Study Hacks Blog

Not long ago, I watched Aziz Ansari’s new Netflix special, Nightclub Comedian. I was pleasantly surprised when, early in the show, Ansari demonstrates his commitment to escaping tech-driven distraction by showing off his Nokia 2720 flip phone (see above). Soon after the special was released, Ansari elaborated on his personal brand of digital minimalism in a radio interview:

“Many years ago, I kind of started turning off the internet, and I deleted all social media and all this stuff, and I’ve slowly just kept going further and further. I stopped using email, maybe, four years ago. I know all this stuff is like, oh yeah, I’m in a position where I can do that and have certain privileges to be able to pull it off, an assistant or whatever, but all that stuff I do helps me get more done.”

This commitment to craft over servicing digital communities is not uncommon among top comedians. Dave Attell, who is widely considered by his peers to be one of the best living joke writers, has a lifeless Twitter account dedicated primarily to announcing show dates. Dave Chappelle doesn’t even bother using Twitter at all. “Why would I write all my thoughts on a bathroom wall,” he quipped last year when asked about his lack of presence on the popular platform.

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Last week, Twitter accepted Elon Musk’s acquisition bid. The media response was intense. For a few days, it was seemingly the biggest story in the world: every news outlet rushed out multiple takes; commentators fretted and gloated; CNN, for a while, even posted live updates on the deal on their homepage.

As I argue in my latest essay for The New Yorker, titled “Our Misguided Obsession with Twitter,” these varied responses were unified by a shared belief that this platform serves as a “digital town square,” and therefore we should really care about who controls it and the nuances of the rules they set.

But is this view correct?

Drawing on Jon Haidt’s epic Atlantic article on the devolution of social media (which I  recently discussed in more detail on my podcast), I note that Twitter is far from a gathering place for representative democratic debate. Its most active users are much more likely to be on the political extremes. They’re also whiter and richer than the average American, not to mention that they have the time to spend all day tweeting, which is quite a rarified luxury.

Here’s Ethan Porter, a media studies professor at George Washington University, elaborating this latter point in a recent Washington Post article:

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Last month, Adam Weiss, a fourth-year chemistry PhD student at the University of Chicago, published a column in the journal Nature. In the piece, Weiss talked about how he had recently hit “a rut” in his polymer chemistry research. “Although I had been productive early in my graduate career,” he wrote, “my long hours and hard work were no longer translating into success in the laboratory.”

It didn’t take much self-reflection for Weiss to identify the problem: his phone. He recognized that he increasingly colonized his “quiet time” with digital distractions. As a result, his work felt “chaotic and disorganized.” Throwing more hours at the problem didn’t help: “I was working more than ever, but getting less done.”

So Weiss tried something drastic. He ditched his smartphone during work hours, relying instead on an old fashioned feature phone without an internet connection. He decided email and Slack messages would have to wait until he returned from the lab. For music, he used an iPod.

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Each month I strive to read five books, from a variety of genres and levels of seriousness. By popular request, I try to list the books I read here in my newsletter. Below are the books I read in February 2022.

[Note: I recently realized that I forgot to write a post about my books for January 2022. Whoops! Fortunately, you can watch me discuss my January reads in this clip taken from my podcast.]

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A reader recently sent me a video of a keynote speech, delivered in 2020 by the popular fantasy novelist Brandon Sanderson. The title of the presentation was “The Common Lies Writers Tell You,” but its real message was more general.

Sanderson starts (perhaps channeling a young Cal Newport) by pushing back on our common instinct to tell kids “you can do anything you want to” or “follow your dreams.” He argues that these aphorisms inflict a disservice on impressionable minds as they obfuscate the complexity, and frustration, and nuance involved in actually pursuing remarkable goals.

He retorts that the following claim is much more realistic:

“I can do hard things. Doing hard things has intrinsic value, and they will make me a better person, even if I end up failing.”

Sanderson then proceeds to details three tips, drawn from his experience as a successful novelist, to help structure any attempt to tackle hard things. I found his advice both interesting and refreshingly blunt, so I thought it might be useful to summarize his three tips here, annotated with some of my own thoughts…

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