planning a trip in the mountains of how to guess how long a hike will likely take. From a recent hike—where I made sure to run through the full kitchen table survival skills and 10 essentials before leaving—limited daylight was a safety consideration. So knowing how long the hike might take was really important. Incidentally, there's a rule of thumb, literally, for estimating remaining daylight. Lots of people have put Naismith's Rule to the test, including me, and though it's a slightly optimistic metric, it's a starting point. On my recent hike, we were slightly over, but not by much. Adjusting Naismith's Rule To adjust for your circumstances, add time for: Tricky or technical terrain and trail condition Steep descents High altitude Lunches and snack stops Not being "in fair [physical] condition" in the view of a rugged mountaineer from Scotland in the 1890s Heavy packs, poor weather Getting lost Walking with children Photography, bird watching, animal spotting Time to stop and enjoy the views The size of your group—I have heard the rule of thumb to add 15 mins for each person in your group Sitting and sketching Presumably, if the hike was really long, you'd slow down The Unexpected So, there are many reasons why Naismith's Rule may be on the light side. But it's a decent place to start from. Killian Jornet Laughs in the Face of Naismith's Rule Someone for whom Naismith's Rule definitely doesn't apply is the incredible Killian Jornet, whom I watched in the beautiful documentary Déjame Vivir on Netflix. Footage of him running along knife-edge ridges at the top of the Alps is breathtaking. In 2024, he hiked all 82 peaks above 4,000m in the Alps in 19 days without using motorized vehicles between them 🤯. Lock-Miles I was told about the term lock-miles, a kind of Naismith's Rule but for canal journeys rather than hikes. To estimate the journey time, you'd first calculate the lock-miles with the idea that it takes as long to travel through a lock as it does to travel a mile. A journey of 10 miles with 5 locks would be 15 lock-miles. For experienced boaters, a typical speed might be 3 lock-miles an hour, so the journey of 15 lock-miles would take 5 hours. Let me know if you give Naismith's Rule a try! Prefer metric? So do I. Here's a metric Naismith's rule (with the approximate rounding) Related ideas Also see: The Fun Scale The 10 essentials Kitchen table survival skills Take photos of maps before a hike Use a compass Rule of thumb for remaining daylight Kaffikok — the time you can travel before needing another cup of coffee Time hierarchy Isochrones Human pace I made some prints and products with and without the text in case, like me, you like a peaceful mountain ridge without any rules…Naismith's Rule provides a quick estimate for hiking time in the mountains, intended for "easy expeditions." It suggests: 1 hour for every 3 miles (5km) walked +1 hour for every 2,000 ft (600m) of ascent For example, suppose your hike covers 6 miles with 2,000 ft of ascent. In that case, Naismith's Rule suggests allowing 3 hours total—2 hours for distance and 1 hour for elevation. (Here's a metric sketch of Naismith's Rule) Origins of Naismith's Rule William Naismith was a Scottish Mountaineer born in 1856. He spent years trekking in the Highlands and was, to be fair, probably made of nails. In the Scottish Mountaineering Club Journal in 1893, he wrote: "...a simple formula, that may be found useful in estimating what time men in fair condition should allow for easy expeditions, namely, an hour for every three miles on the map, with an additional hour for every 2,000 feet of ascent." The Scottish Mountaineering Club Journal, Vol. II, September 1892, No.3, p.136 (pdf) Does Naismith's Rule Work? A figure I learned that's stuck with me is that a brisk walk is around 4 mph. But that's actually pretty fast and wouldn't apply on a mountain trail and certainly not hiking up a mountain. So I've run into the challenge myself when planning a trip in the mountains of how to guess how long a hike will likely take. From a recent hike—where I made sure to run through the full kitchen table survival skills and 10 essentials before leaving—limited daylight was a safety consideration. So knowing how long the hike might take was really important. Incidentally, there's a rule of thumb, literally, for estimating remaining daylight. Lots of people have put Naismith's Rule to the test, including me, and though it's a slightly optimistic metric, it's a starting point. On my recent hike, we were slightly over, but not by much. Adjusting Naismith's Rule To adjust for your circumstances, add time for: Tricky or technical terrain and trail condition Steep descents High altitude Lunches and snack stops Not being "in fair [physical] condition" in the view of a rugged mountaineer from Scotland in the 1890s Heavy packs, poor weather Getting lost Walking with children Photography, bird watching, animal spotting Time to stop and enjoy the views The size of your group—I have heard the rule of thumb to add 15 mins for each person in your group Sitting and sketching Presumably, if the hike was really long, you'd slow down The Unexpected So, there are many reasons why Naismith's Rule may be on the light side. But it's a decent place to start from. Killian Jornet Laughs in the Face of Naismith's Rule Someone for whom Naismith's Rule definitely doesn't apply is the incredible Killian Jornet, whom I watched in the beautiful documentary Déjame Vivir on Netflix. Footage of him running along knife-edge ridges at the top of the Alps is breathtaking. In 2024, he hiked all 82 peaks above 4,000m in the Alps in 19 days without using motorized vehicles between them 🤯. Lock-Miles I was told about the term lock-miles, a kind of Naismith's Rule but for canal journeys rather than hikes. To estimate the journey time, you'd first calculate the lock-miles with the idea that it takes as long to travel through a lock as it does to travel a mile. A journey of 10 miles with 5 locks would be 15 lock-miles. For experienced boaters, a typical speed might be 3 lock-miles an hour, so the journey of 15 lock-miles would take 5 hours. Let me know if you give Naismith's Rule a try! Prefer metric? So do I. Here's a metric Naismith's rule (with the approximate rounding) Related ideas Also see: The Fun Scale The 10 essentials Kitchen table survival skills Take photos of maps before a hike Use a compass Rule of thumb for remaining daylight Kaffikok — the time you can travel before needing another cup of coffee Time hierarchy Isochrones Human pace I made some prints and products with and without the text in case, like me, you like a peaceful mountain ridge without any rules

