diff --git a/.claude/skills/README.md b/.claude/skills/README.md index 51aafc9..250a906 100644 --- a/.claude/skills/README.md +++ b/.claude/skills/README.md @@ -19,7 +19,7 @@ names the file and the commit it was read from (AGENTS.md, "Borrow, cite, propag | [`easy-pt-br`](easy-pt-br/SKILL.md) | make `README.easy.pt-BR.md` from `README.md`, or an easy pt-BR version of any other document | marola-dev/marola `docs/MIPs/MIP-0091.easy.pt-BR.md` and `.claude/skills/eli5/SKILL.md` at `cf7bd4f` | | [`citation-score`](citation-score/SKILL.md) | score how much of a phrase, a text, a dump, a file or a URL is cited, with a coloured verdict (`scripts/citation-score.sh`) | Hyland and Jiang (2019), doi:10.1093/applin/amx012; Liu, Zhang and Liang (2023), arXiv:2304.09848 | | [`card-style`](card-style/SKILL.md) | style the site's cards, with a one-line drawing behind each | h0ffmann/picasso `site/static/drawings/` at `29eb385`; Anthropic's `frontend-design` skill (Apache-2.0) | -| [`essay-montaigne`](essay-montaigne/SKILL.md) | check that an essay keeps what Montaigne asked of an essay: eight countable rules (`scripts/essay-montaigne.sh`) and five that need a reader | Montaigne, *Essays*, Cotton's translation, Project Gutenberg eBook 3600 (public domain) | +| [`essay-montaigne`](essay-montaigne/SKILL.md) | check that an essay, in English or Brazilian Portuguese, keeps what Montaigne asked of an essay: ten countable rules (`scripts/essay-montaigne.sh`, `just essay-check`) and six that need a reader; Dalrymple as a second model | Montaigne, *Essays*, Cotton's translation, Project Gutenberg eBook 3600 (public domain); Dalrymple, "The Frivolity of Evil", *City Journal*, 2004 | | [`ouro-get`](ouro-get/SKILL.md) | get the full text of a work that is free to copy, as is, into `works/`, with its licence marked and indexed (`scripts/ouro-get.sh`, `works/index.md`); a citation only when it is not free | Lei 9.610/98 (planalto.gov.br); Cornell's public domain chart; the Project Gutenberg License | | [`ouro-timeline`](ouro-timeline/SKILL.md) | draw the thinkers' lives on one timeline, one scale everywhere, empty centuries cut out (`tools/fabric timeline`, `timeline/`) | the site's tokens (`site/static/style.css`); h0ffmann/picasso `site/static/drawings/` at `29eb385`; Wikidata | | [`print`](print/SKILL.md) | print an essay as one page, as a PDF whose text cannot be selected (`scripts/print.sh`, `PRINTING.md`) | written for this repository | diff --git a/.claude/skills/essay-montaigne/SKILL.md b/.claude/skills/essay-montaigne/SKILL.md index 5d78562..0570563 100644 --- a/.claude/skills/essay-montaigne/SKILL.md +++ b/.claude/skills/essay-montaigne/SKILL.md @@ -1,6 +1,6 @@ --- name: essay-montaigne -description: "Check that an essay keeps what Montaigne asked of an essay in his own Essays: the writer is in it, it is a trial and not a lesson, it doubts, it is of its day, and what it borrows is weighed. Use when asked to check, review or finish an essay of essays/, after deriving one from notes (DERIVATION.md), or when someone asks whether a text is an essay." +description: "Check that an essay, in English or in Brazilian Portuguese, keeps what Montaigne asked of an essay in his own Essays: the writer is in it, it opens on the writer's case, it is a trial and not a lesson, it doubts, it is of its day, what it borrows is weighed, and its translation says the same thing. Use when asked to check, review or finish an essay of essays/, after deriving one from notes (DERIVATION.md), or when someone asks whether a text is an essay." --- @@ -10,14 +10,42 @@ Michel de Montaigne gave the essay its name: an *essai* is a trial. He also said *Essays*, what he was doing. This skill turns those sentences into rules and checks an essay against them. It checks the form. It cannot tell you that an essay is good. +## The rules, short + +An essay, in the sense of Montaigne's *Essays*: + +1. has its writer in it, in the first person, from the first paragraph; +2. opens on a case of the writer's, not on a definition or a survey; +3. tries the writer's judgement; it does not display learning; +4. moves by a method that a reader can name; +5. lets the writer speak first and the borrowed words after; +6. weighs its borrowings: quoted words are a small part; +7. gives a judgement as the writer's measure, with "I think" or "I do not know"; +8. doubts at least once, in earnest; +9. has a date, and may be contradicted later by its own writer; +10. does not teach: no orders to the reader, no list of lessons; +11. takes any subject and stops before it has covered all of it. + +This repository adds four: what is borrowed is named; the brief is met; the writer's experience +is the writer's to write; and a translation says the same thing. The table below gives each rule +with the sentence it comes from, and says whether the script or a reader checks it. + ## Run it ```sh scripts/essay-montaigne.sh essays/2026-new-vs-better.md scripts/essay-montaigne.sh --topics "AI,El Niño,social media,Bitcoin,privacy" scripts/essay-montaigne.sh --self-test +just essay-check essays/2026-why-i-write.pt-BR.md ``` +The language comes from the front matter (`lang: pt-BR`) or from a name that ends in +`.pt-BR.md`; with neither, the essay is English. A Portuguese essay is checked with Portuguese +words: the first person is `eu`, `meu`, `minha` and their forms; a doubt is `não sei`, `que sei +eu`, `não tenho certeza`; an order is `você deve`, `você precisa`; its last section is +`## Fontes`. Quotations keep the language they were found in, and the translation comes after +them (AGENTS.md, "Two languages"). + `just check` runs it on every essay of `essays/`. With no `--topics`, the brief is the essay's own front matter: `topics: "a,b,c"`. @@ -38,6 +66,7 @@ fetched on 14 October 2026. The translation is in the public domain. | **8. It is of its day, and may be contradicted** | "I do not paint its being, I paint its passage"; "I may peradventure contradict myself" | III, "Of Repentance" | script: `dated` | | **9. It does not teach** | "I do not teach; I only relate" | III, "Of Repentance" | script: `no-lesson` | | **10. Any subject, and never the whole of it** | "I leave the choice of my arguments to fortune [...] I never design to go through any of them; for I never see all of anything" | I, "Of Democritus and Heraclitus" | reader | +| **1a. The writer is in it from the start**: the first paragraph of prose has the first person | "myself am the matter of my book" | "The Author to the Reader" | script: `case-first` | Three more rules are this repository's, not his: @@ -45,11 +74,13 @@ Three more rules are this repository's, not his: |---|---|---| | **11. What is borrowed is named**, in a `## Sources` section | Montaigne often left his borrowings unnamed. AGENTS.md does not: cite at the point of use | script: `sources` | | **12. The brief is met**: each topic that was asked for is in the text | an essay that was asked for five things and treats four is not finished | script: `topics` | +| **14. A case before a claim.** It opens on something the writer saw or did, and the general idea comes after the case | Montaigne's rule 2, as Theodore Dalrymple practised it in "The Frivolity of Evil" (*City Journal*, Autumn 2004): it opens on released prisoners and, a few lines on, a woman of 21 who "consulted me" the day before; he writes from "14 years of my hospital and prison work" | reader; `case-first` counts the "I" | +| **15. A translation says the same thing.** An essay in two languages has the same markers and the same numbers in both | AGENTS.md, "Two languages": a change to one edition goes into the other in the same pull request; the front matter names the other file in `translation:` | script: `translation` | | **13. The writer's experience is the writer's** | AGENTS.md, invariant 3: never invent an author's experience. A gap is a `**[AUTHOR ANECDOTE: ...]**` marker, and an essay with an open marker stays `draft` | script: `anecdotes` | ## The reader's part -The script cannot judge rules 2, 3, 6 and 10. After it passes, read the essay and answer each +The script cannot judge rules 2, 3, 6, 10 and 14. After it passes, read the essay and answer each in one line, with the sentence of the essay that shows it: 1. **Rule 2.** Does it begin from something that happened to the writer, and not from a @@ -60,12 +91,29 @@ in one line, with the sentence of the essay that shows it: A judgement with no "I" is a verdict. 4. **Rule 10.** Does it stop before it has covered the subject? An essay that tries to be complete has become a treatise. -5. **Every "I".** In an essay that an agent drafted, each first-person sentence must stand on a +5. **Rule 14.** Does the first idea of the essay come after a case? Name the case and the + sentence where the idea first appears. Dalrymple's order is the model: the patient first, + the diagnosis of the culture after. +6. **Every "I".** In an essay that an agent drafted, each first-person sentence must stand on a note that the writer gave. Name the note for each one, or replace the sentence with a marker. Report as a table: rule, pass or fail, the sentence. Then say plainly that the form was checked and the quality was not. +## A second model: Theodore Dalrymple + +Montaigne is the source of the rules. Theodore Dalrymple, the pen name of Anthony Daniels, is a +second model, for the essay of cultural criticism written from a working life. He was a +psychiatrist and prison doctor in Birmingham, at City Hospital and Winson Green Prison, and +wrote for *City Journal*; he is thinker 37 of `50THINKERS.md`. Read him for rules 2, 7 and 14: +the case before the claim, the writer's own measure, and the place he speaks from. + +| Work | What to read it for | Status | +|---|---|---| +| "The Frivolity of Evil", *City Journal*, Autumn 2004 (published 2004-11-01), . His best-known essay | it opens on a case, speaks from 14 years of hospital and prison work, and ends on the writer leaving: "I'm leaving—I hope for good." | verified: the text was read on 2026-10-25, and the quoted sentences were found in it | +| *Life at the Bottom: The Worldview That Makes the Underclass* (Chicago: Ivan R. Dee, 2001), ISBN 1-56663-505-5 | essays first published in *City Journal* from 1994, in two parts, "Grim Reality" and "Grimmer Theory" | partial: Wikipedia, "Life at the Bottom", read on 2026-10-25 | +| *Our Culture, What's Left of It: The Mandarins and the Masses* (Chicago: Ivan R. Dee, 2005), ISBN 1-56663-643-4 | twenty-six pieces of cultural criticism, from drug laws to Shakespeare | partial: Wikipedia, "Our Culture, What's Left of It", and the Manhattan Institute's page of the book, read on 2026-10-25; whether "The Frivolity of Evil" is in it was not checked | + ## What it cannot tell you - That the essay is true. A sourced claim is checked by reading its source. @@ -80,6 +128,9 @@ and the quality was not. that edition on 14 October 2026. "The Author to the Reader" is marked there as "Omitted by Cotton" and given in the editor's version. - The marker and the rule on experience: `AGENTS.md`, invariant 3. +- Theodore Dalrymple: the three works in the table above, with the date each was read; his + life and work: Wikipedia, "Theodore Dalrymple", read on 2026-10-25. +- The rule on translation: `AGENTS.md`, "Two languages". - The shape of this page (a script for what can be counted, a list for what needs a reader, and a section on what it cannot tell): `.claude/skills/citation-score/SKILL.md`, in this repository. diff --git a/.claude/skills/skills.lock b/.claude/skills/skills.lock index 122c098..5edf654 100644 --- a/.claude/skills/skills.lock +++ b/.claude/skills/skills.lock @@ -2,11 +2,11 @@ "version": 1, "note": "every skill here was written for this repository; none is a copy. SOURCES in each SKILL.md and in README.md say what each one read. sha256 of each file, checked by scripts/readme.sh --check.", "files": { - "README.md": "8962974bddb031bd14a580f4eb4e763d8c147e0ae55de91c5a013c636507f7c8", + "README.md": "c1e02dbda5990ac170ed873ddacdea3741839fb8bda0a1b3bc7bc22ab3591f39", "card-style/SKILL.md": "42755313375b690efb8f47fd3fd73f29eba21e07c04612c980cd2abbdfd70941", "citation-score/SKILL.md": "7f58cb381bc9dc0d0a6536e5b56f3bd826b61c057c80ada2f95349a0abba0a24", "easy-pt-br/SKILL.md": "5d7d5383721c3cd38694a425d9b449f8f70ad064ffd4179636bcbeb24eada7ba", - "essay-montaigne/SKILL.md": "f90df85e089a3b7d3b30977cd12b579879fb95b9ca4d568413102d408042ab02", + "essay-montaigne/SKILL.md": "536b542c7f1119161a4d4fdb6a21766f15ab27545dec49beed07779ee9a0eed2", "ouro-get/SKILL.md": "6d2dc8f2f7a63090762fc6b89818fae636e37ca8a53b764698ad1713580b1340", "ouro-get/evals/evals.json": "7c964b1e7abd65c3e7aec13ef14fd8e5f9cd493e5b1a6765c84cc7be228cbd7e", "ouro-timeline/SKILL.md": "476bbc55f384a8400e6654c7cf5633a7eb93a0a32e2a343685f34b81fd3d4133", diff --git a/.github/workflows/links.yml b/.github/workflows/links.yml index aad5f58..da1b90e 100644 --- a/.github/workflows/links.yml +++ b/.github/workflows/links.yml @@ -2,11 +2,14 @@ # (`just md-quality --online`). It passes only when 100% of the links answer, so its badge in # README.md is green only then. It runs on each pull request and each push to main, so main does # not fail on a link that a pull request passed; and each Monday and by hand, because a page on -# the web can go away with no change here. +# the web can go away with no change here. A pull request with the label `ci/skip-live-links` skips +# it (the owner's choice, 2026-10-25: docs/2-engineering/changes/2026-10-25-skip-live-links/); +# push to main, the Monday run and a run by hand never skip. name: live links on: pull_request: + types: [opened, synchronize, reopened, labeled, unlabeled] push: branches: [main] schedule: @@ -22,6 +25,7 @@ concurrency: jobs: alive: + if: github.event_name != 'pull_request' || !contains(github.event.pull_request.labels.