The Wilsons lived in poisonous silence, beneath a veneer of civility. (“We had a fatal gift for politeness,” as Andrew put it.)

Stallings said, “Does Emily’s clarity betray that element of the epic register that Matthew Arnold calls ‘nobility’? Some critics think a certain grandeur is missing. But every translation is a compromise, even a great one.”

her younger sister Bee Wilson, the noted British food writer

And with that puerile quarrel between stubborn warlords over the right to own and to rape a girl, Western literature begins.

Homer introduces him with the adjective polytropos—literally, “of many turns.” Previous translators have called him “shifty,” “cunning,” and a hundred other things. After grappling with the alternatives, Wilson chose “complicated,” hoping also to convey the sense of “problematic.” Her first sentence—“Tell me about a complicated man”—instantly makes him our familiar: that charismatic prince who’s too impossible to live with and too desirable to live without.

The opening of Robert Fagles’s widely admired Odyssey, she points out, uses two English words for every Greek one.

I'm not so much saying Adler and Van Doren were trying to prevent readers from coming to grips with the unresolved issues of American history illustrated in this example. But I am suggesting that the idea that there's a "message" in these foundational texts and they know what it is and our job is to find out, is flawed. Too deterministic, too hierarchical, too supportive of a master narrative that needs to be challenged so truth can be appreciated in its complexity.

They then spent a couple of pages on the history of elementary education, followed by a discussion of the stages of instruction, beginning with "reading readiness" and continuing through "sight words" and "context clues", to mature skills that allow the reader to compare the views of different writers.

Aunity can be variously stated

"This," says Aristotle, "is the essence of the plot; the rest isepisode."

You have not graspeda complex unity if all you know about it is how it is one. Youmust also know how it is many, not a many that consists of alot of separate things, but an organized many. If the partswere not organically related, the whole that they composedwould not be one. Strictly speaking, there would be no wholeat all but merely a collection.

If it requires too many words, you have not seen theunity but a multiplicity.

Youmust apprehend the unity with definiteness. There is only oneway to know that you have succeeded. You must be able totell yourself or anybody else what the unity is, and in a fewwords. ( If it requires too many words, you have not seen theunity but a multiplicity. ) Do not be satisfied with "feeling theunity" that you cannot express. The reader who says, "I knowwhat it is, but I just can't say it," probably does not even foolhimself.

RULE 2. STATE THE UNITY OF THE WHOLE BOOK

just as there is a difference in the art of teaching indifferent fields, so there is a reciprocal difference in the art ofbeing taught.

They are all complex unities.

RuLE 3. SETFORTH THE MAJOR PARTS OF THE BOOK, AND SHOW HOW THESEARE ORGANIZED INTO A WHOLE, BY BEING ORDERED TO ONE .(\NOTHER AND TO THE UNITY OF THE WHOLE,

RULE 2. STATE THE UNITY OF THE WHOLE BOOK IN A

Analytical reading is preeminently for thesake of understanding.

The rules of such learningconstitute the art of unaided discovery.

The unity of a novel is not the sameas the unity of a treatise on politics; nor are the parts of thesame sort, or ordered in the same way. But every book without exception that is worth reading at all has a unity and anorganization of parts.

the philosopher by pointing to experiences that are common to all.

The distinction proposed here is popularly recognizedwhen we say that science is experimental or depends uponelaborate observational researches, whereas philosophy ismerely armchair thinking

James' Principles of Psychology is both a scientific and a philosophical work, although it is primarily scientific.

Natural Philosophy

Since titles and subject-matter names are not likely to helpus determine whether a book is philosophical or scientific, howcan we tell? There is one criterion that we think always works,although you may have to read a certain amount of the bookbefore you can apply it. If a theoretical book emphasizesthings that lie outside the scope of your normal, routine, dailyexperience, it is a scientific work. If not, it is philosophical.

than

story is chronotopic. Chronos is the Greek word fortime, topos the Greek word for place.

although understanding is primarily and usually a theoretical matter, there are books ( mostof them are terrible ) that purport to teach you ''how to think."

hortatory

books of normative philosophy concern themselvesprimarily with the goals all men ought to seek-goals such asleading a good life or instituting a good society-and, unlikecookbooks and driving manuals, they go no further than prescribing in the most universal terms the means that ought tobe employed in order to achieve these goals.