17 Nov

The paradise paradox

The Paradise Paradox is the tempting but misguided belief that moving to a "paradise" will magically make everything better. It's the idea that a change of scene to somewhere beautiful or exciting will somehow sweep away all our problems. And while a fresh setting can give us a lift, the reality is often more complicated: paradise, as wonderful as it might be, won't always solve the everyday challenges we bring along with us. Idealizing Paradise Moving to your paradise might feel incredible, and it's a life-changer for some people, but it's easy to idealize paradise, imagining it as a place where worries simply disappear. Yet even the most stunning places could start to feel ordinary, and your conceptualised paradise may have its own challenges. For instance, perhaps your paradise is a beautiful, distant, exotic land. Such a paradise, however, has the drawback of no longer being distant or exotic once you arrive and the day-to-day takes over. Someone living in a fast-paced metropolis might dream of calm and quiet, while someone surrounded by calm and quiet may dream of the rush and excitement of the big city. Alastair Humphreys, who introduced me to the Paradise Paradox in his book Local, gave a great example in our podcast about Microadventures. In an interview on an American podcast, the interviewers couldn't imagine exploring Kansas to be exciting—it was known or even home to them. But to Alastair, a visit to Kansas would be an adventure, full of new things to see and do. It's a reminder that our ideas of paradise are often fueled by novelty—and novelty, by nature, doesn't last forever. Expectations, the day-to-day, and Adaptability Some of the Paradise Paradox may be explained by how easy it is to build up expectations. If we imagine paradise as the ultimate fix, it could lead to disappointment if it doesn't live up to the dream. As for vorfreude—the joy of anticipation—the build-up can sometimes overshadow the reality. Then there's the simple truth that day-to-day life in paradise isn't a vacation. A tropical beach holiday lets you unwind and enjoy the scenery without a care. But living there might mean dealing with rainy seasons, work deadlines, or just regular old laundry. Humans are also remarkably adaptable. We're good at adjusting to new surroundings, which means something initially remarkable may soon become the new normal. It's a bit like the grass-is-greener mentality we see in many areas of life. If you're a consultant, you might long for the stability of an in-house role, while in-house folks might crave the variety of consulting. The Dark Side of the Paradise Paradox In some cases, the Paradise Paradox takes on a more serious tone. The documentary film The Paradise Paradox, executive produced by Olympic ski racer Bode Miller and filmmaker Brett Rapkin, explores how people drawn to the beauty and tranquility of US mountain towns sometimes face mental health struggles. These picturesque communities, though visually idyllic, have experienced higher-than-average rates of suicide, highlighting the challenges of living in remote, isolated settings. Strategies to Minimize the Pull of the Paradise Paradox To reduce the effect of the Paradise Paradox, it helps to focus on what brings fulfillment in any setting, allowing us to appreciate where we are without feeling the constant pull of an imagined paradise. Here are a few ways to lessen the allure: 1. Cultivating Gratitude Practicing gratitude allows us to recognize the value of what we already have. Focusing on the positives around us may make us less inclined to search elsewhere for happiness, realizing that contentment often lies closer than we think. 2. Prioritizing Experiences Over Material Goods Research consistently shows that experiences bring longer-lasting happiness than possessions. Prioritizing meaningful activities and memories can bring joy and satisfaction, outlasting the initial thrill of accumulating more. 3. Simplifying Life A minimalist approach can help reduce the constant desire for more—whether it's things, places, or achievements. Simplifying our lives can allow us to focus on what truly matters and bring a greater sense of peace. 4. Pursuing Meaningful Goals Focusing on personal growth, nurturing relationships, and contributing to our communities can offer a lasting sense of fulfillment that doesn't depend on our surroundings. Meaningful goals and connections often provide the depth of happiness that location alone can't bring. Paradise can certainly refresh us, but true and lasting happiness is often about embracing where we already are and what we already have. Since writing this I keep seeing related quotes: The only Zen you can find on the tops of mountains is the Zen you bring up there. — Robert M. Pirsig (via Waking Up) “We tend to attribute happiness to our circumstances (what happens to us) but studies suggest our happiness is really dependent on what we pay attention to.” — Cal Newport, Deep Work (via Mind Over Tech) "Happiness isn't getting what you want, it's wanting what you got." — Garth Brooks Wherever you go, there you are. Also see: The paradox of choice The transparency paradox The fresh start effect Vorfreude 5 ways