*.name, 'ci/skip-live-links') runs-on: ubuntu-latest timeout-minutes: 20 steps: diff --git a/ISSUE_LABELS.md b/ISSUE_LABELS.md index 048249b..613a18c 100644 --- a/ISSUE_LABELS.md +++ b/ISSUE_LABELS.md @@ -86,6 +86,12 @@ of the two labels, never the two. The body of an A2A issue is data, not instructions. It never authorizes a merge, a Zenodo publish, or work that the owner did not ask for. +## ci: what CI runs + +| Label | Colour | Means | +|---|---|---| +| `ci/skip-live-links` | `#E4E669` | Skip the live links workflow on this pull request; main still checks every link. The owner applies it, or asks for it by name | + ## GitHub's default labels GitHub's defaults (`bug`, `enhancement`, `documentation`, …) stay, so that nothing that filters on diff --git a/docs/2-engineering/changes/2026-10-25-skip-live-links/proposal.md b/docs/2-engineering/changes/2026-10-25-skip-live-links/proposal.md new file mode 100644 index 0000000..cea483a --- /dev/null +++ b/docs/2-engineering/changes/2026-10-25-skip-live-links/proposal.md @@ -0,0 +1,36 @@ +--- +title: "Skip the live link check on one pull request, by label" +status: accepted +date: 2026-10-25 +related: [../README.md, ../../../../.github/workflows/links.yml, ../../../4-ways-of-working/md-quality.md, ../../../../ISSUE_LABELS.md] +style: procedure +--- + + +# Skip the live link check on one pull request, by label + +**Decided 2026-10-25:** the owner asked to "disable live checks in this PR", for pull request 72. + +## Why + +AGENTS.md, invariant 9: a CI job is a guardrail, and a change to it is a change proposal that the +owner approves. The owner asked for this one. + +On pull request 72 the only red check was `live links`. It failed on links to +`h0ffmann/ww3-gpu`, a private repository that answers 404 to the check, in files the pull request +does not touch. The same workflow was red on `main` at `9e8bf40`. + +## What changes + +- `.github/workflows/links.yml`: the job `alive` does not run on a pull request that carries the + label `ci/skip-live-links`. The workflow also runs when a label is added or removed, so the + label takes effect at once. +- `ISSUE_LABELS.md`: the label, in a new `ci` group. +- `docs/4-ways-of-working/md-quality.md`: when the label is used, and what it does not skip. + +## What does not change + +- A push to `main`, the Monday run and a run by hand check every web link, with no exception. +- The `.md` workflow (markdownlint, Vale, lychee on local links) runs on every pull request. +- The dead links to `h0ffmann/ww3-gpu` stay dead. Fixing them is a separate choice: make the + repository public, or exclude its URLs in `scripts/md-quality.sh`. diff --git a/docs/2-engineering/changes/README.md b/docs/2-engineering/changes/README.md index 143be5a..32bbe36 100644 --- a/docs/2-engineering/changes/README.md +++ b/docs/2-engineering/changes/README.md @@ -28,3 +28,4 @@ Adapted from Yggdrasil's - [2026-10-13-port-python-tooling](2026-10-13-port-python-tooling/proposal.md): port the Python tooling to Go and V. - [2026-10-13-zenodo-webhook-release](2026-10-13-zenodo-webhook-release/proposal.md): release with Zenodo's webhook, as marola does. - [2026-10-14-ai-memory-long-term-memory](2026-10-14-ai-memory-long-term-memory/proposal.md): ai-memory as the long-term memory of this repository. +- [2026-10-25-skip-live-links](2026-10-25-skip-live-links/proposal.md): skip the live link check on one pull request, by the label `ci/skip-live-links`. Decided. diff --git a/docs/4-ways-of-working/md-quality.md b/docs/4-ways-of-working/md-quality.md index f093789..1ba86be 100644 --- a/docs/4-ways-of-working/md-quality.md +++ b/docs/4-ways-of-working/md-quality.md @@ -99,6 +99,12 @@ fast the check asks. It changes no rule of what passes. A link to a page that needs a login (a repository's settings) is written as code, not as a link: the check cannot open it. +**Skipping it on one pull request.** The label `ci/skip-live-links` turns the workflow off for the +pull request that carries it (the owner, 25 October 2026, for pull request 72, whose only red +check was a link to a private repository that is red on `main` too). It is the owner's to apply. +It skips the web links only: the `.md` workflow still checks every link to a file and a heading, +and the next push to `main` runs the live check in full. + The same goes for a host that does not answer outside its country. planalto.gov.br, the Brazilian government's site for its laws, did not answer GitHub's runners on 15 October 2026: 15 runs on `main` and on pull requests failed on that link, and so did a test from outside diff --git a/docs/README.md b/docs/README.md index 4ca3c8f..b2a8c1e 100644 --- a/docs/README.md +++ b/docs/README.md @@ -18,4 +18,4 @@ in its product-umbrella shape, with only the sections that have content yet. | [`2-engineering/changes/`](2-engineering/changes/README.md) | change proposals: changes the owner decides, one dated folder each | | [`4-ways-of-working/`](4-ways-of-working/paper-fabric.md) | how a paper is made, the Ouroboric patterns used, how to release, why [`NAGORI.md`](4-ways-of-working/nagori.md) is written by hand; [`ouroboric/`](4-ways-of-working/ouroboric/README.md) holds Ouroboric's own ways of working, copied as is (CC BY 4.0) | | [`6-journal/`](6-journal/README.md) | challenges, decisions and results, one entry each | -| [`social/`](social/instagram_001/README.md) | posts for social media, one folder each, with their slides, sources, captions and alt text; none is posted by an agent | +| [`social/`](social/README.md) | posts for social media, one folder each, with their slides, sources, captions and alt text; none is posted by an agent | diff --git a/docs/social/README.md b/docs/social/README.md new file mode 100644 index 0000000..92937e6 --- /dev/null +++ b/docs/social/README.md @@ -0,0 +1,28 @@ +--- +title: "Social media posts" +status: draft +date: 2026-10-25 +related: [../README.md, instagram_001/README.md, ../../essays/index.md] +style: reference +--- + + +# Social media posts + +One folder for each post, with its images, its caption, its sources and its alt text. No agent +posts any of them: the owner does, and then writes the link in the folder's `instagram:` field. + +| Folder | Post | Made | Files | +|---|---|---|---| +| [`instagram_001/`](instagram_001/README.md) | the book, the author, the skill, the thinkers: a carousel of five slides, in English and in easy pt-BR | 2026-10-13 | 10 slides | +| [`instagram_002/`](instagram_002/README.md) | GitHub contributions, year by year, from 2021 | 2026-10-25 | post, story, daily data from 2016 | +| [`instagram_003/`](instagram_003/README.md) | meus projetos: twelve repositories, six with a DOI | 2026-10-25 | post, story | +| [`instagram_004/`](instagram_004/README.md) | meus temas: forecasting, weather, AI, game theory, the classics | 2026-10-25 | post, story | +| [`instagram_005/`](instagram_005/README.md) | meus trabalhos: marola, nagori and ptbr-writer | 2026-10-25 | post, story | +| [`instagram_006/`](instagram_006/README.md) | Chautauqua: the opening post of the monthly series of essays | 2026-10-25 | post, story | +| [`github/`](github/README.md) | the repository's social preview | 2026-10-13 | one image | + +Posts 002 to 006 were made in the "Marola UX" Claude project on 2026-10-25 and indexed here on +the same day, as the owner asked. The images are the final renders; the HTML that drew them +stays in that project. The project has older posts, made on 23 and 24 October 2026 for marola's +page and for this one; they are not indexed here yet. diff --git a/docs/social/instagram_002/README.md b/docs/social/instagram_002/README.md new file mode 100644 index 0000000..f303931 --- /dev/null +++ b/docs/social/instagram_002/README.md @@ -0,0 +1,52 @@ +--- +title: "instagram_002: GitHub contributions, year by year" +status: draft +date: 2026-10-25 +related: [github-contribs-post.png, github-contribs-story.png, data/2026.txt, ../README.md] +style: reference +instagram: unknown +caption: pt-BR +--- + + +# instagram_002: GitHub contributions, year by year + +Made in the "Marola UX" Claude project on 2026-10-25, for Hoffmann's personal Instagram page, +@hffmnn_. Indexed here so that it stays on record. This index does not say whether it was posted: +when it is, put the link in `instagram:` above. The owner posts it; an agent does not. + +Hoffmann's GitHub contribution chart, one row for each year from 2021 to 2026, in GitHub's +dark theme, with his avatar and "6,505 contributions since 2021". The owner asked for it with +the current look of GitHub, his new avatar, and the years from 2021 on. + +| File | What it is | +|---|---| +| [github-contribs-post.png](github-contribs-post.png) | post, 1080x1350 (4:5) | +| [github-contribs-story.png](github-contribs-story.png) | story, 1080x1920 (9:16) | + +![GitHub contributions, year by year](github-contribs-post.png) + +## Caption (pt-BR) + +No caption was written in the project. The owner's working title for the idea was +"always busy for lazy": the jump of 2025 and 2026 comes with agents that program alongside him. +A suggestion from the project, not posted: "always busy for lazy: 397 contribuições em 2021, 3,810 +em 2026, e eu digitando cada vez menos". + +## Sources + +The daily counts are in [`data/`](data/), one file for each year from 2016 to 2026, one line +for each day with contributions (`date count level`). They were read on 2026-10-25 from a public +mirror of the contribution chart, because GitHub's API was not reachable from the project; each +year's sum matches the yearly total of the same mirror. They were not compared with the GitHub +page itself. Sums by year: 2016: 20; 2017: 76; 2018: 45; 2019: 93; 2020: 160; 2021: 397; 2022: +190; 2023: 323; 2024: 418; 2025: 1,367; 2026 (to 2026-10-25): 3,810. The essay +[Why I write, 2026](../../../essays/2026-why-i-write.md) uses them. + +## Alt text + +1. A dark page in GitHub's style. At the top, the avatar and the name h0ffmann, with 6,505 + contributions since 2021, and the GitHub mark. Below, six rows of green squares, one for each + year from 2026 down to 2021, each with its total: 3,810; 1,367; 418; 323; 190; 397. The + squares of September and October 2026 are the brightest. At the foot, github.com/h0ffmann and + the Less-More legend. diff --git a/docs/social/instagram_002/data/2016.txt b/docs/social/instagram_002/data/2016.txt new file mode 100644 index 0000000..49cec73 --- /dev/null +++ b/docs/social/instagram_002/data/2016.txt @@ -0,0 +1,7 @@ +2016-02-24 1 1 +2016-12-01 3 2 +2016-12-02 1 1 +2016-12-07 1 1 +2016-12-16 3 2 +2016-12-18 1 1 +2016-12-19 10 4 diff --git a/docs/social/instagram_002/data/2017.txt b/docs/social/instagram_002/data/2017.txt new file mode 100644 index 0000000..6b5c06b --- /dev/null +++ b/docs/social/instagram_002/data/2017.txt @@ -0,0 +1,46 @@ +2017-01-03 1 1 +2017-01-06 1 1 +2017-01-10 1 1 +2017-01-11 3 2 +2017-01-17 1 1 +2017-01-18 1 1 +2017-02-01 1 1 +2017-02-07 1 1 +2017-02-09 1 1 +2017-02-13 1 1 +2017-02-20 1 1 +2017-02-22 6 4 +2017-03-06 2 2 +2017-03-15 1 1 +2017-03-22 1 1 +2017-04-18 1 1 +2017-04-27 1 1 +2017-05-01 2 2 +2017-05-05 2 2 +2017-05-06 1 1 +2017-05-08 1 1 +2017-05-09 1 1 +2017-05-15 7 4 +2017-05-22 2 2 +2017-05-23 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+2026-10-19 44 1 +2026-10-20 151 3 +2026-10-21 130 2 +2026-10-22 82 2 +2026-10-23 7 1 +2026-10-25 1 1 diff --git a/docs/social/instagram_002/github-contribs-post.png b/docs/social/instagram_002/github-contribs-post.png new file mode 100644 index 0000000..19cca9c Binary files /dev/null and b/docs/social/instagram_002/github-contribs-post.png differ diff --git a/docs/social/instagram_002/github-contribs-story.png b/docs/social/instagram_002/github-contribs-story.png new file mode 100644 index 0000000..9a8d443 Binary files /dev/null and b/docs/social/instagram_002/github-contribs-story.png differ diff --git a/docs/social/instagram_003/README.md b/docs/social/instagram_003/README.md new file mode 100644 index 0000000..d791cc2 --- /dev/null +++ b/docs/social/instagram_003/README.md @@ -0,0 +1,65 @@ +--- +title: "instagram_003: meus projetos: twelve repositories" +status: draft +date: 2026-10-25 +related: [projetos-post.png, projetos-story.png, ../README.md] +style: reference +instagram: unknown +caption: pt-BR +--- + + +# instagram_003: meus projetos: twelve repositories + +Made in the "Marola UX" Claude project on 2026-10-25, for Hoffmann's personal Instagram page, +@hffmnn_. Indexed here so that it stays on record. This index does not say whether it was posted: +when it is, put the link in `instagram:` above. The owner posts it; an agent does not. + +A table of Hoffmann's twelve repositories, in two groups: seven of marola-dev, not for +profit, and five personal ones. Each row gives the project, what it is, its licence and whether it +has a DOI. Six have a DOI on Zenodo. + +| File | What it is | +|---|---| +| [projetos-post.png](projetos-post.png) | post, 1080x1350 (4:5) | +| [projetos-story.png](projetos-story.png) | story, 1080x1920 (9:16) | + +![meus projetos: twelve repositories](projetos-post.png) + +## Caption (pt-BR) + +```text +meus projetos 🌊 + +12 repositórios, da praia limpa à onda na GPU. a maioria mora no marola.dev, um projeto aberto e sem fins lucrativos sobre qualidade da água e ciência cidadã no Rio. + +6 deles têm DOI no Zenodo, então dá pra citar como qualquer artigo. quase tudo é código aberto: lê, confere, abre issue, manda PR. + +o ww3-gpu (ondas oceânicas na GPU) ainda é fechado, mas aberto a conversas comerciais e entrevistas. + +DOIs no Zenodo: +marola 10.5281/zenodo.23224155 +ww3-gpu 10.5281/zenodo.23221351 +picasso 10.5281/zenodo.23311208 +closed source 10.5281/zenodo.23333656 +marola-bench 10.5281/zenodo.23352633 +nashkell 10.5281/zenodo.23356739 + +github.com/h0ffmann · link na bio + +#codigoaberto #opensource #cienciaaberta #openscience #oceanografia #programacao #github #riodejaneiro #marola +``` + +## Sources + +The licences and the DOIs are those of the caption and of the repositories' own pages +as the project read them on 2026-10-25. The DOIs are listed in the caption. + +## Alt text + +1. A dark card titled "meus projetos", from @hffmnn_, under "código aberto, ciência aberta". + "12 repositórios, da praia limpa à onda na GPU. 6 com DOI no Zenodo e quase tudo aberto." A + table with the columns projeto, o que é, licença, DOI. marola-dev, sem fins lucrativos: + marola, marola-app, marola-site, marola-ml, marola-research, marola-skills, marola-agents. + h0ffmann, pessoal: ww3-gpu (fechado, MPL-2.0 depois), picasso, closed-source, ptbr-writer, + nashkell. A wave at the foot, with Matheus Hoffmann and github.com/h0ffmann. diff --git a/docs/social/instagram_003/projetos-post.png b/docs/social/instagram_003/projetos-post.png new file mode 100644 index 0000000..2b00460 Binary files /dev/null and b/docs/social/instagram_003/projetos-post.png differ diff --git a/docs/social/instagram_003/projetos-story.png b/docs/social/instagram_003/projetos-story.png new file mode 100644 index 0000000..34c6979 Binary files /dev/null and b/docs/social/instagram_003/projetos-story.png differ diff --git a/docs/social/instagram_004/README.md b/docs/social/instagram_004/README.md new file mode 100644 index 0000000..7d4cee0 --- /dev/null +++ b/docs/social/instagram_004/README.md @@ -0,0 +1,67 @@ +--- +title: "instagram_004: meus temas: five subjects" +status: draft +date: 2026-10-25 +related: [temas-post.png, temas-story.png, ../README.md] +style: reference +instagram: unknown +caption: pt-BR +--- + + +# instagram_004: meus temas: five subjects + +Made in the "Marola UX" Claude project on 2026-10-25, for Hoffmann's personal Instagram page, +@hffmnn_. Indexed here so that it stays on record. This index does not say whether it was posted: +when it is, put the link in `instagram:` above. The owner posts it; an agent does not. + +Five subjects that run through Hoffmann's work: forecasting, weather, AI, game theory and +the classics before the twenty-first century, each with the repositories that belong to it. + +| File | What it is | +|---|---| +| [temas-post.png](temas-post.png) | post, 1080x1350 (4:5) | +| [temas-story.png](temas-story.png) | story, 1080x1920 (9:16) | + +![meus temas: five subjects](temas-post.png) + +## Caption (pt-BR) + +```text +meus temas 📈🌦️🤖♟️📚 + +5 assuntos que se cruzam em quase tudo que eu faço: + +forecasting: “who controls the past controls the future: who controls the present controls the past” +weather: modelo de ondas na GPU (ww3-gpu) e condições das praias no marola.dev. +IA: fine-tune, modelo local e agentes que programam junto. +teoria dos jogos (WIP): decidir quando o resultado depende da escolha dos outros. +clássicos 4fun: tudo antes do século XXI. Santo Agostinho, Montaigne, Chesterton, Robert M. Pirsig, John Nash e um pouco de latim. + +DOIs no Zenodo: +marola 10.5281/zenodo.23224155 +ww3-gpu 10.5281/zenodo.23221351 +picasso 10.5281/zenodo.23311208 +closed source 10.5281/zenodo.23333656 +marola-bench 10.5281/zenodo.23352633 +nashkell 10.5281/zenodo.23356739 + +github.com/h0ffmann · link na bio + +#forecasting #weather #oceanografia #ia #teoriadosjogos #classicos #codigoaberto #cienciaaberta #programacao +``` + +## Sources + +The caption gives the quotation on forecasting without a name. Its source was not checked +for this index, so none is given here. + +## Alt text + +1. A dark card titled "meus temas", from @hffmnn_, under "o que eu estudo e construo". + "5 assuntos que se cruzam em quase tudo que eu faço, do código aberto aos livros antigos." + Five boxes, each with an icon: forecasting, with a quotation about the past and the future; + weather, waves on the GPU and beach conditions; IA, fine-tune, local models and agents that + program alongside; teoria dos jogos (WIP); clássicos 4fun, with Santo Agostinho, Montaigne, + Chesterton, Pirsig and John Nash. A wave at the foot, with Matheus Hoffmann and + github.com/h0ffmann. diff --git a/docs/social/instagram_004/temas-post.png b/docs/social/instagram_004/temas-post.png new file mode 100644 index 0000000..89201f1 Binary files /dev/null and b/docs/social/instagram_004/temas-post.png differ diff --git a/docs/social/instagram_004/temas-story.png b/docs/social/instagram_004/temas-story.png new file mode 100644 index 0000000..8bf9daa Binary files /dev/null and b/docs/social/instagram_004/temas-story.png differ diff --git a/docs/social/instagram_005/README.md b/docs/social/instagram_005/README.md new file mode 100644 index 0000000..5933517 --- /dev/null +++ b/docs/social/instagram_005/README.md @@ -0,0 +1,68 @@ +--- +title: "instagram_005: meus trabalhos: marola, nagori and ptbr-writer" +status: draft +date: 2026-10-25 +related: [trabalhos-post.png, trabalhos-story.png, ../README.md] +style: reference +instagram: unknown +caption: pt-BR +--- + + +# instagram_005: meus trabalhos: marola, nagori and ptbr-writer + +Made in the "Marola UX" Claude project on 2026-10-25, for Hoffmann's personal Instagram page, +@hffmnn_. Indexed here so that it stays on record. This index does not say whether it was posted: +when it is, put the link in `instagram:` above. The owner posts it; an agent does not. + +Hoffmann's three works: marola, open source and not for profit, a Leave No Trace partner; +nagori, his second brain, themed on *Neon Genesis Evangelion*; and ptbr-writer, a Chrome +extension for writing in Portuguese. + +| File | What it is | +|---|---| +| [trabalhos-post.png](trabalhos-post.png) | post, 1080x1350 (4:5) | +| [trabalhos-story.png](trabalhos-story.png) | story, 1080x1920 (9:16) | + +![meus trabalhos: marola, nagori and ptbr-writer](trabalhos-post.png) + +## Caption (pt-BR) + +```text +meus trabalhos 🌊名残🪶 + +01 marola: código aberto e sem fins lucrativos. o super app da água (the brazilian water super app), feito com cinco amigos, parceiro do Leave No Trace (lnt.org). marola.dev + +02 nagori 名残: meu segundo cérebro. o nome quer dizer "o que a onda deixa pra trás". é temático com conceitos de Neon Genesis Evangelion: MAGI pra decidir, Angels pros problemas, Terminal Dogma na raiz. ainda configurando o tooling. + +03 ptbr-writer 🇧🇷: escrever como no grammarcraft, feito pro Brasil. uma extensão do Chrome para português, de forma ética. ainda em construção. + +DOIs no Zenodo: +marola 10.5281/zenodo.23224155 +ww3-gpu 10.5281/zenodo.23221351 +picasso 10.5281/zenodo.23311208 +closed source 10.5281/zenodo.23333656 +marola-bench 10.5281/zenodo.23352633 +nashkell 10.5281/zenodo.23356739 + +github.com/h0ffmann · link na bio + +#codigoaberto #opensource #segundocerebro #evangelion #oceanografia #leavenotrace #programacao #marola +``` + +## Sources + +The Leave No Trace logo is that organisation's mark, shown because marola is a partner +(lnt.org); it is not under this repository's licence. The QR code opens marola.dev. nagori is +private: the post names it and its themes, and nothing of its text. + +## Alt text + +1. A dark card titled "meus trabalhos", from @hffmnn_, under "o que eu faço". "3 trabalhos: + o marola, aberto e sem fins lucrativos, e dois pessoais." 01 marola, with a DOI badge: código + aberto e sem fins lucrativos, o super app da água, and its five repositories; below it a white + band with the Leave No Trace "proud partner" logo, a dedication line and a QR code to + marola.dev. 02 nagori, 名残, configurando o tooling: segundo cérebro, o que a onda deixa pra + trás, temático com conceitos de Neon Genesis Evangelion. 03 ptbr-writer (WIP): escrever como + no grammarcraft, feito pro Brasil. A wave at the foot, with Matheus Hoffmann and + github.com/h0ffmann. diff --git a/docs/social/instagram_005/trabalhos-post.png b/docs/social/instagram_005/trabalhos-post.png new file mode 100644 index 0000000..201e8f0 Binary files /dev/null and b/docs/social/instagram_005/trabalhos-post.png differ diff --git a/docs/social/instagram_005/trabalhos-story.png b/docs/social/instagram_005/trabalhos-story.png new file mode 100644 index 0000000..9a93a1d Binary files /dev/null and b/docs/social/instagram_005/trabalhos-story.png differ diff --git a/docs/social/instagram_006/README.md b/docs/social/instagram_006/README.md new file mode 100644 index 0000000..7b32e24 --- /dev/null +++ b/docs/social/instagram_006/README.md @@ -0,0 +1,66 @@ +--- +title: "instagram_006: Chautauqua: the series of essays" +status: draft +date: 2026-10-25 +related: [chautauqua-def-post.png, chautauqua-def-story.png, ../../../essays/2026-why-i-write.md, ../README.md] +style: reference +instagram: unknown +caption: pt-BR +--- + + +# instagram_006: Chautauqua: the series of essays + +Made in the "Marola UX" Claude project on 2026-10-25, for Hoffmann's personal Instagram page, +@hffmnn_. Indexed here so that it stays on record. This index does not say whether it was posted: +when it is, put the link in `instagram:` above. The owner posts it; an agent does not. + +The opening post of Chautauqua, a monthly series of essays: a definition of the word, its +use by Pirsig, the promise of one essay a month (short on Instagram, full on Medium, up to 30 +minutes of reading), and the next number. The essays are indexed here, in +[`essays/`](../../../essays/index.md); the first one is +[Why I write, 2026](../../../essays/2026-why-i-write.md). + +| File | What it is | +|---|---| +| [chautauqua-def-post.png](chautauqua-def-post.png) | post, 1080x1350 (4:5) | +| [chautauqua-def-story.png](chautauqua-def-story.png) | story, 1080x1920 (9:16) | + +![Chautauqua: the series of essays](chautauqua-def-post.png) + +## Caption (pt-BR) + +```text +chautauqua 🏍️🌊 + +chau·tau·qua (xa-tó-cua), substantivo feminino. + +em 1874, à beira do lago Chautauqua, em Nova York, um acampamento de verão virou encontro ao ar livre, com palestras, música e debate para quem quisesse ouvir. no começo do século XX, as chautauquas viraram tendas itinerantes pelas cidades pequenas dos EUA: a universidade de quem não tinha uma. + +em 1974, robert m. pirsig pegou o nome emprestado em "zen e a arte da manutenção de motocicletas" para as conversas longas e sem pressa que ele intercala com a estrada. + +a partir de agora, esta é uma série: uma vez por mês, um ensaio curto aqui e o completo no medium, em até 30 minutos de leitura. todo o conteúdo fica indexado no github, em h0ffmann/closed-source. + +no próximo post, nº 01: o que é qualidade? +terça-feira, 3 de novembro, 10:10. + +#chautauqua #pirsig #zeneaartedamanutencaodemotocicletas #filosofia #ensaio #leitura #cienciaaberta #riodejaneiro +``` + +## Sources + +The history of the word: the note +[the Chautauquas](../../../notes/202610140004-whats-new-and-what-is-best.md) (Wikipedia, +"Chautauqua", revision 1368362770). The post announces "nº 01 · o que é qualidade?" for +2026-11-03; the essay "Por que escrevo" may take that place, and the owner decides. + +## Alt text + +1. A dark card headed "uma série de ensaios", from @hffmnn_. "chau·tau·qua · /xa-tó-cua/ + s.f." Four numbered lines: an open-air meeting born in 1874 by Lake Chautauqua, New York, + later a travelling tent through small American towns; in Pirsig's Zen and the Art of + Motorcycle Maintenance (1974), a long talk about one thing between stretches of road; here, + one essay a month, short in the feed and complete on Medium, up to 30 minutes of reading; all + of it indexed on GitHub at h0ffmann/closed-source. A box: no próximo post, nº 01, o que é + qualidade?, terça-feira, 3 de novembro, 10:10. Matheus Hoffmann and "link na bio" at the + foot. diff --git a/docs/social/instagram_006/chautauqua-def-post.png b/docs/social/instagram_006/chautauqua-def-post.png new file mode 100644 index 0000000..4506464 Binary files /dev/null and b/docs/social/instagram_006/chautauqua-def-post.png differ diff --git a/docs/social/instagram_006/chautauqua-def-story.png b/docs/social/instagram_006/chautauqua-def-story.png new file mode 100644 index 0000000..f251b17 Binary files /dev/null and b/docs/social/instagram_006/chautauqua-def-story.png differ diff --git a/essays/2026-why-i-write.md b/essays/2026-why-i-write.md new file mode 100644 index 0000000..696f58d --- /dev/null +++ b/essays/2026-why-i-write.md @@ -0,0 +1,592 @@ +--- +title: "Why I write, 2026" +type: essay +status: draft +date: 2026-10-25 +lang: en +series: "Chautauqua no. 01" +topics: "Montaigne,Cicero,Socrates,nagori,GitHub,marola,mu" +translation: 2026-why-i-write.pt-BR.md +related: [2026-why-i-write.pt-BR.md, ../.claude/skills/essay-montaigne/SKILL.md, ../docs/social/instagram_002/README.md, ../docs/social/instagram_005/README.md, ../docs/social/instagram_006/README.md] +--- + + +# Why I write, 2026 + +*Chautauqua no. 01. What the wave leaves on the sand, and why I write for someone who has not +arrived yet.* + +*A draft. Claude wrote this draft at the owner's request, from the README of nagori, the +Instagram posts indexed in this repository and the sources under "Sources". Each "I" below +stands on one of those. Where the material is missing, a marker says what the owner has to +write. It is written in October 2026 and it says how things look this month. It also exists in +Brazilian Portuguese: [Por que escrevo, 2026](2026-why-i-write.pt-BR.md).* + +Estimated reading time: ~28 min (6,336 words, 10 links) + +## opening · the wet line + +This intuition that I had since childhood, **[AUTHOR ANECDOTE: the childhood intuition, in one or +two sentences, as the author remembers it]**, I never knew how to say out loud. It was not a +secret. I did not have the word. A child has ideas too large for the words the child has, and +most of those ideas are gone before the word arrives. Some ideas stay. They wait. + +The word I found, many years later, is not Portuguese. It is Japanese: 名残, *nagori*. It is also +the name of my second brain. In the post where I showed my work, I wrote that the name means +"what the wave leaves behind". The picture is literal. After the water pulls back, the foam +stays, the shells stay, and a wet line stays on the sand. + +In Rio, where marola measures the water of the beaches, that line appears every day. A person +who stands at the edge of the sea can watch the wave draw the line and erase it, all day. Each +wave comes a little higher or a little lower than the one before. The sand above the line is +dry. The sand below it is soaked. The line is the only part of the beach that says something +about what happened: how far the water came. + +I read the wet line as a record. It is the beach taking notes. + +I write in many forms. I write code almost every day. I write captions, GitHub issues, design +documents, pull request descriptions and notes. This series starts with the simplest question +about all of that: why do I write? What exactly do I try to leave on the sand? + +This is the first of a series of essays that I call Chautauqua. The name comes from Robert +Pirsig. In *Zen and the Art of Motorcycle Maintenance* (1974), he calls the long talks between +the stretches of road his Chautauquas. The series has one essay a month. Each essay takes a +classic from before the twenty-first century and tries it on a subject of today. The question +"why do I write" sits under all the others, so it comes first. If I am going to write twelve +essays in a year, I owe myself an honest answer about the reason. + +The short answer is this, and I will spend the rest of the text trying to earn it: I write +because the wave will pull back, and I want a line to stay. + +## 1 · learning to die + +The README of nagori has a quotation just under its name. It is this: + +> To philosophize is to learn to die. +> — Montaigne, after Cicero, after Socrates in the *Phaedo* + +I like the chain of credit more than the sentence. Nobody owns the idea. It passes from hand to +hand for two thousand years, and each person who takes it writes it again, in their own hand, +and passes it on. The idea survived only because somebody wrote it down. Before I say what it +says, I tell where it went. + +### Socrates wrote nothing + +The start is a man who left no text. Socrates was condemned to death in Athens in 399 BC. +Plato's *Phaedo* is set in the prison, in the last hours before his death. His friends come, +and Socrates spends the time on the soul. The central argument is that a philosopher prepares +for death all his life. So a