This book is practical, not theoretical. Any guidebook isa practical book. Any book that tells you either what youshould do or how to do it is practical. Thus you see that theclass of practical books includes all expositions of arts to belearned, all manuals of practice in any field, such as engineering or medicine or cooking, and all treatises that are conveniently classified as moral, such as books on economic,ethical, or political problems. We will later explain why thislast group of books, properly called "normative," constitutes avery special category of practical books.

To make knowledge practical we must convert it intorules of operation. We must pass from knowing what is thecase to knowing what to do about it if we wish to get somewhere. This can be summarized in the distinction betweenknowing that and knowing how. Theoretical books teach youthat something is the case. Practical books teach you how todo something you want to do or think you should do.

Fagles opts for midriff, which once meant “diaphragm” in English but today makes it sound like Sarpedon was speared somewhere between his low-rise jean shorts and his crop top.

When she is given a chance to coin a new and unusual phrase and free into English a word hitherto trapped in the amber of Greek, she unfailingly chooses the ordinary and imperfect English word.

The critic Guy Davenport, in a pan of Lattimore, wrote that translation is a game of two languages, and that “the translator is in constant danger of inventing a third that lies between.”

McCarthy’s tenure atop the House—the briefest in nearly 150 years—was as historic as it was short-lived: He won the office after fighting through more ballots than any speaker in a century, and he was the first to be removed in the middle of a term by a vote of the House.

I just try to catch ideas—andsometimes I fall in love with one and then I know what I want to do. Ithas nothing to do with money; just with translating that idea.

But you’re also expandingthe container of that knowledge.

Softer than the flower where kindness is concerned,Stronger than the thunder where principles are at stake.VEDIC DESCRIPTION OF THE ENLIGHTENED

Just bychanging something, the desire often gets fulfilled.

You become familiar with the process of catching an idea andtranslating that idea. You understand the tools and the lighting. Youunderstand the whole process—you’ve been through it before.

It’s interesting to seehow these unrelated things live together. And it gets your mindworking. How do these things relate when they seem so far apart? Itconjures up a third thing that almost unifies those first two. It’s astruggle to see how this unity in the midst of diversity could go towork.The ocean is the unity and these things float on it.

If you don’t have a setup, there are many times when you get theinspiration, the idea, but you have no tools, no place to put ittogether. And the idea just sits there and festers. Over time, it will goaway. You didn’t fulfill it—and that’s just a heartache.

It’s crucial to have a setup, so that, at any givenmoment, when you get an idea, you have the place and the tools tomake it happen.

You get in close and the textures are wonderful.

THE BOX AND THE KEYI don’t have a clue what those are.

Now, you don’t use meditation to catch ideas. You’re expandingthe container, and you come out very refreshed, filled with energy,and raring to go out and catch ideas afterward.

And we found this greatpsychology term—“psychogenic fugue”—describing an event wherethe mind tricks itself to escape some horror. So, in a way, LostHighway is about that. And also the fact that nothing can stay hiddenforever.

Because these religions are old, though, and they’vebeen fiddled with, possibly, I feel some of the original keys from themasters have been lost.

You’ve got to be able to catch ideas.

New ideas can come along during the process, too. And a film isn’tfinished until it’s finished, so you’re always on guard. Sometimesthose happy accidents occur. They may even be the last pieces ofthe puzzle that allow it all to come together. And you feel so thankful:How in the world did this happen?

The idea is the whole thing. If you stay true to the idea, it tells youeverything you need to know, really. You just keep working to make itlook like that idea looked, feel like it felt, sound like it sounded, andbe the way it was. And it’s weird, because when you veer off, yousort of know it. You know when you’re doing something that is notcorrect because it feels incorrect. It says, “No, no; this isn’t like theidea said it was.” And when you’re getting into it the correct way, itfeels correct. It’s an intuition: You feel-think your way through. Youstart one place, and as you go, it gets more and more finely tuned.But all along it’s the idea talking. At some point, it feels correct toyou. And you hope that it feels somewhat correct to others.

When we were shooting the pilot for Twin Peaks, we had a setdresser named Frank Silva. Frank was never destined to be in TwinPeaks, never in a million years.

But I’m always trying to gather what I call“firewood.” So I have piles of things I can go to and see if they’llwork.