to wellbeing…The Paradise Paradox is the tempting but misguided belief that moving to a "paradise" will magically make everything better. It's the idea that a change of scene to somewhere beautiful or exciting will somehow sweep away all our problems. And while a fresh setting can give us a lift, the reality is often more complicated: paradise, as wonderful as it might be, won't always solve the everyday challenges we bring along with us. Idealizing Paradise Moving to your paradise might feel incredible, and it's a life-changer for some people, but it's easy to idealize paradise, imagining it as a place where worries simply disappear. Yet even the most stunning places could start to feel ordinary, and your conceptualised paradise may have its own challenges. For instance, perhaps your paradise is a beautiful, distant, exotic land. Such a paradise, however, has the drawback of no longer being distant or exotic once you arrive and the day-to-day takes over. Someone living in a fast-paced metropolis might dream of calm and quiet, while someone surrounded by calm and quiet may dream of the rush and excitement of the big city. Alastair Humphreys, who introduced me to the Paradise Paradox in his book Local, gave a great example in our podcast about Microadventures. In an interview on an American podcast, the interviewers couldn't imagine exploring Kansas to be exciting—it was known or even home to them. But to Alastair, a visit to Kansas would be an adventure, full of new things to see and do. It's a reminder that our ideas of paradise are often fueled by novelty—and novelty, by nature, doesn't last forever. Expectations, the day-to-day, and Adaptability Some of the Paradise Paradox may be explained by how easy it is to build up expectations. If we imagine paradise as the ultimate fix, it could lead to disappointment if it doesn't live up to the dream. As for vorfreude—the joy of anticipation—the build-up can sometimes overshadow the reality. Then there's the simple truth that day-to-day life in paradise isn't a vacation. A tropical beach holiday lets you unwind and enjoy the scenery without a care. But living there might mean dealing with rainy seasons, work deadlines, or just regular old laundry. Humans are also remarkably adaptable. We're good at adjusting to new surroundings, which means something initially remarkable may soon become the new normal. It's a bit like the grass-is-greener mentality we see in many areas of life. If you're a consultant, you might long for the stability of an in-house role, while in-house folks might crave the variety of consulting. The Dark Side of the Paradise Paradox In some cases, the Paradise Paradox takes on a more serious tone. The documentary film The Paradise Paradox, executive produced by Olympic ski racer Bode Miller and filmmaker Brett Rapkin, explores how people drawn to the beauty and tranquility of US mountain towns sometimes face mental health struggles. These picturesque communities, though visually idyllic, have experienced higher-than-average rates of suicide, highlighting the challenges of living in remote, isolated settings. Strategies to Minimize the Pull of the Paradise Paradox To reduce the effect of the Paradise Paradox, it helps to focus on what brings fulfillment in any setting, allowing us to appreciate where we are without feeling the constant pull of an imagined paradise. Here are a few ways to lessen the allure: 1. Cultivating Gratitude Practicing gratitude allows us to recognize the value of what we already have. Focusing on the positives around us may make us less inclined to search elsewhere for happiness, realizing that contentment often lies closer than we think. 2. Prioritizing Experiences Over Material Goods Research consistently shows that experiences bring longer-lasting happiness than possessions. Prioritizing meaningful activities and memories can bring joy and satisfaction, outlasting the initial thrill of accumulating more. 3. Simplifying Life A minimalist approach can help reduce the constant desire for more—whether it's things, places, or achievements. Simplifying our lives can allow us to focus on what truly matters and bring a greater sense of peace. 4. Pursuing Meaningful Goals Focusing on personal growth, nurturing relationships, and contributing to our communities can offer a lasting sense of fulfillment that doesn't depend on our surroundings. Meaningful goals and connections often provide the depth of happiness that location alone can't bring. Paradise can certainly refresh us, but true and lasting happiness is often about embracing where we already are and what we already have. Since writing this I keep seeing related quotes: The only Zen you can find on the tops of mountains is the Zen you bring up there. — Robert M. Pirsig (via Waking Up) “We tend to attribute happiness to our circumstances (what happens to us) but studies suggest our happiness is really dependent on what we pay attention to.” — Cal Newport, Deep Work (via Mind Over Tech) "Happiness isn't getting what you want, it's wanting what you got." — Garth Brooks Wherever you go, there you are. Also see: The paradox of choice The transparency paradox The fresh start effect Vorfreude 5 ways to wellbeing