philosopher should meet death without fear when it comes. + +The detail that interests me is this: we know the argument only because Plato wrote it. +Socrates distrusted writing, and I come back to that in the objection. Even so, a text that +Socrates did not write is the reason we still discuss what he thought. That is the first irony +of the chain: the man who did not write survived in another man's writing. + +### Cicero, after a loss + +About three and a half centuries later, in Rome, Cicero takes the idea. In 45 BC his daughter +Tullia dies after childbirth. Cicero leaves public business and turns to philosophy. In the +summer and autumn of that year he writes the *Tusculan Disputations*, named after his country +house at Tusculum. Book I is on the contempt of death. + +The README of nagori puts Cicero's part in one sentence: + +> Cicero rendered the idea as *commentatio mortis*: a rehearsal of death, and, in the same word, a set of notes. + +That sentence is the reason this essay exists. It says that to write and to prepare for the end +are, at some level, the same act. Both try to put a life in order while it is still here, so +that it makes sense when the person is no longer there to explain it. + +Here I need a doubt, and it is mine. C. D. Yonge's English translation, which I read for this +essay, says that the whole life of a philosopher is "a meditation on death". Yonge says nothing +about notes. I do not know enough Latin to say whether *commentatio* also carries the sense of a +notebook, as the sentence in nagori says. Perhaps the sense of notes is my own reading, borrowed +from a neighbouring word. I leave the sentence as it is, because it says what I think, and I +leave the doubt beside it, because I have not checked. + +The rest of the story I checked. Cicero loses his daughter, and he writes. He does not write +exactly about Tullia. He writes about death in general, about what the philosophers said and +about how a person should act before it. I read that as a way to put the pain outside, on a +page, where it can be looked at from some distance. In that reading, writing is not an +ornament. Writing is a tool. + +### Montaigne, in the tower + +Sixteen centuries later, in 1571, at 38, a magistrate of Bordeaux named Michel de +Montaigne retires from public life to the tower of his family's château, where the library is. +Eight years before, in 1563, he had lost his best friend, Étienne de La Boétie. I like one +reading of this story: Montaigne began to write because he no longer had anyone to talk to. With +the friend gone, he invented a reader. The reading is mine. The dates are the biography's. + +The book that came out of the tower, in 1580, is called *Essais*. The French word means trials, +tests. Montaigne did not write treatises. He tested his own judgement against any subject: the +cannibals, idleness, friendship, books. In his note to the reader, he says that the matter of +the book is himself: "myself am the matter of my book", in Charles Cotton's translation. Because +of him, a text like this one is called an essay. + +One chapter of the first book has the title of the quotation in nagori: *Que philosopher c'est +apprendre à mourir*, that to philosophize is to learn to die. Montaigne quotes Cicero, who quoted +Socrates, and spends the chapter trying to get used to his own death, without drama. One +sentence of that chapter stays with me more than the others. Montaigne wants death to find him +planting his cabbages: "que la mort me trouve plantant mes choux". He wants death in the middle +of a common task, with earth on his hands, with no last speech. + +### what the three have in common + +When I look at the whole chain, a pattern appears: + +- Socrates **does not write**, and survives because Plato writes for him. +- Cicero **loses his daughter**, and writes. +- Montaigne **loses his friend**, and writes. + +All three deal with the same thing: something will end, and a person has to decide what to do +with the time that is left. Each one, in his own way, answers: think with care, and leave the +thought on record. In that sense, to learn to die is not morbid. It is almost practical. It is +to live in a way that makes the line on the sand say something true when the wave pulls back. + +### a doctor in Birmingham + +The chain does not stop with Montaigne. I want to add a link from the twentieth century, because +it shows the same idea in a place less noble than a tower. + +Anthony Daniels was born in 1949. He was a psychiatrist and a prison doctor in Birmingham, at City +Hospital and at Winson Green Prison. Under the pen name Theodore Dalrymple, he wrote for years for +the American magazine *City Journal*. The essays of that magazine became books: *Life at the +Bottom* (2001) and *Our Culture, What's Left of It* (2005). He retired as a psychiatrist in 2005. + +His best-known essay, "The Frivolity of Evil", came out in the autumn of 2004. Its first sentence +is this: "When prisoners are released from prison, they often say that they have paid their debt +to society." A case follows soon after: a woman of 21 who had consulted him the day +before. The essay does not start from a definition. It starts from what the writer saw. Dalrymple +says that he listened to such patients every day, over 14 years of hospital and prison work. The +last sentence of the essay is a farewell: "I'm leaving—I hope for good." + +I read Dalrymple as a fourth link of the chain, and the reading is mine. Socrates talked, Cicero +wrote after he lost his daughter, Montaigne wrote after he lost his friend. Dalrymple wrote as a +witness. Every day he saw something that most readers never see, and he wrote so that it would not +be lost when he left the hospital. His essay is a wet line left by 14 years of work. He published +it months before he left. + +This essay is not about Dalrymple's theses. What interests me is the form: a concrete case before +an idea, the writer inside the text, and a text written by someone who knows he is about to leave +the stage. It is Montaigne's form, in a white coat. + +### what the four tell me + +I think the child I was felt a version of this, without the words. **[AUTHOR ANECDOTE: in one +sentence, how the childhood intuition ties to the idea that things pass and that something can +stay; or why it does not.]** + +## 2 · the line I leave today + +So far, all of this could be merely pretty. I am an engineer, and an engineer distrusts what is +merely pretty. So I look at what I actually write, with numbers. + +### a chart of small squares + +GitHub records what each person writes there: each commit, each issue, each pull request, each +review. The profile page shows that record as a calendar of green squares, one for each day. In +an Instagram post this month I published my chart, year by year. The data are these: + +| year | contributions | days with at least one | +|---|---:|---:| +| 2016 | 20 | 7 | +| 2017 | 76 | 46 | +| 2018 | 45 | 18 | +| 2019 | 93 | 41 | +| 2020 | 160 | 54 | +| 2021 | 397 | 118 | +| 2022 | 190 | 74 | +| 2023 | 323 | 128 | +| 2024 | 418 | 151 | +| 2025 | 1,367 | 126 | +| 2026, to 2026-10-25 | 3,810 | 142 | + +In 2016 I made 20 contributions on GitHub, on 7 days of the year. In 2026, before the year is +over, there are 3,810: 190 times as many. From 5 to 7 September 2026 there were 746 +contributions in three days. That is more than the sum of 2016 to 2020, which is 394. + +An easy reading of this chart is the programmer who got faster. I do not think that is it. Three +things changed at the same time, and all three matter to the question of this essay. + +The first change: I began to write **in public**, on purpose. marola, which I make with five +friends, is open source and not for profit. It is a project on water quality and citizen science +in Rio. Its code is on GitHub. Writing in public changes the writing. A person writes +knowing that somebody may read it, and sometimes knowing that somebody will read it *later*, when +the writer is not there to explain. I call that *commentatio* with version control. + +The second change: I began to write **together with machines**. In the post on my subjects, I +described the AI I use as "agentes que programam junto", agents that program alongside me. A +large part of the 3,810 contributions of 2026 went through those agents. The work goes like this: +I describe what I want, the agent writes a first version, and I read it, correct it, reject it +or ask again. **[AUTHOR ANECDOTE: how much of the 2026 contributions was made with agents, in the +author's estimate, and what the author was doing on the peak days of September.]** Writing became +something else: less typing, more reading, more decisions about what stays. + +### writing that can be cited + +There is a third change, smaller and more technical. Six of my projects have a DOI on Zenodo: +marola, ww3-gpu, picasso, closed source, marola-bench and nashkell. A DOI is a permanent +identifier. The version of a repository that gets a DOI is archived, and anyone can cite that +version twenty years from now, even if I delete the repository. + +I think of the DOI as the technical form of the wet line. The code changes every day, like the +wave. The version with a DOI is the line that stays marked on the sand, with a date. When someone +cites that version, they cite exactly what was there on that day, and not what I would like to +have been there. + +One of those DOIs belongs to this repository. It holds a book I am writing, *Closed Source: The +God that Failed*. The book will have 100 pages: 50 thinkers, two pages each. The list of the 50 is +in `50THINKERS.md`. Montaigne is number 50, and his line says: "the *Essays*: why one writes at +all". I have not written those two pages yet. Perhaps this essay is their draft. Theodore +Dalrymple is on the list too, as number 37, and his line still says "to be written later". + +### producing text and writing + +The three changes force me to separate two things I used to treat as one: **producing text** and +**writing**. + +Producing text became cheap. Anyone with a language model can produce a thousand words on any +subject in seconds. That holds for code, captions, reports and essays. If the question of this +essay were "why do I produce text?", the honest answer in 2026 would be: less and less, because +the machine produces it for me. + +That is not the question. In my chart, what grew since 2016 is not only the amount of text. It +is the number of **recorded decisions**. Each commit is a line on the sand that says: on this day, +I thought this was right enough to stay. Each issue is a question I did not want to forget. Each +design document is an argument I made to myself before I built something. In marola, a large +change starts with a numbered document that says why. First the team writes the reason; then the +team builds. + +That is writing. The machine does not do it for me, because the decision is not the machine's. + +This repository has a rule that says the same thing another way. An agent never invents the +author's experience. Where the experience is missing, the agent writes a marker, and the author +fills it in later. This essay has five such markers. The machine can help me produce text. The +essay, in Montaigne's sense, is the trial of my judgement, and it has to be mine. Without that, +the essay is nobody's. + +### writing as a measuring instrument + +I spend much of my time on forecasts: of waves, of weather, of time series. A basic rule of +forecasting is this: a model can be scored only if somebody recorded its forecast **before** the +outcome was known. The human mind fails at this. After the thing happens, a person remembers that +they knew. A forecast that was not written down before is not a forecast. It is a memory that was +rebuilt. + +For me, writing does the same job outside of work. A dated note is a frozen forecast: what I +thought at that moment, with what I knew. When I read the note again a year later, I can see +where I was wrong, without the excuse that I always knew. The notes of this repository follow +that logic: one idea per note, a permanent id, and the status `unverified` until a source is +cited. The old note is not right or wrong. It is on record, and that is why I can learn from it. + +Without writing, there is no calibration. Without calibration, a person never finds out that +they were wrong. They only find out that they changed their mind. Those are different things, +and only the first one teaches anything. + +### what the wave carries + +marola is also, at bottom, a writing project. It takes beach water bulletins and data on waves, +wind and rain, and turns them into something a person on the beach can read: the water is fine +to swim in today, or it is not. Each of those numbers began as a sample of water in a flask. +Somebody took the flask to a laboratory, analysed the sample, wrote down the result and published +it. If anybody in that chain had not written, the information would have died there. The beach +does not remember whether it was unfit last week. Whoever wrote it down remembers. + +That is why marola is open. It is a matter of principle, and it is also practical: a line on the +sand that only I can see is of little use. The code is published so that anyone can read the rules +that decide whether a beach is fit or unfit, check those rules, disagree and open an issue. Public +writing can be corrected. Private writing, at most, can be forgotten. + +In October, talking to a friend, I said something stronger, and then I turned it into a note in +this repository: in the long run, private code has no commercial value, and private science has +none either. With agents, reverse engineering and science grow fast. Somebody will reverse +engineer your papers, and everybody else's. The note ends: "That is why I now make only open +work." The note itself says that this is a forecast and my own position, not a fact with a +source. Its status is an open question. I left the forecast in writing, with a date, so that I +can check whether I was wrong. + +### tears in rain + +At the end of *Blade Runner* (1982), the replicant Roy Batty has a few minutes to live. He +remembers ships on fire near Orion and beams glittering in the dark near the Tannhäuser Gate. +Then he says: "All those moments will be lost in time, like tears in rain." + +Batty's fear is the opposite of *nagori*. It is the wave that leaves nothing. He saw things that +nobody else saw, there is no record, and when he goes, it all goes with him. Same ocean, opposite +end. The difference between the two ends is only one: whether somebody wrote something down. + +But to write is not