But it wasn’t always that way. When I made Dune, I didn’t havefinal cut. It was a huge, huge sadness, because I felt I had sold out,and on top of that, the film was a failure at the box office. If you dowhat you believe in and have a failure, that’s one thing: you can stilllive with yourself. But if you don’t, it’s like dying twice. It’s very, verypainful.

There’s a safety in thinking in a diner. You can have your coffee oryour milk shake, and you can go off into strange dark areas, andalways come back to the safety of the diner.

You can catch ideas at a deeper level. And creativity really flows. Itmakes life more like a fantastic game.

Desire for an idea is like bait.When you’re fishing, you have to havepatience. You bait your hook, and then you wait.The desire is thebait that pulls those fish in—those ideas.The beautiful thing is that when you catch one fish that you love,even if it’s a little fish—a fragment of an idea—that fish will draw inother fish, and they’ll hook onto it.Then you’re on your way. Soonthere are more and more and more fragments, and the whole thingemerges. But it starts with desire.

An idea is a thought. It’s a thought that holds more than you think itdoes when you receive it. But in that first moment there is a spark. Ina comic strip, if someone gets an idea, a lightbulb goes on. Ithappens in an instant, just as in life.It would be great if the entire film came all at once. But it comes,for me, in fragments. That first fragment is like the Rosetta Stone. It’sthe piece of the puzzle that indicates the rest. It’s a hopeful puzzlepiece.

You fall in love with the first idea, that little tiny piece. And onceyou’ve got it, the rest will come in time.

You have to be able to catch ideas.

Ideas are like fish.If you want to catch little fish, you can stay in the shallow water.But if you want to catch the big fish, you’ve got to go deeper.Down deep, the fish are more powerful and more pure.They’rehuge and abstract. And they’re very beautiful.I look for a certain kind of fish that is important to me, one that cantranslate to cinema. But there are all kinds of fish swimming downthere. There are fish for business, fish for sports.There are fish foreverything.

LYNCH: Well, for me, ideas—even a fragment—convey everything. In a spark you see images, youhear sounds, you feel a mood. And it becomescomplete, even if it is a fragment. The original ideacomes with a lot of power, and you have to keepchecking back all the way through the process tosee if you are being true to it.

LYNCH: Well, I could say that Dino De Laurentiis cutmy salary and cut the budget, and then gave mefinal cut. So he was into cutting! (

I haven’t caughtthe next idea, either through a book or from theocean of ideas.

LYNCH: No. The whole thing has to make sense toyou, and it has to feel correct. And—but again, it’sbased on these ideas that have been forming andarranging and finally showing you what it is. Andit’s just focusing on those through the process.And if it makes sense, no matter how abstract asense, again it goes back to intuition rather thanjust pure intellect, and something that can be soeasily translated into words by, you know,everyone. Those are beautiful things to me,abstractions. And life is filled with them, andcinema can do abstractions.

LYNCH: No. I think a film is digested ideas andprocesses. If you take from things that have gonethrough that process, you’re further away from thesource. Ideas are the most important things. Andthey seem to be lying there in an ocean andavailable. So if you could go in and get your ownidea—now, it may have similarities to many thingsthat have gone before, but you feel it’s yours, andyou fall in love with it. And that’s a very goodfeeling.

YNCH: No. What happens is, when you getfragments, the whole is not revealed. It’s just thefragments. And then the fragments seem to want toarrange themselves. And a little bit further down theline you begin to see what is forming. And it’s asmuch a surprise to you as to anybody else.

LYNCH: I know we were doing that, but lookingback, it’s a magical process because you can’t tellwhere ideas come from, and it seems like it’s justboth of us focusing on something. And it was acouple of ideas that were fragments, and thosefragments focus you. And it seems that theyrelease a little lock on a door and the door opensand more fragments start coming in—drawn by thefirst fragments. It’s strange, because if any of youhave ever written anything, you know that one dayit’s not there and then a month later or two monthslater it’s there. And it’s two people tuning into thesame place, I think.

LYNCH: Well, I think it’s everyone’s experience thatno matter what, things come to us in fragments.