10 Nov

Isometric projection

Isometric projection is a simple way to draw 3D shapes. The meaning of isometric is "equal measure," from the Greek words iso- for equal and metric for measure. So, in an isometric drawing, all three axes, x, y, and z, are scaled equally, giving a clear, undistorted view of an object in three dimensions. Except that isometric drawings can look a little odd and oversimplified. This is because of the lack of perspective, a visual distortion of 3D shapes we experience in the real world. In a perspective drawing, parallel lines converge in the distance towards a vanishing point, but in an isometric drawing, parallel lines stay parallel, and sizes don't get smaller in the distance. The lack of perspective in an isometric view can make it look artificial, but it always looks clear. I learned isometric drawing when studying engineering. Armed with a stack of isometric paper with a printed isometric grid, we had to reel off exercises involving drawing isometric views of 3D objects. And isometric projection is really handy for this. It can take a long time to build the skills to sketch a realistic 3D-looking object, perspective and all, but with isometric paper, you can quite quickly produce something that communicates to you or others what's in your head or on the workbench. Isometric projection is handy for boxy shapes—I chose an approximation of the Bauhaus Dessau building by Walter Gropius to show it. If you need curves and angles, just like with perspective drawings, it can help to draw more boxes around these areas and use them to align your curves and meeting points for your lines. Isometric views and their variations have had somewhat of a resurgence of late in video and board games. It turns out they're pretty helpful in map-based or city-building games such as Zynga's Farmville, Civilisation, or Sim City as the isometric view allows all parts of a scene to be viewed equally—in the distance or up close—while still seeing every detail in, say, a building, wherever it is. If you want to try some isometric drawings, making your own isometric grid paper is easy. Just draw equally-spaced vertical stripes and then a criss-cross of lines in both directions at 30 degrees from the horizontal. This gives a host of equilateral triangles and an easy base to start drawing your 3D objects. Or just download some templates online. You'll find that building up more complex shapes out of cubes is dead simple if you keep to the lines on the isometric grid. Just as in the drawing here, sometimes shapes drawn in isometric view lend themselves to curious optical effects. The lack of perspective can make the difference between heights and depths ambiguous. So, you can't always tell if two surfaces are at very different heights or if one is in the distance. The brilliant puzzle game Monument Valley uses this quirk of isometric projection to create mind-bending puzzles that are well worth a try. For instance, rotating a high surface can suddenly make a platform that extends far into the distance 🤯. Isometric-like projection can also help make impossible shapes, such as the Impossible Staircase, or Penrose stairs. Another type of projection, anamorphosis, creates a drawing that only looks correct from a particular viewpoint. Anamorphosis leads to some remarkable street art. Also see: 2.5D objects, including an old video of me drawing a sketchplanation Orthographic projection One-point perspective Two-point perspective Three-point perspective Atmospheric perspective Anamorphosis The Impossible Staircase, or Penrose stairs When drawn nice and faint, the isometric grid is an example of a ghost grid Isometric projection is quite the opposite of "draw what you see, not what you think." Foreshortening can be hard to get the hang of. Life is 3D—give edges thickness…Isometric projection is a simple way to draw 3D shapes. The meaning of isometric is "equal measure," from the Greek words iso- for equal and metric for measure. So, in an isometric drawing, all three axes, x, y, and z, are scaled equally, giving a clear, undistorted view of an object in three dimensions. Except that isometric drawings can look a little odd and oversimplified. This is because of the lack of perspective, a visual distortion of 3D shapes we experience in the real world. In a perspective drawing, parallel lines converge in the distance towards a vanishing point, but in an isometric drawing, parallel lines stay parallel, and sizes don't get smaller in the distance. The lack of perspective in an isometric view can make it look artificial, but it always looks clear. I learned isometric drawing when studying engineering. Armed with a stack of isometric paper with a printed isometric grid, we had to reel off exercises involving drawing isometric views of 3D objects. And isometric projection is really handy for this. It can take a long time to build the skills to sketch a realistic 3D-looking object, perspective and all, but with isometric paper, you can quite quickly produce something that communicates to you or others what's in your head or on the workbench. Isometric projection is handy for boxy shapes—I chose an approximation of the Bauhaus Dessau building by Walter Gropius to show it. If you need curves and angles, just like with perspective drawings, it can help to draw more boxes around these areas and use them to align your curves and meeting points for your lines. Isometric views and their variations have had somewhat of a resurgence of late in video and board games. It turns out they're pretty helpful in map-based or city-building games such as Zynga's Farmville, Civilisation, or Sim City as the isometric view allows all parts of a scene to be viewed equally—in the distance or up close—while still seeing every detail in, say, a building, wherever it is. If you want to try some isometric drawings, making your own isometric grid paper is easy. Just draw equally-spaced vertical stripes and then a criss-cross of lines in both directions at 30 degrees from the horizontal. This gives a host of equilateral triangles and an easy base to start drawing your 3D objects. Or just download some templates online. You'll find that building up more complex shapes out of cubes is dead simple if you keep to the lines on the isometric grid. Just as in the drawing here, sometimes shapes drawn in isometric view lend themselves to curious optical effects. The lack of perspective can make the difference between heights and depths ambiguous. So, you can't always tell if two surfaces are at very different heights or if one is in the distance. The brilliant puzzle game Monument Valley uses this quirk of isometric projection to create mind-bending puzzles that are well worth a try. For instance, rotating a high surface can suddenly make a platform that extends far into the distance 🤯. Isometric-like projection can also help make impossible shapes, such as the Impossible Staircase, or Penrose stairs. Another type of projection, anamorphosis, creates a drawing that only looks correct from a particular viewpoint. Anamorphosis leads to some remarkable street art. Also see: 2.5D objects, including an old video of me drawing a sketchplanation Orthographic projection One-point perspective Two-point perspective Three-point perspective Atmospheric perspective Anamorphosis The Impossible Staircase, or Penrose stairs When drawn nice and faint, the isometric grid is an example of a ghost grid Isometric projection is quite the opposite of "draw what you see, not what you think." Foreshortening can be hard to get the hang of. Life is 3D—give edges thickness