to keep everything. To write is to choose what stays. The beach does not keep +every wave. The beach keeps the highest line. + +## 3 · the objection + +Now the part that hurts. I spent half of this essay praising writing. It would be dishonest not +to give the word to the man who distrusted it, the more so because he stands at the start of the +same chain I quoted. + +### Socrates against writing + +Socrates did not write for a reason, and Plato recorded the reason in the *Phaedrus*, a dialogue +written around 370 BC. Socrates tells an Egyptian myth. The god Theuth invented writing and showed +it to King Thamus as a remedy for memory. Thamus answered that the effect would be the opposite. +For Thamus, writing is a remedy for reminding, not for remembering. It gives the appearance of +wisdom, not wisdom. + +The Greek word for that remedy is *pharmakon*, which means both remedy and poison. I built a +whole second brain. A second brain is exactly the thing Socrates distrusted, and I built it after +I had read the warning. + +The warning grew stronger in 2026, not weaker. If Thamus feared that writing would give the +appearance of wisdom, what would he say of a language model? Today a person can have the text +without having written it. A person can have the shape of an essay without having made the +trial. Theuth's remedy now writes by itself. The 3,810 contributions of this year are, in part, +what Thamus feared: many marks outside, and an open question about how much of them is really in +my head. I cannot answer that question with a number. + +### vanity + +The second objection is more personal. To write so as to outlast the writer, to leave a line on +the sand, to be read later: is that not just vanity with fine words? Montaigne asked himself that. +He knew that a whole book about himself was presumptuous. The question still stands. Perhaps I +write in public because I want to be seen. Perhaps nagori is a monument dressed as a notebook. + +nagori is themed on *Neon Genesis Evangelion*, and the outside world, with projects and with +being seen, has a place in it. Being seen is a real engine, and to pretend it is not would be +worse. But an engine is not a reason. If the only reason to write were to be read, then to write +for after my death would be a contradiction: I will not be here to be seen. + +A note I wrote on 13 October helps me here. It starts: "Open work does not need a crowd. It needs +to reach the few people who can use it, check it or build on it." I wrote that about the keywords +of a paper, not about vanity. But the sentence separates two things that the objection mixes: to +be seen by many and to be read by the right people. Vanity wants the first. The line on the sand +needs only the second. + +### fear + +The third objection is the one I like least. Perhaps all this talk of learning to die is only a +refined way of being afraid of death. Cicero wrote the *Tusculans* in the year his daughter died. +Montaigne wrote after he lost his friend. Perhaps writing is what a person does when the loss is +too large to bear, and the person must turn it into sentences to be able to look at it. In that +case, writing would not be a way to learn to die. It would be a way not to think of death, with +busy hands. + +And perhaps the childhood intuition was not early wisdom. Perhaps it was only fear, arriving +early. **[AUTHOR ANECDOTE: whether the author thinks the childhood intuition had fear in it, and +why.]** + +### mu + +I have no clean answer to any of the three objections. But one word helps me think about them, +and it comes from the same Pirsig who named this series. + +A Zen koan tells that a monk asked the master Zhaozhou whether a dog has Buddha-nature. The +master answered *mu*, 無. In *Zen and the Art of Motorcycle Maintenance*, Pirsig renders *mu* as +"no thing" and says that it means: unask the question. The answer is not yes and not no. The +question was badly framed. + +Against the three objections, I think the honest answer is, in part, *mu*. + +"Does writing produce forgetting or memory?" Badly framed. It produces both, by how it is used. +The *pharmakon* is remedy and poison at once; the word itself already said so. A note I never +read again is poison: it gives me the feeling that I kept something without understanding it. A +note that I read again, correct and link to other notes is a remedy. Socrates was right about the +text that stays silent when someone asks it a question. The answer to that is not to stop +writing. The answer is to go back to the text, ask again, and rewrite when the answer changes. + +"Do I write from vanity or from something else?" Also badly framed, because it assumes one +motive. I write from vanity *too*. The question is whether vanity is driving or sitting in the +back seat. + +"Do I write from fear?" Perhaps. Here I think Montaigne already answered, without meaning to, +with the cabbages. The fear of death that paralyses wants ceremony: the last speech, the +monument, the last word. Montaigne asks for the opposite. He wants death to find him in the +middle of a common task, with dirty hands, with nothing prepared. To write a little every day, +about common things, in a way another person can read, is my way of planting cabbages. It is not +a monument. It is gardening. + +### and the machine? + +One objection remains that the three classics could not foresee, and I cannot undo it with *mu*. +If a machine can produce a whole essay, quotations and all, why should anyone read an essay of +mine and not the machine's? + +The best answer I have is Montaigne's note to the reader: the matter of the book is himself. An +essay, in the first sense, is not a text about a subject. It is the record of a person who tries +himself against a subject. The machine can write about why people write. It cannot write why *I* +write, because it was not there when I had that intuition. It will not be here either when I read +this text again in ten years and disagree with it. The value of a line on the sand is not the +shape of the line. It is that the line says how far *that* wave came. + +### the rules Montaigne left + +This repository checks each essay against sentences that Montaigne himself wrote about what he +was doing. The check is a skill, `essay-montaigne`, with a script that counts what can be counted. +I want to put this essay through the three sentences that bother me most, because they answer the +objection of the machine better than I do. + +The first sentence is "I do not teach; I only relate". An essay gives no orders to the reader and +does not end with a list of lessons. This essay says why *I* write. It does not say why the reader +should write. If this essay ended with five tips on how to write better, it would be a self-help +article with quotations. + +The second sentence is "What do I know?". An essay doubts at least once, and doubts in earnest. In +this essay, the most honest doubt is in Cicero's word: I do not know whether *commentatio* also +means notes. The other doubt is in the chart: I do not know how much of the 3,810 contributions is +really in my head. + +The third sentence is "I do not paint its being, I paint its passage". An essay has a date and may +be contradicted later by its own writer. This essay is of October 2026. I know that I will +disagree with parts of it, and I want to disagree in writing, on a new page with another date, not +by deleting this one. + +Those three sentences are why a machine cannot write this essay for me. The machine can imitate +the form. The machine cannot doubt for me, because the doubt has to be about something I thought I +knew. And the machine cannot date my passage, because it did not pass where I passed. + +## 4 · back to the beach + +I go back to the edge of the water with all of this. + +The wave comes, draws the line and pulls back. The wave comes again, a little higher or a little +lower. The sand does not choose to keep the line. It is only wet where the water came. The +difference between the beach and a person is that the person can choose. The person can look at +what happened and decide: this I will write down. + +### what I do with this + +The question of the essay is why I write. The practical question is what changes now. I have four +answers, and all four are already under way. + +First, this series. One essay a month, on the first Tuesday, at 10:10, short on Instagram and full +on Medium. One essay a month is little text. It is one line at a time, with a date. + +Second, two languages. Each essay exists in Portuguese and in English, in this repository, and the +two versions say the same thing. Quotations stay in the language in which I found them, with a +translation after them in the Portuguese version. The Portuguese version follows the rules of +controlled technical Portuguese: an explicit subject, one idea per sentence, a number with its +origin. Those rules make the text flatter, and I accept the price, because a flat text is easier +to check. + +Third, the markers. Where the experience is mine and the text does not have it yet, a marker +stays. The essay remains a draft until I fill each marker. This essay goes out with five. + +Fourth, the rereading. I will read this page again in October 2027 and write what changed, on a +new page. The new page does not erase this one. Both stay, like two lines on the sand on +different days. + +So why do I write? + +I write because **[AUTHOR ANECDOTE: the childhood intuition, taken up again by the adult in one +sentence]**, and because I found out, late, that I was not alone in it. Socrates said that the +philosopher prepares for death all his life. Cicero gave the idea a Latin word. Montaigne shut +himself in a tower, named a genre and asked to die planting cabbages. None of the three stopped +the wave from pulling back. All three left a line. + +I write because a forecast that was not written down teaches nothing, and a life holds many +forecasts that the person forgets having made. + +I write in public because closed writing cannot be corrected, and I am wrong often. + +I write with machines, and I will go on writing with them, but the essay stays with me. The +machine can help me carry the sand. The line has to be mine. + +And in the end I write because the question "why do I write?" is perhaps itself half *mu*: badly +framed, too small. Perhaps the right question is not "why" but "for whom". That one I can answer. +I write for someone who has not reached the beach yet. That person will arrive after the water has +pulled back, will look at the sand and will see a line. It may be a reader I do not know. It may +be a person I love. It may be myself, ten years from now, reading this page again, disagreeing +with almost all of it and glad that it was written down. I will read this page again in October +2027. + +This is no. 01. In a month comes another. Twelve in the first year, if the wave allows. + +*Chautauqua is a monthly series of essays: a classic from before the twenty-first century, tried +on a subject of today. It comes out on the first Tuesday of each month at 10:10, on Medium and on +Instagram @hffmnn_. All of it is indexed at github.com/h0ffmann/closed-source. Previous number: +none, this is the first. Next number: no. 02, in December 2026.* + +## Sources + +Each source has the status that papers use in `REFERENCES.md`: `verified` when the source was +read and the quoted passage was found; `partial` when the source was read through a summary or a +fragment. + +- The two English quotations on Montaigne and Cicero: h0ffmann/nagori, `README.md`, section "Why + keep notes in public", at commit `85dd045`, read on 2026-10-25. Copied as is, at the owner's + request. Status: verified. +- The name *nagori*, "o que a onda deixa pra trás" (what the wave leaves behind): the caption of + the post "meus trabalhos", + [`docs/social/instagram_005/README.md`](../docs/social/instagram_005/README.md). +- The subjects and "agentes que programam junto": the caption of the post "meus temas", + [`docs/social/instagram_004/README.md`](../docs/social/instagram_004/README.md). +- marola, the five friends and the six DOIs: the captions of the posts "meus projetos" and "meus + trabalhos", in `docs/social/`. marola's DOI: 10.5281/zenodo.23224155. +- The GitHub contributions by year: the data of the post "GitHub contributions", + [`docs/social/instagram_002/`](../docs/social/instagram_002/README.md), summed by year on + 2026-10-25. The data come from a public mirror of the contribution chart and were not compared + with the GitHub page. Status: partial. +- The Chautauqua series and the name taken from Pirsig: the post that defines the series, + [`docs/social/instagram_006/README.md`](../docs/social/instagram_006/README.md), and the note + [the Chautauquas](../notes/202610140004-whats-new-and-what-is-best.md). +- Socrates, the prison, 399 BC, and the philosopher who prepares for death all his life: + Wikipedia, "Phaedo", read on 2026-10-25. Status: partial. +- Cicero, Tullia, 45 BC, Tusculum and the subject of Book I: Wikipedia, "Tusculanae + Disputationes", read on 2026-10-25. Status: partial. +- "a meditation on death": Cicero, *Tusculan Disputations*, Book I, translated by C. D. Yonge, + Standard Ebooks (standardebooks.org/ebooks/cicero/tusculan-disputations/c-d-yonge), read on + 2026-10-25. The passage was found; that edition gives no section number. Status: partial. +- Montaigne in 1571, at 38; La Boétie in 1563; the *Essais* in 1580: Wikipedia, "Michel + de Montaigne", read on 2026-10-25. Status: partial. +- "myself am the matter of my book": Montaigne, *Essays*, "The Author to the Reader", translated + by Charles Cotton, Project Gutenberg eBook 3600, as checked in the `essay-montaigne` skill. +- "que la mort me trouve plantant mes choux": Montaigne, *Essais*, Book I, chapter 19 in Frame's + numbering, "Que philosopher c'est apprendre à mourir"; as quoted by wist.info (Wist, entry + 8109), read on 2026-10-25. Status: partial. +- Theuth, Thamus and writing as a remedy for reminding: Wikipedia, "Phaedrus (dialogue)", read on + 2026-10-25, which cites *Phaedrus* 274e–275b. Status: partial. +- *Mu*, Zhaozhou and "unask the question" in Pirsig: Wikipedia, "Mu (negative)", read on + 2026-10-25, which cites Pirsig (1974), p. 328 of the Perennial Classics edition. Status: partial. +- "All those moments will be lost in time, like tears in rain.": Wikipedia, "Tears in rain + monologue", read on 2026-10-25. Status: partial. +- "That is why I now make only open work." and the forecast on private code: the note + [private code and private science lose their value](../notes/202610132127-private-code-and-private-science-lose-their-value.md), + the