SCHWARTZ: You’ve said that Frank Daniel at AFIwas one of your first film teachers—he said that inorder to make a feature film you should takeseventy index cards and have a scene for eachindex card, and then you have a feature film.

frank danielle at the 1:29 american film institute 1:30 who was dean of the school uh center for 1:33 advanced film studies 1:34 and he taught a way to do it 1:39 um you get yourself a pack of three by 1:42 five cards 1:44 and you write a scene 1:47 on each card and when you have 70 scenes 1:52 you have uh a feature film 1:56 so on each card you write the heading of 1:58 the scene 1:59 and then the next card the second scene 2:00 the third scene four scenes so you have 2:03 70 cards 2:04 each with the name of the scene then you 2:07 flesh out each of the cards 2:09 and walk away you got a script

3D scans of runestones enable researchers to gain a close-up view of traces of the carving process. This means they can tell the carving technique of the different rune stones apart. Every experienced stonemason holds his chisel at a certain angle and strikes the hammer with a specific force: this is visible in the angle of the traces of the carving and the distance between them. The motor function developed in such work is individual.

@chrisaldrich thank you for this detailed response about your use of Obsidian and organization for digital Zettelkasten. I am not sure if this is the current forum or discussion to ask this but I would be curious to see how you have integrated or coordinated your analog Zettelkasten and notetaking with what you describe here. I've followed your posts about the use of index cards for a long time. I'd love to see how you use the very different affordances of these environments together.

How to get started with ZK and Obsidian .t3_16wgq4l._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; }

The move to academization inthe UK has happened apace. At the beginning of the 2010s only around 5 percent of English secondary schools were academy schools. By 2018, the figurewas over 70 per cent.

vouchers

Friedman called such benefits ‘neighbourhoodeffects’—the benefits that come from services that aren’t paid for.

economist Milton Friedman, and especially in hisideas on education. Back in 1955 Friedman had turned his attention to educationand written The Role of Government in Education. Education intrigued himbecause of its strange and, for the market model, rather irritating position in themarketplace. It didn’t quite fit into a neat demand-and-supply framework withchoice at the centre.

A Nation at Risk?,the Reagan administration’s analysis of what was supposedly going wrong inschools, which bemoaned the ‘rising tide of mediocrity’

pamphlets such as the Black Papers arguedfor a return to the selective system

selective system and the introduction of comprehensive schools

The author made visible efforts to put everything down on one page,leaving a generous left- hand margin, presumably to facilitate surveyingand expanding the content. He equipped the page with a circledheading in the upper left corner and hence in an easily identifiable spotthat allowed for efficient retrieval. In this way, he turned his notes intomobile textual units—an excerpt from a historical source, a newspaperclipping, the sketch of a literary character, a part of a dialogue, etc.—that could then be pulled out like slips from a slip box.The archival evidence suggests that Fontane’s most important methodsfor storing his massive amounts of material were the paper sleeves, boxes,and folders, with their slip-box effect

These storage media further increasedthe flexible use of Fontane’s archival items, because they allowed allkinds of differently sized material to be kept on loose sheets in unboundform. Receptacles filled with discrete textual objects, such as note closets( Zettelschrä nke ) and slip boxes (Zettelkasten), are advantageous storagemedia for compilers, for they invite the generative process of reshufflingsources and creating textual patchwork from new combinations. 56 Infact, Fontane used his paper sleeves like a large- format slip box. Inthem, he stored material for the Wanderungen, but also for novels,novellas, and autobiographical writings on individual sheets. 57 Theexample “Figur in einer Berliner Novelle” (“Character in a BerlinNovella”), a folio sheet from Fontane’s Nachlass, provides a glimpse ofhow he formatted his material and indicates how important he found itto keep it in slip-like form (Figure 3.2).

In these instances, he could outsource partsof the work process to his personal amanuenses, his youngest children,Martha and Friedrich, who acted as scribes and copied book passagesthat he had marked.

Fontane’s most basic modes of literary production have much incommon with this textual practice. Whether he was working on a travelreport, a historical essay, a book review, or a new novel, he followed aroutine of scouring, excerpting, and rearranging. He amassed largequantities of source material—culled mostly from circulatingnewspapers and journals, but also from letters, images, historicaldocuments, and monographs—in disconnected notebook entries andon loose folio sheets. He then surveyed these textual building blocks,outlined rearrangements with the help of lists, and combined them intoa new text. This pattern of production could be surprisingly mechanical.

other “paper tools,” 3 such as cardboard boxes, file folders, andenvelopes—the book demonstrates that Fontane produced his prosefi ction, feuilleton essays, and other contributions to the press in acreative process that was the exact opposite of his self- staging as theinspired mouthpiece of the muses. Deliberate at every step, heassembled his texts from pre- mediated sources with scissors and glue,in an extraordinarily inorganic, radically intertextual, and completelyconscious manner.