3 Nov

Fight or Flight

The fight-or-flight response is our body's automatic and ancient response to perceived threats or danger. This innate physiological response in animals and humans prepares us to either confront a threat (fight) or flee from it (flight). This mechanism, often referred to as entering fight-or-flight mode, likely played a critical role in our survival. Face to face with a tiger At the annual Wildlife Photographer of the Year Awards, I saw an astonishing photo of a tiger surprising workers in a field (Tiger Run by Nejib Ahmed). Everyone is in flight mode except one man, much braver than me, who perhaps through instinct has stood to fight, staring down the approaching tiger with a long stick. The photo is captivating in its drama and struck me as a perfect fight-or-flight example in action. Thankfully, no one—including the tiger—was hurt in this instance. The adrenalin that can flood our bodies during such moments may sometimes give us strength to do what we didn't expect, surprising ourselves with what we are capable of—Nicola Morgan, when discussing the amazing teenage brain, gives an example of her leaping a 5ft fence and looking back with amazement. Sudden strength or speed like this is a well-known fight-or-flight symptom. Reptilian brain, Lizard brain The fight-or-flight response is linked to theories about how different parts of the brain developed during our evolution. Modern research has corrected some aspects of this idea, but the basic concept remains. The most primitive parts of the brain—those we may share with, say, dinosaurs—are responsible for automatic behaviours like protecting territory, aggression, fear and fending off danger. This is often referred to as the reptilian brain or lizard brain. These brain areas are key to our survival instincts and play a critical role in activating fight-or-flight mode. Years of evolution since then have given us brain structures like the limbic system, which is responsible for our emotions and social behaviours. The amygdala, part of the limbic system, is especially important in triggering fear and the fight-or-flight response. Later, the neocortex evolved, enabling humans to assess threats rationally, solve problems, and make decisions—giving us more control over how we respond to fear or anxiety. The response, also illustrated by the snake rearing up in the sketch, is a fallback to our oldest instincts from the oldest parts of our brain when faced with a threat, so the theory goes. Freeze, Flight, Fight, Fright Fight-or-flight psychology, coined by physiologist Walter Cannon in 1915, is only part of a broader spectrum of acute stress responses. A more accurate sequence we experience may be freeze, flight, fight, or fright. Freeze: Our immediate reaction to danger might be to "stop, look, listen," remaining hyper-vigilant while we assess the threat, and perhaps hope by not moving, the dinosaur won't spot us. Flight: We may flee the situation to safety. Fight: If escape isn't possible, we might fight back, as shown by the brave individual in the tiger photo. Fright: This might include panic and immobility, playing dead in case a predator decides we're not worth eating after all. As you see, the updated list continues with excellent alliteration, which no doubt helped make the idea sticky in the first place (other proposals add fawn, faint, flock and more). When Fight-or-Flight Doesn't Help While the tiger scenario shows our ancient brain instincts at work, most modern-day situations don't involve life-or-death threats. However, we may still enter fight-or-flight mode during stressful, anxiety-inducing moments, such as public speaking, a challenging work interaction, or a difficult conversation. In these cases, our age-old reactions may not serve us well. The same ancient brain that would help us survive a predator may now cause us to avoid daunting tasks. Whether it's a work presentation, a cold sales call, or confronting a personal issue, we may feel the urge to retreat from the action and get a snack from the kitchen instead. When our ancient instincts—so finely tuned for survival—are no longer serving us in modern situations, it's helpful to pause and let our higher-order thinking take the lead. Techniques like box breathing or meditation help calm the body and mind, allowing us to move beyond fear and resistance. By doing so, we can overcome the automatic urge to "fight or flight," or even freeze or fright, and instead respond with clarity, control, and confidence. Also see: Box breathing The spotlight effect Don't make important decisions on an empty stomach Cognitive overhead See Big Ideas Little Pictures for Melissa Dahl's Awkwardness Vortex and the technique of reframing anxiety as excitement…The fight-or-flight response is our body's automatic and ancient response to perceived threats or danger. This innate physiological response in animals and humans prepares us to either confront a threat (fight) or flee from it (flight). This mechanism, often referred to as entering fight-or-flight mode, likely played a critical role in our survival. Face to face with a tiger At the annual Wildlife Photographer of the Year Awards, I saw an astonishing photo of a tiger surprising workers in a field (Tiger Run by Nejib Ahmed). Everyone is in flight mode except one man, much braver than me, who perhaps through instinct has stood to fight, staring down the approaching tiger with a long stick. The photo is captivating in its drama and struck me as a perfect fight-or-flight example in action. Thankfully, no one—including the tiger—was hurt in this instance. The adrenalin that can flood our bodies during such moments may sometimes give us strength to do what we didn't expect, surprising ourselves with what we are capable of—Nicola Morgan, when discussing the amazing teenage brain, gives an example of her leaping a 5ft fence and looking back with amazement. Sudden strength or speed like this is a well-known fight-or-flight symptom. Reptilian brain, Lizard brain The fight-or-flight response is linked to theories about how different parts of the brain developed during our evolution. Modern research has corrected some aspects of this idea, but the basic concept remains. The most primitive parts of the brain—those we may share with, say, dinosaurs—are responsible for automatic behaviours like protecting territory, aggression, fear and fending off danger. This is often referred to as the reptilian brain or lizard brain. These brain areas are key to our survival instincts and play a critical role in activating fight-or-flight mode. Years of evolution since then have given us brain structures like the limbic system, which is responsible for our emotions and social behaviours. The amygdala, part of the limbic system, is especially important in triggering fear and the fight-or-flight response. Later, the neocortex evolved, enabling humans to assess threats rationally, solve problems, and make decisions—giving us more control over how we respond to fear or anxiety. The response, also illustrated by the snake rearing up in the sketch, is a fallback to our oldest instincts from the oldest parts of our brain when faced with a threat, so the theory goes. Freeze, Flight, Fight, Fright Fight-or-flight psychology, coined by physiologist Walter Cannon in 1915, is only part of a broader spectrum of acute stress responses. A more accurate sequence we experience may be freeze, flight, fight, or fright. Freeze: Our immediate reaction to danger might be to "stop, look, listen," remaining hyper-vigilant while we assess the threat, and perhaps hope by not moving, the dinosaur won't spot us. Flight: We may flee the situation to safety. Fight: If escape isn't possible, we might fight back, as shown by the brave individual in the tiger photo. Fright: This might include panic and immobility, playing dead in case a predator decides we're not worth eating after all. As you see, the updated list continues with excellent alliteration, which no doubt helped make the idea sticky in the first place (other proposals add fawn, faint, flock and more). When Fight-or-Flight Doesn't Help While the tiger scenario shows our ancient brain instincts at work, most modern-day situations don't involve life-or-death threats. However, we may still enter fight-or-flight mode during stressful, anxiety-inducing moments, such as public speaking, a challenging work interaction, or a difficult conversation. In these cases, our age-old reactions may not serve us well. The same ancient brain that would help us survive a predator may now cause us to avoid daunting tasks. Whether it's a work presentation, a cold sales call, or confronting a personal issue, we may feel the urge to retreat from the action and get a snack from the kitchen instead. When our ancient instincts—so finely tuned for survival—are no longer serving us in modern situations, it's helpful to pause and let our higher-order thinking take the lead. Techniques like box breathing or meditation help calm the body and mind, allowing us to move beyond fear and resistance. By doing so, we can overcome the automatic urge to "fight or flight," or even freeze or fright, and instead respond with clarity, control, and confidence. Also see: Box breathing The spotlight effect Don't make important decisions on an empty stomach Cognitive overhead See Big Ideas Little Pictures for Melissa Dahl's Awkwardness Vortex and the technique of reframing anxiety as excitement