owner's words, status `open-question`. +- "Open work does not need a crowd...": the note + [you only need to be seen by the right people](../notes/202610130845-seen-by-the-right-people.md), + the owner's words. +- The six DOIs (marola, ww3-gpu, picasso, closed source, marola-bench, nashkell): the caption of + the post "meus temas", [`docs/social/instagram_004/README.md`](../docs/social/instagram_004/README.md). +- The book, the 50 thinkers, Montaigne as number 50 and Dalrymple as number 37: + [`50THINKERS.md`](../50THINKERS.md) and `AGENTS.md`, "The book". +- Anthony Daniels (Theodore Dalrymple), 1949, psychiatrist and prison doctor at City Hospital and + Winson Green Prison, Birmingham; retired in 2005; contributor to *City Journal*: Wikipedia, + "Theodore Dalrymple", read on 2026-10-25. Status: partial. +- "The Frivolity of Evil", *City Journal*, Autumn 2004 (published 2004-11-01): the first sentence, + the last sentence, the case of the woman of 21 and the 14 years of hospital and prison + work were found in the text at city-journal.org/article/the-frivolity-of-evil, read on + 2026-10-25. Status: verified. +- *Life at the Bottom: The Worldview That Makes the Underclass* (Chicago: Ivan R. Dee, 2001), + essays first published in *City Journal* from 1994: Wikipedia, "Life at the Bottom", read on + 2026-10-25. Status: partial. +- *Our Culture, What's Left of It: The Mandarins and the Masses* (Chicago: Ivan R. Dee, 2005), 26 + pieces: Wikipedia, "Our Culture, What's Left of It", and the book's page at the Manhattan + Institute, read on 2026-10-25. A review by Robert Fulford (2005) says that the book collects the + *City Journal* articles and discusses "the frivolity of evil"; the essay's place in the book was + not checked. Status: partial. +- "I do not teach; I only relate", "What do I know?" and "I do not paint its being, I paint its + passage": Montaigne, *Essays*, translated by Charles Cotton, Project Gutenberg eBook 3600, as + checked in the `essay-montaigne` skill. +- The rule of the marker: `AGENTS.md`, invariant 3. + +### Further reading + +- Plato, *Phaedo* and *Phaedrus*. +- Cicero, *Tusculan Disputations*, Book I (45 BC). +- Michel de Montaigne, *Essays* (1580), above all "That to philosophize is to learn to die". +- Robert M. Pirsig, *Zen and the Art of Motorcycle Maintenance* (1974). +- Ryōko Sekiguchi, *Nagori: la nostalgie de la saison qui vient de nous quitter* (Paris: + Gallimard, 2020), as recorded in WorldCat 1182596644, read on 2026-10-25. +- Theodore Dalrymple, "The Frivolity of Evil", *City Journal*, Autumn 2004: an essay of cultural + criticism that starts from cases the writer saw as a doctor. See the `essay-montaigne` skill, + rule 14. diff --git a/essays/2026-why-i-write.pt-BR.md b/essays/2026-why-i-write.pt-BR.md new file mode 100644 index 0000000..6d5e63d --- /dev/null +++ b/essays/2026-why-i-write.pt-BR.md @@ -0,0 +1,608 @@ +--- +title: "Por que escrevo, 2026" +type: essay +status: draft +date: 2026-10-25 +lang: pt-BR +series: "Chautauqua nº 01" +topics: "Montaigne,Cícero,Sócrates,nagori,GitHub,marola,mu" +translation: 2026-why-i-write.md +related: [2026-why-i-write.md, ../.claude/skills/essay-montaigne/SKILL.md, ../docs/social/instagram_002/README.md, ../docs/social/instagram_005/README.md, ../docs/social/instagram_006/README.md] +--- + + +# Por que escrevo, 2026 + +*Chautauqua nº 01. O que a onda deixa na areia, e por que eu escrevo para quem ainda não chegou.* + +*Rascunho. O Claude escreveu este rascunho a pedido do dono, a partir do README do nagori, dos +posts do Instagram indexados neste repositório e das fontes da seção "Fontes". Cada "eu" abaixo +se apoia num desses materiais. Onde falta material, um marcador diz o que o dono precisa +escrever. O texto foi escrito em outubro de 2026 e diz como as coisas parecem neste mês. Ele +existe também em inglês: [Why I write, 2026](2026-why-i-write.md).* + +Leitura estimada: ~29 min (6.526 palavras, 10 links) + +## abertura · a linha molhada + +Essa intuição que eu tinha desde a infância, **[AUTHOR ANECDOTE: a intuição da infância, em uma +ou duas frases, do jeito que o autor lembra dela]**, eu nunca soube dizer em voz alta. A intuição +não era segredo. Eu não tinha a palavra. Uma criança tem ideias grandes demais para o vocabulário +que tem, e a maioria dessas ideias some antes de a palavra chegar. Algumas ideias não somem. Elas +ficam esperando. + +A palavra que eu achei, muitos anos depois, não é portuguesa. É japonesa: 名残, *nagori*. É também +o nome do meu segundo cérebro. No post em que apresentei meus trabalhos, escrevi que o nome quer +dizer "o que a onda deixa pra trás". A imagem é literal. Depois que a água recua, ficam a espuma, +as conchas e uma linha molhada na areia. + +No Rio, onde o marola mede a água das praias, essa linha aparece todo dia. Uma pessoa parada na +beira do mar consegue ver a onda desenhar a linha e apagar a linha, o dia inteiro. Cada onda +chega um pouco mais alto ou um pouco mais baixo que a anterior. A areia acima da linha está seca. +A areia abaixo dela está encharcada. A linha é a única parte da praia que diz alguma coisa sobre +o que aconteceu: até onde a água chegou. + +Eu leio a linha molhada como um registro. É a praia tomando nota. + +Eu escrevo de muitas formas. Escrevo código quase todo dia. Escrevo legenda de post, issue no +GitHub, documento de design, descrição de pull request e notas. Esta série começa pela pergunta +mais simples sobre isso: por que eu escrevo? O que exatamente eu tento deixar na areia? + +Esta é a primeira de uma série de ensaios que eu chamo de Chautauqua. O nome vem de Robert +Pirsig. Em *Zen e a arte da manutenção de motocicletas* (1974), ele chama de Chautauqua as +conversas longas que intercala com a estrada. A série tem um ensaio por mês. Cada ensaio pega um +clássico anterior ao século XXI e o leva a sério num assunto de hoje. A pergunta "por que escrevo" +fica embaixo de todas as outras, então ela vem primeiro. Se eu vou escrever doze ensaios em um +ano, devo a mim mesmo uma resposta honesta sobre o motivo. + +A resposta curta é esta, e eu vou passar o resto do texto tentando merecer essa resposta: eu escrevo porque a +onda vai recuar, e eu quero que fique uma linha. + +## 1 · aprender a morrer + +O README do nagori tem uma citação logo abaixo do nome. Ela está em inglês, assim: + +> To philosophize is to learn to die. +> — Montaigne, after Cicero, after Socrates in the *Phaedo* + +Em português: "Filosofar é aprender a morrer. Montaigne, depois de Cícero, depois de Sócrates no +*Fédon*." + +Eu gosto mais da atribuição em cadeia do que da frase. Ninguém é dono da ideia. A ideia passa de +mão em mão por dois mil anos, e cada pessoa que recebe a ideia escreve a ideia de novo, com a própria +letra, e passa a ideia adiante. A ideia só sobreviveu porque alguém escreveu a ideia. Antes de dizer o que +ela diz, eu conto por onde ela passou. + +### Sócrates não escreveu nada + +O ponto de partida é um homem que não deixou nenhum texto. Sócrates foi condenado à morte em +Atenas, em 399 a.C. O *Fédon*, de Platão, se passa na prisão, nas últimas horas antes da morte +dele. Os amigos chegam, e Sócrates passa o tempo conversando sobre a alma. O argumento central é +que o filósofo se prepara para a morte a vida inteira. Por isso, o filósofo deve receber a morte +sem medo quando ela chega. + +O detalhe que me interessa é este: nós só conhecemos esse argumento porque Platão escreveu o argumento. +Sócrates desconfiava da escrita, e eu volto a isso na objeção. Mesmo assim, um texto que Sócrates +não escreveu é a razão de ainda discutirmos o que ele pensava. A primeira ironia da cadeia é +essa: o homem que não escrevia sobreviveu na escrita de outro. + +### Cícero, depois de uma perda + +Uns três séculos e meio depois, em Roma, Cícero recebe a ideia. Em 45 a.C., Túlia, a filha dele, +morre depois de um parto. Cícero abandona os assuntos públicos e se volta para a filosofia. No +verão e no outono desse ano, ele escreve as *Disputas Tusculanas*, que levam o nome da casa de +campo dele em Túsculo. O livro I trata do desprezo da morte. + +O README do nagori resume a contribuição de Cícero numa frase: + +> Cicero rendered the idea as *commentatio mortis*: a rehearsal of death, and, in the same word, a set of notes. + +Em português: "Cícero deu à ideia o nome de *commentatio mortis*: um ensaio da morte e, na mesma +palavra, um conjunto de notas." + +Esta frase é a razão de este ensaio existir. Ela diz que escrever e se preparar para o fim são, +em algum nível, o mesmo gesto. Os dois tentam organizar a vida enquanto ela ainda está aqui, para +que ela faça sentido quando a pessoa não estiver mais presente para explicar. + +Aqui eu preciso de uma dúvida, e ela é minha. A tradução inglesa de C. D. Yonge, que eu li para +este ensaio, diz que a vida inteira de um filósofo é "a meditation on death", uma meditação sobre +a morte. Yonge não fala em notas. Eu não sei latim o bastante para dizer se *commentatio* carrega +também o sentido de caderno de notas, como diz a frase do nagori. Talvez o sentido de notas seja +uma leitura minha, emprestada de uma palavra vizinha. Eu deixo a frase como está, porque ela diz o +que eu penso, e deixo a dúvida ao lado dela, porque eu não conferi. + +O resto da história eu conferi. Cícero perde a filha e escreve. Ele não escreve exatamente sobre +Túlia. Ele escreve sobre a morte em geral, sobre o que os filósofos disseram e sobre como uma +pessoa deve se comportar diante dela. Eu leio isso como uma forma de pôr a dor do lado de fora, +numa página, onde a dor pode ser olhada com alguma distância. Nessa leitura, a escrita não é +ornamento. A escrita é ferramenta. + +### Montaigne, na torre + +Dezesseis séculos depois, em 1571, aos 38 anos, um magistrado de Bordeaux chamado Michel de +Montaigne se retira da vida pública para a torre do castelo da família, onde fica a biblioteca. +Oito anos antes, em 1563, ele tinha perdido o melhor amigo, Étienne de La Boétie. Eu gosto de uma +leitura dessa história: Montaigne começou a escrever porque não tinha mais com quem conversar. Na +falta do amigo, ele inventou um leitor. A leitura é minha. As datas são da biografia. + +O livro que saiu dali, em 1580, se chama *Essais*. A palavra francesa quer dizer tentativas, +provas. Montaigne não escreveu tratados. Ele testou o próprio juízo contra assuntos quaisquer: os +canibais, a ociosidade, a amizade, os livros. No aviso ao leitor, ele diz que a matéria do livro +é ele mesmo: "myself am the matter of my book", na tradução de Charles Cotton. Por causa dele, um +texto como este se chama ensaio. + +Um dos capítulos do primeiro livro tem o título da citação do nagori: *Que philosopher c'est +apprendre à mourir*, que filosofar é aprender a morrer. Montaigne cita Cícero, que citava +Sócrates, e passa o capítulo tentando se acostumar com a própria morte, sem drama. Uma frase do +capítulo ficou comigo mais do que as outras. Montaigne quer que a morte o encontre plantando as +couves dele: "que la mort me trouve plantant mes choux". Ele quer a morte no meio de uma tarefa +comum, com terra na mão, sem discurso final. + +### o que os três têm em comum + +Quando eu olho a cadeia inteira, aparece um padrão: + +- Sócrates **não escreve**, e sobrevive porque Platão escreve por ele. +- Cícero **perde a filha**, e escreve. +- Montaigne **perde o amigo**, e escreve. + +Os três lidam com a mesma coisa: alguma coisa vai acabar, e é preciso decidir o que fazer com o +tempo que resta. Cada um, do seu jeito, responde assim: pensar com cuidado e deixar o pensamento +registrado. Nesse sentido, aprender a morrer não é mórbido. É quase prático. É viver de um jeito +que faça a linha na areia dizer alguma coisa verdadeira quando a onda recuar. + +### um médico em Birmingham + +A cadeia não para em Montaigne. Eu quero pôr nela um elo do século XX, porque ele mostra a mesma +ideia num lugar menos nobre que uma torre. + +Anthony Daniels nasceu em 1949. Ele foi psiquiatra e médico de prisão em Birmingham, no City +Hospital e na prisão de Winson Green. Com o pseudônimo de Theodore Dalrymple, ele escreveu durante +anos para a revista americana *City Journal*. Os ensaios dessa revista viraram livros: *Life at +the Bottom* (2001) e *Our Culture, What's Left of It* (2005). Ele se aposentou como psiquiatra em +2005. + +O ensaio mais conhecido dele, "The Frivolity of Evil", saiu no outono de 2004. A primeira frase é +esta: "When prisoners are released from prison, they often say that they have paid their debt to +society." Em português: "Quando os presos saem da prisão, eles muitas vezes dizem que pagaram a +dívida com a sociedade." Logo depois vem um caso: uma mulher de 21 anos que o consultou na véspera. +O ensaio não começa por uma definição. Ele começa pelo que o autor viu. Dalrymple diz que ouviu +pacientes assim todos os dias, durante 14 anos de trabalho no hospital e na prisão. A última frase +do ensaio é uma despedida: "I'm leaving—I hope for good." Em português: "Eu vou embora, e espero +que para sempre." + +Eu leio Dalrymple como um quarto elo da cadeia, e a leitura é minha. Sócrates conversava, Cícero +escreveu depois de perder a filha, Montaigne escreveu depois de perder o amigo. Dalrymple escreveu +como testemunha. Ele viu todos os dias uma coisa que a maioria dos leitores nunca vê, e escreveu +para que aquilo não se perdesse quando ele saísse do hospital. O ensaio dele é uma linha molhada +deixada pelo trabalho de 14 anos. Ele publicou o ensaio meses antes de sair. + +Este ensaio não é sobre as teses de Dalrymple. O que me interessa é a forma: um caso concreto antes de uma ideia, o autor dentro do texto, e um texto +escrito por alguém que sabe que vai sair de cena. É a forma de Montaigne, com um jaleco. + +### o que os quatro me dizem + +Eu acho que a criança que eu fui sentia uma versão disso, sem saber dizer. **[AUTHOR ANECDOTE: em +uma frase, como a intuição da infância se liga à ideia de que as coisas passam e de que algo pode +ficar; ou por que ela não se liga.]