To this end, the study follows Fontane into theengine room of his text production.

This coinage goes back to Ursula Klein and describes writing media that have anepistemic impact. See her essay “Paper Tools in Experimental Cultures: TheCase of Berzelian Formulas,” Studies in the History and Philosophy of Science 32( 2001 ): 265–312.

nobody ever said that reading was easy reading is is 02:25:41 very hard if it weren't hard it wouldn't be worth doing correct and the better the work that you're reading the harder the work is and therefore the more satisfying

this little discussion we're having reminds me of a lecture I once gave many years ago shortly after how to read a book was first published which which I said that I thought that solitary 02:17:34 reading was almost as much advice as solitary drinking

William Butler Yates is called sailing to Byzantium 02:13:12 and here the key word is not the last word or in the last stanza it comes right at the beginning and if you miss it and go over it too fast you have missed the meaning of the poem it's a it starts out by saying that is No Country 02:13:26 for Old Men

a uh willing suspension of disbelief as uh Coleridge called it

He used the chance to declare “cultural war” for the “soul of America,” against an enemy of radicals “cross-dressing” as moderate Democrats, who were preaching “abortion on demand” and “radical feminism” while working-class Americans watched their jobs disappear and a “mob”—the Rodney King riots—looted and burned Los Angeles. The liberal columnist Molly Ivins memorably wrote that the speech “probably sounded better in the original German,” but its themes would form the founding document of today’s Republican Party. Indeed, when I mentioned the speech to a former Trump Administration official, he immediately recited several lines by heart.

West is by far the most unequivocal in his denunciation of the Democratic and Republican parties as dominated by big money and corporate wealth. He is no less emphatic in his condemnation of Israeli occupation and domination of Palestinians, and in his condemnation of the militarization of American foreign policy. Democratic leaders seem to fear that he might siphon off just enough black and leftist votes from Biden to give Trump a winning margin.

Mehlhorn is determinedly of the view that people can only be motivated by fear: “You cannot get people to vote by getting them to believe that voting and participating will materially improve their lives,” he told Ryan Grim of The Intercept. “What you can get people to get really excited about is: ‘If you participate in politics, you might be able to prevent something really bad from happening to you.’ ”

The belief that insurgent candidates, and the movements they generate, are never more than dangerous impediments to Democratic electoral prospects is deeply rooted in party orthodoxy, nurtured by the belief that previous outside challengers have sabotaged the party’s chances.

Watson, L.R., Fraser, M., & Ballas, P. (2019). Journaling for mental health. Retrieved from https://www.rochester.edu/encyclopedia/content.aspx?ContentID=4552&ContentTypeID=1 Literacy Research and Instruction, 49(2), 194-208. doi:10.1080/19388070902947360

Skilled performance is all that matters.

Imagine that you enter a parlor. You come late. When you arrive, others have long preceded you, and they are engaged in a heated discussion, a discussion too heated for them to pause and tell you exactly what it is about. In fact, the discussion had already begun long before any of them got there, so that no one present is qualified to retrace for you all the steps that had gone before. You listen for a while, until you decide that you have caught the tenor of the argument; then you put in your oar. Someone answers; you answer him; another comes to your defense; another aligns himself against you, to either the embarrassment or gratification of your opponent, depending upon the quality of your ally's assistance.

All Western philosophy, Whitehead once remarked, is but "a footnote to Plato";and the later Greeks themselves had a saying: "Everywhere Igo in my head, I meet Plato coming back."

syntopicalreading

"Poetry is more philosophical than history," wrote Aristotle.By this he meant that poetry is more general, more universal.

But the last question, What of it?, requires considerable restraint on the part of the reader. It is here that the situationwe described earlier may occur-namely, the situation in whichthe reader says, "I cannot fault the author's conclusions, butI nevertheless disagree with them." This comes about, of course,because of the prejudgments that the reader is likely to haveconcerning the author's approach and his conclusions.

problem of defining social science

e hard scientist doesis to say that he "stipulates his usage"-that is, he informs youwhat terms are essential to his argument and how he is goingto use them. Such stipulations usually occur at the beginningof the book, in the form of definitions, postulates, axioms, andso forth. Since stipulation of usage is characteristic of thesefields, it has been said that they are like games or have a"game structure."