27 Oct

Leading from Any Chair

Leading from Any Chair is the idea that we all have the opportunity to influence the action even when we're not standing at the front. It's a principle for effective leadership and teaching yourself and others to lead. The Art of Possibility In their inspiring book, The Art of Possibility, Benjamin and Rosamund Zander relate a story from renowned violist Eugene Lehner, who played in the Kolish Quartet and Boston Symphony Orchestra. One day, in an interpretation class led by Zander with Lehner as a guest coach, Ben Zander asked him, "How can you bear to play day after day in an orchestra led by conductors, many of whom must know so much less than you?" Lehner said he was playing in a rehearsal in his first year in the orchestra when the conductor, Koussevitsky, struggled to lead the orchestra as he wanted through a tricky Bach piece. A friend of Koussevitsky and fellow conductor, Nadia Boulanger, was sitting in on the session. Koussevitsky stopped and asked if Nadia would conduct the passage so he could hear what it sounded like from the back of the hall. Nadia conducted the passage without a hitch, and the rehearsal continued. But the episode left Lehner ever wondering and waiting for the moment when a conductor might say to him, "Lehner, you come up here and conduct. I want to go to the back of the hall and hear how it sounds." "It's now 43 years since that happened," said Lehner, "and it is less and less likely that I will be asked. However, in the meantime, I haven't had a single dull moment in a rehearsal as I sit wondering, 'What would I say to the orchestra, should I suddenly be called upon to lead?'" Stepping up to lead There are many occasions when I have personally grappled with whether now is the moment to step up and lead. Sometimes, I have taken them. Other times, I feel ashamed that I sat back and let events unfold without contributing. It's the easy path to defer to whoever's leading and consider that there may be better times to influence or say what you think needs to be said. Or you can take the view that we're all responsible in some way for what we're experiencing, and we all have the opportunity to influence for the better. You don't have to be the captain on the field to influence your fellow players. A typical example I've experienced is seeing a presenter struggle in a meeting, perhaps with technical difficulties or audience confusion. It may take only a little to try and help with the tech or to ask the presenter to explain a point that you see needs to be clarified for people. Or, as an audience member, you can sit back and consider it not your problem. Once, in the middle of a performance at a wedding, the music suddenly clicked off for the performer. Immediately picking up on the problem, the wedding photographer started singing the melody, picking up where the music left off. Getting the idea, all the guests joined in, continuing the music to the end. This quick intervention undoubtedly led to a better show for everyone, including the performer. Learning to lead When you choose to step up, it's an opportunity to learn to lead. You may discover that there's more to leading than it seems and gain empathy for the leaders around you. By constantly asking myself, "What would I say should I suddenly be called upon to lead?" I am mentally rehearsing for when I am needed, for when I am in the position of a leader. It speeds up my learning and keeps me always ready for action. It's one reason why always thinking of questions at a talk or conference is valuable. It forces you to engage with the material, and when the opportunity arises, you're ready to step up and ask about what matters to you or what everyone is thinking. Identifying passion and the leaders in front of you As a leader, if you believe you are superior, for example, as the conductor who doesn't consider the orchestra members to have anything to contribute to the interpretation of the music, then you are likely to suppress the voices of the very people you need to deliver. People want to contribute—that's why they attended the class, joined the company, or trained in their discipline. Rosamund Zander advises that, as a leader, we can train ourselves to spot the passion of the people in our teams. We can actively look for occasions to allow team members to lead. And if we don't see the passion, we can ask ourselves, "Who am I being that they are not shining?" Leading from Any Chair We can learn to lead at any time. So the next time you're just one in a crowd, consider that you can lead from any chair. Ask yourself, "What would I say if I were suddenly called upon to lead?" -- In case it wasn't clear, I highly recommend The Art of Possibility, which I listened to as an audiobook read by Benjamin and Rosamund. And I always recommend finding 20 mins to watch Benjamin Zander's classic TED talk, The Transformative Power of Classical Music. Left-buttock playing is a sketch I've been planning for a long time. Also see: Ask the question at talks Mindmap at conferences Push authority to information The Responsibility Poem: Whose job is it? The accountability ladder What drives us: Autonomy, Mastery, Purpose This is the last time I plan to draw an orchestra. I now know a little of what it must feel like to draw Where's Wally?…Leading from Any Chair is the idea that we all have the opportunity to influence the action even when we're not standing at the front. It's a principle for effective leadership and teaching yourself and others to lead. The Art of Possibility In their inspiring book, The Art of Possibility, Benjamin and Rosamund Zander relate a story from renowned violist Eugene Lehner, who played in the Kolish Quartet and Boston Symphony Orchestra. One day, in an interpretation class led by Zander with Lehner as a guest coach, Ben Zander asked him, "How can you bear to play day after day in an orchestra led by conductors, many of whom must know so much less than you?" Lehner said he was playing in a rehearsal in his first year in the orchestra when the conductor, Koussevitsky, struggled to lead the orchestra as he wanted through a tricky Bach piece. A friend of Koussevitsky and fellow conductor, Nadia Boulanger, was sitting in on the session. Koussevitsky stopped and asked if Nadia would conduct the passage so he could hear what it sounded like from the back of the hall. Nadia conducted the passage without a hitch, and the rehearsal continued. But the episode left Lehner ever wondering and waiting for the moment when a conductor might say to him, "Lehner, you come up here and conduct. I want to go to the back of the hall and hear how it sounds." "It's now 43 years since that happened," said Lehner, "and it is less and less likely that I will be asked. However, in the meantime, I haven't had a single dull moment in a rehearsal as I sit wondering, 'What would I say to the orchestra, should I suddenly be called upon to lead?'" Stepping up to lead There are many occasions when I have personally grappled with whether now is the moment to step up and lead. Sometimes, I have taken them. Other times, I feel ashamed that I sat back and let events unfold without contributing. It's the easy path to defer to whoever's leading and consider that there may be better times to influence or say what you think needs to be said. Or you can take the view that we're all responsible in some way for what we're experiencing, and we all have the opportunity to influence for the better. You don't have to be the captain on the field to influence your fellow players. A typical example I've experienced is seeing a presenter struggle in a meeting, perhaps with technical difficulties or audience confusion. It may take only a little to try and help with the tech or to ask the presenter to explain a point that you see needs to be clarified for people. Or, as an audience member, you can sit back and consider it not your problem. Once, in the middle of a performance at a wedding, the music suddenly clicked off for the performer. Immediately picking up on the problem, the wedding photographer started singing the melody, picking up where the music left off. Getting the idea, all the guests joined in, continuing the music to the end. This quick intervention undoubtedly led to a better show for everyone, including the performer. Learning to lead When you choose to step up, it's an opportunity to learn to lead. You may discover that there's more to leading than it seems and gain empathy for the leaders around you. By constantly asking myself, "What would I say should I suddenly be called upon to lead?" I am mentally rehearsing for when I am needed, for when I am in the position of a leader. It speeds up my learning and keeps me always ready for action. It's one reason why always thinking of questions at a talk or conference is valuable. It forces you to engage with the material, and when the opportunity arises, you're ready to step up and ask about what matters to you or what everyone is thinking. Identifying passion and the leaders in front of you As a leader, if you believe you are superior, for example, as the conductor who doesn't consider the orchestra members to have anything to contribute to the interpretation of the music, then you are likely to suppress the voices of the very people you need to deliver. People want to contribute—that's why they attended the class, joined the company, or trained in their discipline. Rosamund Zander advises that, as a leader, we can train ourselves to spot the passion of the people in our teams. We can actively look for occasions to allow team members to lead. And if we don't see the passion, we can ask ourselves, "Who am I being that they are not shining?" Leading from Any Chair We can learn to lead at any time. So the next time you're just one in a crowd, consider that you can lead from any chair. Ask yourself, "What would I say if I were suddenly called upon to lead?" -- In case it wasn't clear, I highly recommend The Art of Possibility, which I listened to as an audiobook read by Benjamin and Rosamund. And I always recommend finding 20 mins to watch Benjamin Zander's classic TED talk, The Transformative Power of Classical Music. Left-buttock playing is a sketch I've been planning for a long time. Also see: Ask the question at talks Mindmap at conferences Push authority to information The Responsibility Poem: Whose job is it? The accountability ladder What drives us: Autonomy, Mastery, Purpose This is the last time I plan to draw an orchestra. I now know a little of what it must feel like to draw Where's Wally?