** + +## 2 · a linha que eu deixo hoje + +Até aqui, tudo isso poderia ser só bonito. Eu sou engenheiro, e um engenheiro desconfia do que é +só bonito. Então eu olho para o que eu efetivamente escrevo, com números. + +### um gráfico de quadradinhos + +O GitHub registra o que cada pessoa escreve lá: cada commit, cada issue, cada pull request, cada +revisão. A página de perfil mostra esse registro como um calendário de quadradinhos verdes, um por +dia. Num post do Instagram deste mês, eu publiquei o meu gráfico ano a ano. Os dados são estes: + +| ano | contribuições | dias com pelo menos uma | +|---|---:|---:| +| 2016 | 20 | 7 | +| 2017 | 76 | 46 | +| 2018 | 45 | 18 | +| 2019 | 93 | 41 | +| 2020 | 160 | 54 | +| 2021 | 397 | 118 | +| 2022 | 190 | 74 | +| 2023 | 323 | 128 | +| 2024 | 418 | 151 | +| 2025 | 1.367 | 126 | +| 2026, até 2026-10-25 | 3.810 | 142 | + +Em 2016, eu fiz 20 contribuições no GitHub, em 7 dias do ano. Em 2026, antes do fim do ano, foram +3.810, ou seja, 190 vezes mais. De 5 a 7 de setembro de 2026, foram 746 contribuições em três +dias. Esse número é maior que a soma de 2016 a 2020, que dá 394. + +Uma leitura fácil desse gráfico é a do programador que ficou mais rápido. Eu não acho que seja +isso. Três coisas mudaram ao mesmo tempo, e as três importam para a pergunta deste ensaio. + +A primeira mudança: eu passei a escrever **em público**, de propósito. O marola, que eu faço com +cinco amigos, é código aberto e sem fins lucrativos. É um projeto sobre qualidade da água e +ciência cidadã no Rio. O código está no GitHub. Escrever em público +muda a escrita. A pessoa escreve e sabe que alguém pode ler. Às vezes, a pessoa sabe que alguém vai +ler *depois*, quando ela não estiver presente para explicar. Eu chamo isso de *commentatio* com +controle de versão. + +A segunda mudança: eu passei a escrever **junto com máquinas**. No post dos meus temas, eu +descrevi a IA que uso como "agentes que programam junto". Boa parte das 3.810 contribuições de +2026 passou por esses agentes. O trabalho funciona assim: eu descrevo o que quero, o agente +escreve uma primeira versão, e eu leio, corrijo, rejeito ou peço de novo. **[AUTHOR ANECDOTE: +quanto das contribuições de 2026 foi feito com agentes, na estimativa do autor, e o que o autor +fazia nos dias de pico de setembro.]** A escrita virou outra coisa: menos digitação, mais leitura, +mais decisão sobre o que fica. + +### escrita que pode ser citada + +Tem uma terceira mudança, menor e mais técnica. Seis dos meus projetos têm DOI no Zenodo: marola, +ww3-gpu, picasso, closed source, marola-bench e nashkell. Um DOI é um identificador permanente. A +versão de um repositório que recebeu um DOI fica arquivada, e qualquer pessoa consegue citar essa +versão daqui a vinte anos, mesmo que eu apague o repositório. + +Eu penso no DOI como a versão técnica da linha molhada. O código muda todo dia, como a onda. A +versão com DOI é a linha que fica marcada na areia, com data. Quando alguém cita essa versão, a +pessoa cita exatamente o que estava lá naquele dia, e não o que eu gostaria que estivesse. + +Um desses DOIs é deste repositório. Ele guarda um livro que eu estou escrevendo, *Closed Source: +The God that Failed*. O livro terá 100 páginas: 50 pensadores, duas páginas para cada um. A lista +dos 50 fica em `50THINKERS.md`. Montaigne é o número 50, e a linha dele diz: "the *Essays*: why one +writes at all". Em português: "os *Ensaios*: por que alguém escreve". Eu ainda não escrevi essas +duas páginas. Talvez este ensaio seja o rascunho delas. Theodore Dalrymple também está na lista, +como número 37, e a linha dele ainda diz "to be written later". + +### produzir texto e escrever + +As três mudanças me obrigam a separar duas coisas que eu tratava como uma só: **produzir texto** e +**escrever**. + +Produzir texto ficou barato. Qualquer pessoa com um modelo de linguagem consegue gerar mil +palavras sobre qualquer assunto em segundos. Isso vale para código, legenda, relatório e ensaio. +Se a pergunta deste ensaio fosse "por que eu produzo texto?", a resposta honesta em 2026 seria: +cada vez menos, porque a máquina produz por mim. + +A pergunta não é essa. No meu gráfico, o que cresceu de 2016 para cá não foi só a quantidade de +texto. Foi a quantidade de **decisões registradas**. Cada commit é uma linha na areia que diz: +neste dia, eu achei que isto estava certo o bastante para ficar. Cada issue é uma pergunta que eu +não quis esquecer. Cada documento de design é um argumento que eu fiz para mim mesmo antes de +construir alguma coisa. No marola, uma mudança grande começa por um documento numerado que diz o +porquê. Primeiro a equipe escreve o motivo; depois a equipe constrói. + +Isso é escrever. A máquina não faz isso por mim, porque a decisão não é da máquina. + +Este repositório tem uma regra que diz a mesma coisa de outro jeito. Um agente nunca inventa a +experiência do autor. Onde a experiência falta, o agente escreve um marcador, e o autor preenche +o marcador depois. Este ensaio tem cinco desses marcadores. A máquina pode me ajudar a produzir +texto. O ensaio, no sentido de Montaigne, é a prova do meu juízo, e precisa ser meu. Sem isso, o +ensaio não é de ninguém. + +### a escrita como instrumento de medida + +Eu passo muito tempo com previsão: de ondas, de clima, de séries temporais. Em inglês, o nome é +forecasting. Uma regra básica de previsão é esta: um modelo só pode ser avaliado se alguém +registrou a previsão **antes** de saber o resultado. A mente humana falha nisso. Depois que a +coisa acontece, a pessoa lembra que sabia. Uma previsão que não foi escrita antes não é uma +previsão. É uma lembrança reformada. + +Para mim, escrever cumpre essa mesma função fora do trabalho. Uma nota com data é uma previsão +congelada: o que eu pensava naquele momento, com as informações que eu tinha. Quando eu releio a +nota um ano depois, eu consigo ver onde errei, sem a desculpa de que eu sempre soube. As notas +deste repositório seguem essa lógica: uma ideia por nota, um id permanente, e o status +`unverified` até que uma fonte seja citada. A nota velha não está certa nem errada. Ela está +registrada, e por isso eu consigo aprender com ela. + +Sem escrita, não existe calibração. Sem calibração, a pessoa nunca descobre que estava errada. Ela +só descobre que mudou de ideia. São coisas diferentes, e só a primeira ensina alguma coisa. + +### o que a onda carrega + +O marola também é, no fundo, um projeto de escrita. O projeto pega boletins de balneabilidade, +dados de ondas, de vento e de chuva, e transforma esses dados em algo que uma pessoa na praia +consegue ler: a água está boa para nadar hoje, ou não está. Cada número desses começou como uma +amostra de água num frasco. Alguém levou o frasco a um laboratório, analisou a amostra, anotou o +resultado e publicou o resultado. Se alguém nessa corrente não tivesse escrito, a informação +morreria ali. A praia não lembra se estava imprópria na semana passada. Quem lembra é quem anotou. + +Por isso o marola é aberto. É uma questão de princípio, e é também uma questão prática: uma linha +na areia que só eu consigo ver não serve para muita coisa. O código está publicado para que +qualquer pessoa leia as regras que decidem se uma praia está própria ou imprópria, confira essas +regras, discorde e abra uma issue. A escrita pública pode ser corrigida. A escrita privada, no +máximo, pode ser esquecida. + +Em outubro, numa conversa com um amigo, eu disse uma coisa mais forte, e depois transformei essa coisa em +nota neste repositório: no longo prazo, o código privado não tem valor comercial, e a ciência +privada também não tem. Com agentes, a engenharia reversa e a ciência crescem muito rápido. +Alguém vai fazer engenharia reversa dos seus artigos e dos artigos de todo mundo. A nota termina +assim: "That is why I now make only open work." Em português: "É por isso que agora eu só faço +trabalho aberto." A própria nota diz que isso é uma previsão e uma posição minha, não um fato com +fonte. Ela tem o status de pergunta aberta. Eu deixei a previsão escrita, com data, para poder +conferir se errei. + +### lágrimas na chuva + +No final de *Blade Runner* (1982), o replicante Roy Batty tem poucos minutos de vida. Ele lembra +de naves em chamas perto de Órion e de raios brilhando no escuro perto do Portão de Tannhäuser. +Depois ele diz: "All those moments will be lost in time, like tears in rain." Em português: +"Todos esses momentos vão se perder no tempo, como lágrimas na chuva." + +O medo de Batty é o oposto de *nagori*. É a onda que não deixa nada. Ele viu coisas que ninguém +mais viu, não existe registro, e quando ele for, tudo vai junto. É o mesmo oceano com o desfecho +oposto. A diferença entre os dois desfechos é uma só: se alguém escreveu alguma coisa. + +Mas escrever não é guardar tudo. Escrever é escolher o que fica. A praia não guarda todas as +ondas. A praia guarda a linha mais alta. + +## 3 · a objeção + +Agora vem a parte que incomoda. Eu passei metade deste ensaio elogiando a escrita. Seria +desonesto não dar a palavra a quem desconfiava dela, ainda mais porque essa pessoa está no começo +da mesma cadeia que eu citei. + +### Sócrates contra a escrita + +Sócrates não escreveu por uma razão, e Platão registrou a razão no *Fedro*, um diálogo escrito por +volta de 370 a.C. Sócrates conta um mito egípcio. O deus Theuth inventou a escrita e a apresentou +ao rei Thamus como um remédio para a memória. Thamus respondeu que o efeito seria o oposto. Para +Thamus, a escrita é um remédio para lembrar, não para memorizar. Ela dá a aparência da sabedoria, +não a sabedoria. + +A palavra grega para esse remédio é *pharmakon*, que quer dizer remédio e também veneno. Eu +construí um segundo cérebro inteiro. Um segundo cérebro é exatamente a coisa de que Sócrates +desconfiava, e eu construí essa coisa depois de ler o aviso. + +O aviso ficou mais forte em 2026, não mais fraco. Se Thamus temia que a escrita produzisse +aparência de sabedoria, o que ele diria de um modelo de linguagem? Hoje uma pessoa consegue ter o +texto sem ter escrito o texto. Consegue ter a forma de um ensaio sem ter feito a tentativa. O +remédio de Theuth agora escreve sozinho. As 3.810 contribuições deste ano são, em parte, o que +Thamus temia: muitas marcas de fora, e uma pergunta aberta sobre quanto daquilo está de fato na +minha cabeça. Eu não sei responder essa pergunta com um número. + +### a vaidade + +A segunda objeção é mais pessoal. Escrever para durar mais que o autor, deixar uma linha na areia, +ser lido depois: isso não é só vaidade com vocabulário bonito? Montaigne fazia essa pergunta a si +mesmo. Ele sabia que um livro inteiro sobre si mesmo era presunçoso. A pergunta continua de pé. +Talvez eu escreva em público porque quero ser visto. Talvez o nagori seja um monumento disfarçado +de caderno. + +O nagori é temático de *Neon Genesis Evangelion*, e o mundo de fora, com projetos e com ser +visto, tem lugar nele. Ser visto é um motor real, e fingir que não é seria pior. Mas um motor não +é uma razão. Se a única razão para escrever fosse ser lido, escrever para depois da minha morte +seria uma contradição: eu não vou estar aqui para ser visto. + +Uma nota que eu escrevi em 13 de outubro me ajuda aqui. Ela começa assim: "Open work does not need +a crowd. It needs to reach the few people who can use it, check it or build on it." Em português: +"O trabalho aberto não precisa de multidão. Ele precisa chegar às poucas pessoas que conseguem +usar, conferir ou continuar o trabalho." Eu escrevi isso sobre palavras-chave de um artigo, não +sobre vaidade. Mas a frase separa duas coisas que a objeção mistura: ser visto por muitos e ser +lido pelas pessoas certas. A vaidade quer o primeiro. A linha na areia só precisa do segundo. + +### o medo + +A terceira objeção é a que eu menos gosto. Talvez toda essa conversa sobre aprender a morrer seja +só uma forma sofisticada de ter medo de morrer. Cícero escreveu as *Tusculanas* no ano em que a +filha morreu. Montaigne escreveu depois de perder o amigo. Talvez escrever seja o que uma pessoa +faz quando não aguenta o tamanho da perda e precisa transformar a perda em frase para conseguir +olhar para ela. Nesse caso, a escrita não seria uma forma de aprender a morrer. Seria uma forma de +não pensar na morte, com as mãos ocupadas. + +E talvez a intuição da infância não tenha sido uma sabedoria precoce. Talvez tenha sido só um medo +que chegou cedo. **[AUTHOR ANECDOTE: se o autor acha que a intuição da infância tinha medo dentro +dela, e por quê.]** + +### mu + +Eu não tenho resposta limpa para nenhuma das três objeções. Mas uma palavra me ajuda a pensar +nelas, e ela vem do mesmo Pirsig que deu nome a esta série. + +Um koan zen conta que um monge perguntou ao mestre Zhaozhou se um cachorro tem natureza de Buda. +O mestre respondeu *mu*, 無. Em *Zen e a arte da manutenção de motocicletas*, Pirsig traduz *mu* +como "nenhuma coisa" e diz que a palavra significa: desfaça a pergunta. A resposta não é sim nem +não. A pergunta foi mal feita. + +Diante das três objeções, eu acho que a resposta honesta é, em parte, *mu*. + +"A escrita produz esquecimento ou memória?" A pergunta é mal feita. A escrita produz os dois, +conforme o uso. O *pharmakon* é remédio e veneno ao mesmo tempo; a própria palavra já dizia isso. +Uma nota que eu nunca releio é veneno: ela me dá a sensação de ter guardado sem ter entendido. Uma +nota que eu releio, corrijo e ligo a outras notas é remédio. Sócrates estava certo sobre o texto +que fica em silêncio quando alguém faz uma pergunta. A resposta para isso não é parar de escrever. +A resposta é voltar ao texto, perguntar de novo e reescrever quando a resposta mudar. + +"Eu escrevo por vaidade ou por outro motivo?" A pergunta também é mal feita, porque supõe um motivo +só. Eu escrevo por vaidade *também*. A questão é se a vaidade está dirigindo ou se está sentada no +banco de trás. + +"Eu escrevo por medo?" Talvez. Aqui eu acho que Montaigne já respondeu, sem querer, com as couves. +O medo da morte que paralisa quer cerimônia: o discurso final, o monumento, a última palavra. +Montaigne pede o contrário. Ele quer que a morte o encontre no meio de uma tarefa comum, de mão +suja, sem nada preparado. Escrever um pouco todo dia, sobre coisas comuns, de um jeito que outra +pessoa consiga ler, é o meu jeito de plantar couve. Não é um monumento. É jardinagem. + +### e a máquina? + +Fica uma objeção que os três clássicos não podiam prever, e eu não consigo desfazer essa objeção +com *mu*. Se uma máquina consegue produzir um ensaio inteiro, com citações e tudo, por que alguém +deveria ler um ensaio meu, e não o da máquina? + +A melhor resposta que eu tenho é a de Montaigne no aviso ao leitor: a matéria do livro é ele +mesmo. Um ensaio, no sentido original, não é um texto sobre um assunto. É o registro de uma pessoa +que se testa contra um assunto. A máquina consegue escrever sobre por que as pessoas escrevem. A +máquina não consegue escrever por que *eu* escrevo, porque ela não estava lá quando eu tive aquela +intuição. Ela também não vai estar aqui quando eu reler este texto daqui a dez anos e discordar +dele. O valor de uma linha na areia não é a forma da linha. É que a linha diz até onde *aquela* +onda chegou. + +### as regras que o próprio Montaigne deixou + +Este repositório confere cada ensaio contra frases que o próprio Montaigne escreveu sobre o que +fazia. A conferência é uma skill, `essay-montaigne`, com um script que conta o que dá para contar. +Eu quero passar este ensaio pelas três frases que mais me incomodam, porque elas respondem à +objeção da máquina melhor do que eu. + +A primeira frase é "I do not teach; I only relate". Em português: "Eu não ensino; eu só conto." +Um ensaio não dá ordens ao leitor e não termina com uma lista de lições. Este ensaio diz por que +*eu* escrevo. Ele não diz por que o leitor deve escrever. Se este ensaio terminasse com cinco +conselhos para escrever melhor, ele seria um artigo de autoajuda com citações. + +A segunda frase é "What do I know?". Em português: "Que sei eu?" Um ensaio duvida pelo menos uma vez, e duvida de verdade. Neste ensaio, a +dúvida mais honesta está na palavra de Cícero: eu não sei se *commentatio* quer dizer também notas. +A outra dúvida está no gráfico: eu não sei quanto das 3.810 contribuições está de fato na minha +cabeça. + +A terceira frase é "I do not paint its being, I paint its passage". Em português: "Eu não pinto o +ser; eu pinto a passagem." Um ensaio tem data e pode ser contradito pelo próprio autor depois. +Este ensaio é de outubro de 2026. Eu sei que vou discordar de partes dele, e quero discordar por +escrito, numa página nova com outra data, e não apagando esta. + +Essas três frases são o motivo de uma máquina não conseguir escrever este ensaio por mim. A +máquina consegue imitar a forma. A máquina não consegue duvidar por mim, porque a dúvida precisa +ser sobre alguma coisa que eu achei que sabia. E a máquina não consegue datar a minha passagem, +porque ela não passou por onde eu passei. + +## 4 · volta à praia + +Eu volto à beira da água com tudo isso. + +A onda vem, desenha a linha e recua. A onda vem de novo, um pouco mais alto ou um pouco mais +baixo. A areia não escolhe guardar a linha. Ela só fica molhada onde a água chegou. A diferença +entre a praia e uma pessoa é que a pessoa pode escolher. A pessoa pode olhar para o que aconteceu +e decidir: isto eu vou anotar. + +### o que eu faço com isso + +A pergunta do ensaio é por que eu escrevo. A pergunta prática é o que muda agora. Eu tenho quatro +respostas, e todas já estão em andamento. + +Primeiro, esta série. Um ensaio por mês, na primeira terça-feira, às 10h10, curto no Instagram e +completo no Medium. Um ensaio por mês é pouco texto. É uma linha de cada vez, com data. + +Segundo, duas línguas. Cada ensaio existe em português e em inglês, neste repositório, e as duas +versões dizem a mesma coisa. As citações ficam na língua em que eu as encontrei, com a tradução +depois. A versão em português segue regras de português técnico controlado: sujeito explícito, +uma ideia por frase, número com origem. Essas regras deixam o texto mais plano, e eu aceito o +preço, porque um texto plano é mais fácil de conferir. + +Terceiro, os marcadores. Onde a experiência é minha e o texto ainda não a tem, fica um marcador. +O ensaio continua rascunho até eu preencher cada marcador. Este ensaio sai com cinco. + +Quarto, a releitura. Eu vou reler esta página em outubro de 2027 e escrever o que mudou, numa +página nova. A página nova não apaga esta. As duas ficam, como duas linhas na areia em dias +diferentes. + +Então, por que eu escrevo? + +Eu escrevo porque **[AUTHOR ANECDOTE: a intuição da infância, retomada pelo adulto em uma +frase]**, e porque descobri, tarde, que não estava sozinho nisso. Sócrates disse que o filósofo se +prepara para a morte a vida inteira. Cícero deu à ideia uma palavra latina. Montaigne se trancou +numa torre, deu nome a um gênero e pediu para morrer plantando couves. Nenhum dos três impediu a +onda de recuar. Os três deixaram uma linha. + +Eu escrevo porque uma previsão que não foi anotada não ensina nada, e uma vida tem muitas +previsões que a pessoa esquece que fez. + +Eu escrevo em público porque a escrita fechada não pode ser corrigida, e eu erro bastante. + +Eu escrevo com máquinas, e vou continuar a escrever com elas, mas o ensaio fica comigo. A máquina +pode me ajudar a carregar a areia. A linha precisa ser minha. + +E eu escrevo, no fim, porque a pergunta "por que escrevo?" talvez seja ela mesma meio *mu*: mal +feita, pequena demais. Talvez a pergunta certa não seja "por quê", mas "para quem". Essa pergunta +eu consigo responder. Eu escrevo para alguém que ainda não chegou na praia. Essa pessoa vai chegar +depois que a água recuar, vai olhar para a areia e vai ver uma linha. Pode ser um leitor que eu +não conheço. Pode ser uma pessoa que eu amo. Pode ser eu mesmo, daqui a dez anos, relendo esta +página, discordando de quase tudo e contente porque ela ficou escrita. Eu vou reler esta página em +outubro de 2027. + +Este é o nº 01. Daqui a um mês vem outro. Serão doze no primeiro ano, se a onda deixar. + +*Chautauqua é uma série mensal de ensaios: um clássico anterior ao século XXI levado a sério num +assunto de hoje. A série sai na primeira terça-feira de cada mês, às 10h10, no Medium e no +Instagram @hffmnn_. Todo o conteúdo fica indexado em github.com/h0ffmann/closed-source. Número +anterior: nenhum, este é o primeiro. Próximo número: nº 02, em dezembro de 2026.* + +## Fontes + +Nível de escrita: `ptbr-writer`, nível `leve`, com as regras de fato do nível `científico` +(PTW-10 a PTW-13): nenhuma referência inventada, número com origem, fato separado de leitura do +autor. O status de cada fonte segue o `REFERENCES.md` dos papers: `verified` quando a fonte foi +lida e a passagem citada foi achada; `partial` quando a fonte foi lida por um resumo ou num +fragmento. + +- As duas citações em inglês sobre Montaigne e Cícero: h0ffmann/nagori, `README.md`, seção "Why + keep notes in public", no commit `85dd045`, lido em 2026-10-25. Copiadas como estão, a pedido do + dono; a tradução depois de cada uma é deste ensaio. Status: verified. +- O nome *nagori*, "o que a onda deixa pra trás": a legenda do post "meus trabalhos", + [`docs/social/instagram_005/README.md`](../docs/social/instagram_005/README.md). +- Os temas e "agentes que programam junto": a legenda do post "meus temas", + [`docs/social/instagram_004/README.md`](../docs/social/instagram_004/README.md). +- O marola, os cinco amigos e os seis DOIs: as legendas dos posts "meus projetos" e "meus + trabalhos", em `docs/social/`. DOI do marola: 10.5281/zenodo.23224155. +- As contribuições do GitHub por ano: os dados do post "contribuições do GitHub", + [`docs/social/instagram_002/`](../docs/social/instagram_002/README.md), somados por ano em + 2026-10-25. Os dados vêm de um espelho público do gráfico de contribuições e não foram + comparados com a página do GitHub. Status: partial. +- A série Chautauqua e o nome tirado de Pirsig: o post de definição da série, + [`docs/social/instagram_006/README.md`](../docs/social/instagram_006/README.md), e a nota + [the Chautauquas](../notes/202610140004-whats-new-and-what-is-best.md). +- Sócrates, a prisão, 399 a.C., e o filósofo que se prepara para a morte a vida inteira: + Wikipedia, "Phaedo", lida em 2026-10-25. Status: partial. +- Cícero, Túlia, 45 a.C., Túsculo e o tema do livro I: Wikipedia, "Tusculanae Disputationes", + lida em 2026-10-25. Status: partial. +- "a meditation on death": Cicero, *Tusculan Disputations*, livro I, tradução de C. D. Yonge, + Standard Ebooks (standardebooks.org/ebooks/cicero/tusculan-disputations/c-d-yonge), lida em + 2026-10-25. A passagem foi achada; o número da seção não aparece nessa edição. Status: partial. +- Montaigne em 1571, aos 38 anos; La Boétie em 1563; os *Essais* em 1580: Wikipedia, "Michel de + Montaigne", lida em 2026-10-25. Status: partial. +- "myself am the matter of my book": Montaigne, *Essays*, "The Author to the Reader", tradução de + Charles Cotton, Project Gutenberg eBook 3600, como conferido na skill `essay-montaigne`. +- "que la mort me trouve plantant mes choux": Montaigne, *Essais*, livro I, capítulo 19 na + numeração de Frame, "Que philosopher c'est apprendre à mourir"; como citado em wist.info + (Wist, entrada 8109), lido em 2026-10-25. Status: partial. +- Theuth, Thamus e a escrita como remédio para lembrar: Wikipedia, "Phaedrus (dialogue)", lida em + 2026-10-25, que cita *Fedro* 274e–275b. Status: partial. +- *Mu*, Zhaozhou e "unask the question" em Pirsig: Wikipedia, "Mu (negative)", lida em + 2026-10-25, que cita Pirsig (1974), p. 328 da edição Perennial Classics. Status: partial. +- "All those moments will be lost in time, like tears in rain.": Wikipedia, "Tears in rain + monologue", lida em 2026-10-25. Status: partial. +- "That is why I now make only open work." e a previsão sobre código privado: a nota + [private code and private science lose their value](../notes/202610132127-private-code-and-private-science-lose-their-value.md), + palavras do dono, status `open-question`. +- "Open work does not need a crowd...": a nota + [you only need to be seen by the right people](../notes/202610130845-seen-by-the-right-people.md), + palavras do dono. +- Os seis DOIs (marola, ww3-gpu, picasso, closed source, marola-bench, nashkell): a legenda do + post "meus temas", [`docs/social/instagram_004/README.md`](../docs/social/instagram_004/README.md). +- O livro, os 50 pensadores, Montaigne como número 50 e Dalrymple como número 37: + [`50THINKERS.md`](../50THINKERS.md) e `AGENTS.md`, "The book". +- Anthony Daniels (Theodore Dalrymple), 1949, psiquiatra e médico de prisão no City Hospital e + na prisão de Winson Green, em Birmingham; aposentado em 2005; colaborador da *City Journal*: + Wikipedia, "Theodore Dalrymple", lida em 2026-10-25. Status: partial. +- "The Frivolity of Evil", *City Journal*, outono de 2004 (publicado em 2004-11-01): a primeira + frase, a última frase, o caso da mulher de 21 anos e os 14 anos de trabalho no hospital e na + prisão foram achados no texto em city-journal.org/article/the-frivolity-of-evil, lido em + 2026-10-25. Status: verified. +- *Life at the Bottom: The Worldview That Makes the Underclass* (Chicago: Ivan R. Dee, 2001), + ensaios publicados antes na *City Journal* a partir de 1994: Wikipedia, "Life at the Bottom", + lida em 2026-10-25. Status: partial. +- *Our Culture, What's Left of It: The Mandarins and the Masses* (Chicago: Ivan R. Dee, 2005), + 26 textos: Wikipedia, "Our Culture, What's Left of It", e a página do livro no Manhattan + Institute, lidas em 2026-10-25. Uma resenha de Robert Fulford (2005) diz que o livro reúne os + artigos da *City Journal* e discute "the frivolity of evil"; a posição do ensaio no livro não + foi conferida. Status: partial. +- "I do not teach; I only relate", "What do I know?" e "I do not paint its being, I paint its + passage": Montaigne, *Essays*, tradução de Charles Cotton, Project Gutenberg eBook 3600, como + conferido na skill `essay-montaigne`. +- A regra do marcador: `AGENTS.md`, invariante 3. + +### Para ler + +- Platão, *Fédon* e *Fedro*. +- Cícero, *Disputas Tusculanas*, livro I (45 a.C.). +- Michel de Montaigne, *Ensaios* (1580), em especial "Que philosopher c'est apprendre à mourir". +- Robert M. Pirsig, *Zen e a arte da manutenção de motocicletas* (1974). +- Ryōko Sekiguchi, *Nagori: la nostalgie de la saison qui vient de nous quitter* (Paris: + Gallimard, 2020), conforme o registro do WorldCat 1182596644, lido em 2026-10-25. +- Theodore Dalrymple, "The Frivolity of Evil", *City Journal*, outono de 2004: um ensaio de + crítica cultural que começa por casos que o autor atendeu como médico. Ver a skill + `essay-montaigne`, regra 14. diff --git a/essays/index.md b/essays/index.md index 10f2098..68ddc16 100644 --- a/essays/index.md +++ b/essays/index.md @@ -18,6 +18,7 @@ website lists every file of this folder under "Contents". | [picasso, and the long run](2026-picasso-and-the-long-run.md) | draft; two printed pages | [one note](../notes/202610140142-picasso-determinism-and-the-long-run.md), which holds a study | | [New vs. better, 2026](2026-new-vs-better.md) | draft: two markers wait for the owner | ten notes; Pirsig's two questions | | [The hypotheses have no end, 2026](2026-the-hypotheses-have-no-end.md) | draft: one marker waits for the owner; one printed page | four notes; Pirsig's infinite hypotheses (ZAMM, chapter 10) | +| [Why I write, 2026](2026-why-i-write.md) · [Por que escrevo, 2026](2026-why-i-write.pt-BR.md) | draft: Chautauqua nº 01, in English and pt-BR; five markers wait for the owner, the first one the childhood intuition | the README of nagori (two quotations, named by the owner); the Instagram posts of [`docs/social/`](../docs/social/README.md); two notes; sources fetched on 2026-10-25 | "What is MetaQuality" is still a note ([202610131752](../notes/202610131752-what-is-metaquality.md)). It becomes an essay when it is diff --git a/justfile b/justfile index da68ef9..7c4e468 100644 --- a/justfile +++ b/justfile @@ -53,6 +53,15 @@ check: build scripts/readme.sh --check for e in essays/*.md; do [ "$e" = essays/index.md ] || scripts/essay-montaigne.sh "$e"; done +# Check essays against Montaigne's rules (the essay-montaigne skill): `just essay-check` checks +# every essay of essays/, `just essay-check essays/.md` one or more. English or pt-BR. +essay-check *files: + #!/usr/bin/env bash + set -euo pipefail + files="{{files}}" + [ -n "$files" ] || files="$(ls essays/*.md | grep -v '^essays/index.md$')" + for e in $files; do scripts/essay-montaigne.sh "$e"; done + # Print an essay as a page of the book: a PDF whose text cannot be selected (PRINTING.md). # `just print essays/.md`, or `just print --all`. The PDFs go to pdf/essays/. print *args: diff --git a/scripts/essay-montaigne.sh b/scripts/essay-montaigne.sh index a2a6ecc..d428775 100755 --- a/scripts/essay-montaigne.sh +++ b/scripts/essay-montaigne.sh @@ -5,49 +5,94 @@ # scripts/essay-montaigne.sh essays/2026-new-vs-better.md # scripts/essay-montaigne.sh --topics "AI,El Niño,social media,Bitcoin,privacy" # scripts/essay-montaigne.sh --self-test +# An essay in Brazilian Portuguese (`lang: pt-BR` in its front matter, or a name that ends in +# .pt-BR.md) is checked with the Portuguese words of each rule; its last section is `## Fontes`. # Exit 1 when a rule fails. An open [AUTHOR ANECDOTE] marker fails only an essay whose status is # not "draft": a draft may wait for its writer, a finished essay may not. set -euo pipefail +lang_of() { # lang_of : en or pt-BR + local l; l="$(awk 'BEGIN{fm=0} /^---$/ {fm++; if (fm==2) exit; next} fm==1 && /^lang:/ {sub(/^lang: */, ""); gsub(/"/, ""); print; exit}' "$1")" + case "$1" in *.pt-BR.md) l="${l:-pt-BR}" ;; esac + echo "${l:-en}" +} + +body_of() { # body_of : the text between the front matter and the sources, without comments + awk 'BEGIN{fm=0} /^---$/ && fm<2 {fm++; next} fm!=1' "$1" | awk '/^## (Sources|Fontes)/{exit} {print}' | grep -v '^