The Curse of Knowledge

Amulet of Thoth, the Egyptian god of science, writing, and knowledge, represented as an ibis. Courtesy of the Art Institute of Chicago

Do you have the “curse of knowledge”? If you’re reading the Last Word on Nothing—meaning, if you’re a curious, highly literate, super smart person (also beautiful)—you probably do. The curse of knowledge refers to this phenomenon: Once you know something, it’s easy to forget that you used to not know it, and that a lot of other people still don’t. The curse of knowledge (at least how I hear it in my own head) is an ironic term. Imagine someone with their arm over their forehead, looking up in distress: “Woe is me! I am cursed with the burden of knowledge!” 

The curse of knowledge is sort of the opposite of the Dunning-Kruger effect, the finding that many people who know little about a subject will confidently overestimate how much they know. In the curse of knowledge, you overestimate how much other people know. 

Recognizing the curse of knowledge is important, especially for writers, editors, social media posters, scholars, researchers, chit-chatters, cartoonists, or communicators of any kind. 

I’ve edited for a lot of publications, and one of my favorite roles as an editor is to listen to a writer, who hopefully knows more about their subject area than I do, talk through a bunch of possible story ideas. I don’t know if you know this about science writers, but they know so much! It’s hard for them to find something they think is truly new, because not much is truly new to them. So they’ll often dismiss each story idea as they go, maybe because we covered a similar subject in 2023, or there was a story in a competing publication that’s aimed at experts, and anyway, everybody knows. The editor’s job to stop them when they hear the beginnings of a good story and say, “that’s interesting!” That’s interesting, and a lot of people in your audience doesn’t know this thing yet, and they will enjoy knowing it, so tell them.

Speaking in jargon is a type of curse of knowledge. It’s hard to notice jargon when you’re fluent in it, so communicators have to be scrupulous about explaining terms, especially ones that mean one thing in common language and a different thing among specialists. “Positive feedback” is a great example that climate communicator Susan Joy Hassol uses. Who doesn’t want positive feedback? Climate scientists, who use the term to refer to self-reinforcing cycles, like how when ice melts you get less reflection of sunlight, causing more ice to melt, causing less reflection. Same with experts who are “famous.” If you’re writing about them, go ahead and use both their names and include a reminder of who the heck they are.

The curse of knowledge is one reason I love “today I learned” as a hashtag and an approach to communication, a way to be humble and excited and generous with new knowledge all at the same time. At a meta-level, by highlighting something we just learned, we tell people who already knew that thing (because everybody knows) that not everybody knows it. A today-I-learned item is a new delight for some, and a reminder of the curse of knowledge for others.

The curse of knowledge is sort of a theory of mind problem, the problem of imagining what other people perceive and know and remember and care about. It’s much simpler to assume their mind is stuffed with the same stuff that’s in our mind. It’s a hard problem! How should we know what other people know? It takes a lot of reflection to figure out how to tell a story that is comprehensible to people who don’t know much about a subject and enjoyable and fresh for people who do. 

I’ve been thinking a lot about stories that fade from popular attention because a problem was solved; something was bad and then it was made better. Some people know that we fixed acid rain, saved the whales, created vaccines against cancer, and made apples taste better. But others don’t know, or have forgotten, or don’t know how good things happen, in part because mass media (for reasons) focuses on problems that haven’t been solved. And mass media has a huge curse of knowledge problem.

There’s no easy way out of the curse of knowledge, especially for writers (which includes anybody who writes anything). But it helps to talk to other people (editors, colleagues, friend-friends, or pocket friends you are connected with on social media) and ask questions. Does everybody know this already? This is kind of weird, right? Or is it boring? Or obvious? Is this helpful? Is this interesting? I’m telling you, it is. 

Science (journalism) metaphors: Chronaxie

In job ads for news writers, you’ll often see a reference to the ideal candidate having a “fast news metabolism”. It means: How much information can you cram into your eye holes and how quickly can you digest it all into a compact pellet of 400 words? (I apologise for taking the metaphor to its natural conclusion.)

The question of whether speed should be the primary objective in science news coverage is beyond the scope of this post. (I will offer that, anecdotally, all my own worst “news pellets” were generated in greatest haste.)

However, while I was in the trenches of electrophysiology history research for my book, I found an idea I liked a lot better than metabolism for how I think about my approach to science news: chronaxie. 

Even by electrophysiology standards, this term is a deep cut. It was introduced in 1909 by the French physiologist* Louis Lapicque, one of many physicians beguiled by the invention of a new tool known as the galvanometer, and its ability to eavesdrop on electrical activity inside the body. This was already revealing whole new worlds of health and infirmity: the electrocardiogram had recently decoded the secrets of the heart’s various failure modes; Hans Berger was just gathering the first of the electrical brain data that would lead to the invention of the EEG.

But Lapicque wanted to use electrical signals to probe muscle and nerve health more generally. So he introduced the word “chronaxie” as a measure of how well tissue responds to electrical stimulation. It gets quite complicated – it’s the minimum amount of time an electrical current must be applied to trigger a muscle twitch, which also depends on minimum effective current strength (ugh, I know). But to completely oversimplify it, it’s the unit of time that locates the robustness of your nerve-muscle circuit on a spectrum from “knee-jerk” to “half-dead”, effervescent to torpid, Leslie Knope to April Ludgate. This reaction speed and strength is the indicator light for the health of your muscle.

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My Favorite Halloween Tradition: Skiing!