20 Oct

Eponym

An eponym is a word named after somebody or someplace. An eponym, almost by definition, comes with a story, making them some of the most intriguing words. Knowing what an eponym is also allows you to use the word eponymous, which is always a good way to sound smart. Some of my favourite eponyms are now commonplace products that took the inventor's name. Some examples: The Rubik's Cube The Rubik's cube is an invention by Hungarian architecture professor Ernő Rubik. The cube has the fascinating property of being a solid object that's also fluid. This year (2024), the Rubik's Cube turned 50, celebrating around half a billion cube sales, scores of speed-cubing championships, and documentaries. When Rubik first invented the cube, he wasn't sure it was solvable and only managed it for the first time several months after creating it. In 2020, Rubik told the story of the cube in his book, Cubed: The Puzzle of Us All. The Jacuzzi The fabulously named jacuzzi, or more generally the hot tub, is named after the Italian Jacuzzi family. The seven brothers of the family—there were also six daughters—trained to become engineers, making plane propellers, irrigation systems and pumps before one of the brothers created a homemade bath to help his two-year-old son who was suffering from rheumatoid arthritis. The rest, as they say, is history. Saskia Solomon tells some of the brothers' story, which includes the court case Jacuzzi vs Jacuzzi, and the invention of the jacuzzi in the 2023 New York Times article, The Frothy Saga of the Jacuzzi Family. The Sandwich After so long as what seems the most basic of foods, it was remarkable for me to learn that the humble sandwich was named after a person: John Montague, the 4th Earl of Sandwich. Though he probably spent most of his time in London, the title itself is associated with the small town of Sandwich in Kent, in Southeast England. The story goes that the Earl liked playing cards and wanted food he could eat without having to leave his game and that wouldn't give him sticky fingers that would damage the cards. Incarnations of open sandwiches appeared much earlier elsewhere. For example, the trencher—something I had to look up when reading Game of Thrones—involved serving food on top of old bread as a sort of plate. But it took the Earl's dedication to card playing, or at least desk work, to take the next step many years later. The Biro and BiC ballpoint pens László Bíró was a Hungarian-Argentine inventor who created the first truly successful ballpoint pen. In the US, the BiC is more common, an eponym this time from Marcel Bich. It's said that Lázló experienced his fountain pen leaking from heat—fountain pens being very common before the ballpoint—and was inspired by a printing press that used a cylinder to spread the ink. All it needed was to go in all directions. Enter the ballpoint. While the invention seems obvious in hindsight, perfecting it for robust, commercial use was challenging. For example, finding suitable ink for the tiny ball bearing to spread, which doesn't leak or clog and isn't overly affected by heat. Lázló teamed up with an aviation company—who use a lot of ball bearings—which also provided a great use case of finding a pen that wouldn't leak from the air pressure changes in planes. Later, BiC licenced the technology from Biro. A Bic Cristal® Ballpoint pen is part of the collection at the MoMA. Silhouette I only learned that silhouette was an eponym while preparing this sketch, but it's perhaps the best of all. Étienne de Silhouette, a French government finance official tasked with curbing a French deficit in the 1700s, unwittingly gave his name to the classic black-on-white simple outline image of a person. His severe frugal policies of taxes, curbing royal spending and even melting down gold and silverware earned him the reputation of doing things cheaply. Hence, a cheap method of creating a portrait, cutting out black paper and laying it on a white background, became known as a silhouette. Diesel Nearly everyone will recognise the fuel that Rudolf Diesel gave his name to and his diesel engine. Diesel created a breakthrough engine that was more efficient than typical steam engines while being smaller and weighing less. Curiously, I learned that Diesel died in mysterious circumstances, disappearing on a journey across the English Channel in 1913. -- An excellent episode of the 99% Invisible podcast featuring Helen Zaltzman of the Allusionist raised several interesting questions about eponyms I hadn't considered. Here are a few to think about: Eponyms are common in medicine, for example, when we name a disease or condition after those playing a part in the discovery. However, the name, for example, Creutzfeldt-Jakob disease, tells a medical practitioner very little about the disease compared to a name that relates to the symptoms of the sufferer or the cause. Should examples like these be replaced with more practical names? Eponyms almost always have a way of oversimplifying a story, often wrapping up complex histories with the names of white males. For example, rarely are products invented or diseases identified solely through the actions of one person. Yet an eponym chooses one, or some people, at the expense of others. Eponyms may be the name of someone later discredited or who develops a tarnished reputation from other actions in their lives. Should someone who did evil deeds be remembered in an eponym or should it be changed? Who knew eponyms could be so interesting? Know some good eponyms with fun stories? I'd love to hear them. Eponyms are distinct from the fun concept of Nominative determinism—an aptronym—where someone's name seemingly influenced their future actions or career choices (for example, Les McBurney — Volunteer firefighter). I've covered a lot of eponyms over the years, far more than I realised. Using the handy list page on the site, I've collected some other eponym examples, which include a lot of my favourites: Bloom's Taxonomy Bortle Scale Braille Campbell's law Chesterton's fence Conway's Law Dracula sneeze Dunbar's number: 150 Fahrenheit and Celsius Fitts' Law Goldilocks tasks Goodhart's Law Hanlon's Razor Hofstadter's Law Identify a Douglas fir Jevon's Paradox Johari window Koomey's Law The Kano model Marchetti's constant Maslow's hierarchy of needs Metcalfe's Law Möbius strip Moore's Law Muphry's Law Pyrrhic victory Russell's Teapot Sankey diagram Scoville scale Spoonerisms Strahler stream order The Abilene paradox The Barnum effect The Betty Crocker Effect The Boaty McBoatface effect The Diderot Effect The Doppler Effect The Droste effect The Feynman Learning Technique The Gartner Hype cycle The Generalised Peter Principle The Gini coefficient The Goldilocks Zone The IKEA effect The Keeling curve The Lake Wobegon Effect The Lucretius problem The Mercator projection The Monty Hall problem The Overton Window The Oxford comma The Peter Principle The Plimsoll line The Pomodoro Technique ® The Rashomon effect The Rosetta Stone The Shirky Principle The Streisand Effect The Stroop test Veblen goods Other fun -onym words about words: Acronyms and initialisms Capitonym Heteronym Homonyms, homographs, homophones… …An eponym is a word named after somebody or someplace. An eponym, almost by definition, comes with a story, making them some of the most intriguing words. Knowing what an eponym is also allows you to use the word eponymous, which is always a