If you are not of the faith, if you do not belong to thechurch, you can nevertheless read such a theological bookweU by treating its dogmas with the same respect you treatthe assumptions of a mathematician. But you must always keepin mind that an article of faith is not something that the faithful assume. Faith, for those who have it, is the most certainform of knowledge, not a tentative opinion.

We use the term"canonical" to refer to such books; in an older tradition wemight have called them "sacred" or "holy," but those wordsno longer apply to all such works, though they still apply tosome of them.

The ability toretain the child's view of the world, with at the same time amature understanding of what it means to retain it, is extremelyrare-and a person who has these qualities is likely to be ableto contribute something really important to our thinking.

What happens between the nursery and college to tum theHow of questions off, or, rather, to tum it into the duller channels of adult curiosity about matters of fact?

Barry Commoner's The Closing Circle,something more is required. This is particularly true of a booklike Commoner's, on a subject-the environmental crisis-ofspecial interest and importance to all of us today. The writingis compact and requires constant attention. But the book as awhole has implications that the careful reader will not miss.Although it is not a practical work, in the sense describedabove in Chapter 13, its theoretical conclusions have importantconsequences. The mere mention of the book's subject matter-the environmental crisis-suggests this. The environment inquestion is our own; if it is undergoing a crisis of some sort,then it inevitably follows, even if the author had not said sothough in fact he has-that we are also involved in the crisis.The thing to do in a crisis is ( usually ) to act in a certain way,or to stop acting in a certain way. Thus Commoner's book,though essentially theoretical, has a significance that goes beyond the theoretical and into the realm of the practical

Many people are frightened of mathematics and thinkthey cannot read it at all. No one is quite sure why this is so.Some psychologists think there is such a thing as "symbolblindness"-the inability to set aside one's dependence on theconcrete and to follow the controlled shifting of symbols.

The safest general characterization of the European philosophical tradition is that it consists of a series of footnotes to Plato . I do not mean thesystematic scheme of thought which scholars have doubtfully extractedfrom his writings . I allude to the wealth of general ideas scattered throughthem . His personal endowments, his wide opportunities for experience ata great period of civilization, h is inheritance of an intellectual traditionnot yet stiffened by excessive systematization, have made h is writings t aninexhaustible mine of suggestion

Starting a blog .t3_16v8tfq._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; } Hey everyone- I’m still trying to wrap my head on how to organize this.I have my antinet growing and I want to start a blog with the use of one of my notes as a springboard.Do I9 votesWork on the blog and store the index cards after the note that I’m drawing inspiration fromCreate a new blog section in my antinet and place them thereStore them in wherever and create an hub note that points to them

As someone who lost multiple notebooks to water (I love typhoon season), I will actively refute the claim that an analog zettelkasten is more secure than a digital one1[3:05 AM] Both have weaknesses, both die to water[3:05 AM] The distinction comes from how much water is necessary for them to die

ID's or Common names for Notes? .t3_16vgxy7._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; }

Zeynep Tufekci recently wrote in the Times. “YouTube may be one of the most powerful radicalizing instruments of the 21st century.”

“Even the creators don’t always understand why it recommends one video instead of another,” says Guillaume Chaslot, an ex-YouTube engineer who worked on the site’s algorithm.

According to YouTube chief product officer Neal Mohan, 70 percent of views on YouTube are from recommendations—so the site’s algorithms are largely responsible for amplifying RT’s propaganda hundreds of millions of times.

It would be good to remind them that free speech does not mean free reach. There is no right to algorithmic amplification.

These algorithms are invisible, but they have an outsized impact on shaping individuals’ experience online and society at large.

a useful way to answer such questions is to look at when it has been used on Fox News. Analysis of closed-captioning collected by the Internet Archive shows that use of “Chinese Communist Party” or “CCP” has been far more common on Fox News and Fox Business than on CNN and MSNBC.

This is one of the challenges of being reactive to the public mood, rather than shaping it. Donald Trump, too, launched his first presidential campaign by elevating arguments and rhetoric from right-wing media, but he also shaped what the media was talking about. DeSantis has largely followed the trends, and the trends shift.