I went cross-country skiing on Saturday. It was my fifth ski day of the new season, which is a welcome change after last year’s abysmal snowfall. We have another storm underway and with any luck, we should have some packed trails this week. Saturday also happened to be Halloween. I think of Halloween skiing as a Grand Mesa tradition, and since I’m a data nerd I have numbers to prove it.

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Osettai

Hand holding a bag of snacks; trail, flooded rice fields, mountains, and trees in the background.

This spring I went on a pilgrimage to 88 temples around the island of Shikoku. There’s a tradition of giving gifts to pilgrims, called “osettai” – an important part of the pilgrimage.

I experienced osettai in many forms. A volunteer on our second day of walking who stopped and offered a ride to the next temple, number 10. (We accepted, gladly.) An inn near temple 44 where the host threw in dinner for free, two nights in a row – she asked us not to mention it in any online reviews, because she might not always be able to do it, and it was delicious. An older man who tapped me on the shoulder as I ate a snack at a convenience store counter and handed me the sports drink he’d just bought me.

The osettai in the picture above came from a woman who was waiting at a wooden shelter along a river in the eastern part of Kochi. A couple of other pilgrims happened to be walking a few hundred feet in front of me, and I saw her go up to them and give them something out of her tote bag. I got to her and it was my turn. She handed me this bag of snacks. I dug in my pocket and pulled out an “osamefuda” – a piece of paper with my name, location, the date, and a prayer that you leave in an offering box at each temple and give to people when they do something nice for you. We thanked each other profusely and I walked on.

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Ewers for Heifer & Heifer

A coaster with cartoon sheep and the words "Ewers for Heifer & Heifer"

Welcome to one of Helen and Cameron’s periodic conversations on wool! If you haven’t been following along, this all started when Helen wore a wool dress for 100 days, and Cameron wondered how that was possible. Along the way, the two of us found we had the same sheep-themed place settings. Now, Helen is back from a pilgrimage to Japan where she had deep thoughts on wool, among other things. And there is lots of other news, too, including Helen’s new job as the production manager of the Washington Revels. 

Hang on to your knitted hats, here we go!

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Sounding It Out

The other day I couldn’t come up with the name Jane Goodall.

Of all the names, that’s not one I thought I’d ever struggle to recall. Jane Goodall!! I sat for a while, picturing Jane. Thinking about the amazing work she did with chimps. Remembering the criticism lobbed at her by scientists for giving her study animals names. Envisioning the famous photos of her as a young woman crouched alongside a chimp family, or with her hand reaching out graceful as a dancer’s to a curious baby. Recalling how she gently befriended animals few had ever seen in the wild, much less observed up close.

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Life Keeps Walking


My wife and I were hiking up a pain in the ass desert canyon the other day, hand over hand between bus-sized boulders, no trail to follow, when she said she was done and sat in the shade. She said feel free to poke ahead and when I did, within eyesight of her I found a panel of ancient fossilized ripple marks on a boulder half the size of our house. The way the boulder landed when it fell from surrounding cliffs, what was once flat was like a painting on a wall, 90 degrees to what is currently flat. Set along the face of this late Triassic boulder at the base of Wingate Sandstone, western Colorado, was a trackway of a four-legged dinosaur the size of a hippo. 

I started calling back to her, and I’ve got to say it sounded like mansplaining because for good reason she didn’t want to climb the boulder choke that was required to get here and I needed to convey a scene that was unfolding: a four-legged animal had walked across a mudflat leaving four or five impressions around 210 million years ago, maybe a smaller, long-necked predecessor of the sauropods. Looking at each print, you might think it was a bulged concretion or some other geologic oddity (they were convex to the rock, reverse impressions, also known as negative tracks), but when put together the walking pattern was clear to the eye.

Looking up through the crack I had climbed, she could see what I was talking about from fifty feet away, and maybe had a better view of the canvas from a distance, pointing out features I couldn’t see, branch-like impressions as if from vegetation.

After half an hour of back-and-forthing, I said I was going to keep on and see where our route went and I’d be back in half an hour. Where it went was nowhere, the canyon steep and so full of giant geologic debris I understood why there was no trail. Nobody comes up here. My wife and I specialize in places like this, poking into nowhere lands, and we’ve found dinosaur environs before, mostly plant fossils, sometimes the porous patterns of bone sticking out of a rock, and footprints now an then. There’s so much dinosaur-aged rock lying around—cliff walls and ten thousand boulders at a time—that you can’t help recognizing the existence of other ages.

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A Sestina for Songbirds

Recently, while working through Suleika Jaouad’s The Book of Alchemy with my mom, I encountered a new-to-me poetic form: the sestina. 

Jaouad’s book is a collection of creative enticements from writers and artists, musicians and teachers, and we’d come across Ann Patchett’s prompt, “The Mouse Sestina,” in the midst of a particularly hectic time. It was still winter, the radiant heating in my upstairs loft had sprung a leak and flooded the carpet, and I found myself replacing our flooring while my partner was on the other side of the planet. I responded to Patchett’s prompt, “Pick out a poetic form and give it a try,” by writing a haiku and calling it a day. I did not have the bandwidth to engage with a poetic form that she calls “ridiculously complicated.”

A sestina is, indeed, a complicated form—six stanzas of six lines each, where each line ends in one of six words that appear in a bewilderingly specified arrangement. Assign each ending word a number, and the arrangement looks like this: 

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