good way to sound smart. Some of my favourite eponyms are now commonplace products that took the inventor's name. Some examples: The Rubik's Cube The Rubik's cube is an invention by Hungarian architecture professor Ernő Rubik. The cube has the fascinating property of being a solid object that's also fluid. This year (2024), the Rubik's Cube turned 50, celebrating around half a billion cube sales, scores of speed-cubing championships, and documentaries. When Rubik first invented the cube, he wasn't sure it was solvable and only managed it for the first time several months after creating it. In 2020, Rubik told the story of the cube in his book, Cubed: The Puzzle of Us All. The Jacuzzi The fabulously named jacuzzi, or more generally the hot tub, is named after the Italian Jacuzzi family. The seven brothers of the family—there were also six daughters—trained to become engineers, making plane propellers, irrigation systems and pumps before one of the brothers created a homemade bath to help his two-year-old son who was suffering from rheumatoid arthritis. The rest, as they say, is history. Saskia Solomon tells some of the brothers' story, which includes the court case Jacuzzi vs Jacuzzi, and the invention of the jacuzzi in the 2023 New York Times article, The Frothy Saga of the Jacuzzi Family. The Sandwich After so long as what seems the most basic of foods, it was remarkable for me to learn that the humble sandwich was named after a person: John Montague, the 4th Earl of Sandwich. Though he probably spent most of his time in London, the title itself is associated with the small town of Sandwich in Kent, in Southeast England. The story goes that the Earl liked playing cards and wanted food he could eat without having to leave his game and that wouldn't give him sticky fingers that would damage the cards. Incarnations of open sandwiches appeared much earlier elsewhere. For example, the trencher—something I had to look up when reading Game of Thrones—involved serving food on top of old bread as a sort of plate. But it took the Earl's dedication to card playing, or at least desk work, to take the next step many years later. The Biro and BiC ballpoint pens László Bíró was a Hungarian-Argentine inventor who created the first truly successful ballpoint pen. In the US, the BiC is more common, an eponym this time from Marcel Bich. It's said that Lázló experienced his fountain pen leaking from heat—fountain pens being very common before the ballpoint—and was inspired by a printing press that used a cylinder to spread the ink. All it needed was to go in all directions. Enter the ballpoint. While the invention seems obvious in hindsight, perfecting it for robust, commercial use was challenging. For example, finding suitable ink for the tiny ball bearing to spread, which doesn't leak or clog and isn't overly affected by heat. Lázló teamed up with an aviation company—who use a lot of ball bearings—which also provided a great use case of finding a pen that wouldn't leak from the air pressure changes in planes. Later, BiC licenced the technology from Biro. A Bic Cristal® Ballpoint pen is part of the collection at the MoMA. Silhouette I only learned that silhouette was an eponym while preparing this sketch, but it's perhaps the best of all. Étienne de Silhouette, a French government finance official tasked with curbing a French deficit in the 1700s, unwittingly gave his name to the classic black-on-white simple outline image of a person. His severe frugal policies of taxes, curbing royal spending and even melting down gold and silverware earned him the reputation of doing things cheaply. Hence, a cheap method of creating a portrait, cutting out black paper and laying it on a white background, became known as a silhouette. Diesel Nearly everyone will recognise the fuel that Rudolf Diesel gave his name to and his diesel engine. Diesel created a breakthrough engine that was more efficient than typical steam engines while being smaller and weighing less. Curiously, I learned that Diesel died in mysterious circumstances, disappearing on a journey across the English Channel in 1913. -- An excellent episode of the 99% Invisible podcast featuring Helen Zaltzman of the Allusionist raised several interesting questions about eponyms I hadn't considered. Here are a few to think about: Eponyms are common in medicine, for example, when we name a disease or condition after those playing a part in the discovery. However, the name, for example, Creutzfeldt-Jakob disease, tells a medical practitioner very little about the disease compared to a name that relates to the symptoms of the sufferer or the cause. Should examples like these be replaced with more practical names? Eponyms almost always have a way of oversimplifying a story, often wrapping up complex histories with the names of white males. For example, rarely are products invented or diseases identified solely through the actions of one person. Yet an eponym chooses one, or some people, at the expense of others. Eponyms may be the name of someone later discredited or who develops a tarnished reputation from other actions in their lives. Should someone who did evil deeds be remembered in an eponym or should it be changed? Who knew eponyms could be so interesting? Know some good eponyms with fun stories? I'd love to hear them. Eponyms are distinct from the fun concept of Nominative determinism—an aptronym—where someone's name seemingly influenced their future actions or career choices (for example, Les McBurney — Volunteer firefighter). I've covered a lot of eponyms over the years, far more than I realised. Using the handy list page on the site, I've collected some other eponym examples, which include a lot of my favourites: Bloom's Taxonomy Bortle Scale Braille Campbell's law Chesterton's fence Conway's Law Dracula sneeze Dunbar's number: 150 Fahrenheit and Celsius Fitts' Law Goldilocks tasks Goodhart's Law Hanlon's Razor Hofstadter's Law Identify a Douglas fir Jevon's Paradox Johari window Koomey's Law The Kano model Marchetti's constant Maslow's hierarchy of needs Metcalfe's Law Möbius strip Moore's Law Muphry's Law Pyrrhic victory Russell's Teapot Sankey diagram Scoville scale Spoonerisms Strahler stream order The Abilene paradox The Barnum effect The Betty Crocker Effect The Boaty McBoatface effect The Diderot Effect The Doppler Effect The Droste effect The Feynman Learning Technique The Gartner Hype cycle The Generalised Peter Principle The Gini coefficient The Goldilocks Zone The IKEA effect The Keeling curve The Lake Wobegon Effect The Lucretius problem The Mercator projection The Monty Hall problem The Overton Window The Oxford comma The Peter Principle The Plimsoll line The Pomodoro Technique ® The Rashomon effect The Rosetta Stone The Shirky Principle The Streisand Effect The Stroop test Veblen goods Other fun -onym words about words: Acronyms and initialisms Capitonym Heteronym Homonyms, homographs, homophones…

13 Oct

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Big Ideas Little Pictures: Explaining the world one sketch at a time

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Absorb big ideas with crystal-clear understanding through this collection of 135 visual explanations. Including 24 exclusive new sketches and enhanced versions of classic favourites, each page shares life-improving ideas through beautifully simple illustrations.

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