“To coin a phrase”*…
Elliot Thornley nods to Shakespeare as the prodigious coiner of words (and phrases) that he was…
And then reminds us that Jeremy Bentham was no slouch with a neologism himself…
It’s pretty amazing. Shakespeare really shaped the English language!
So did Jeremy Bentham. He’s best-known for inventing utilitarianism and the panopticon [see here], but he also coined the words:
- Minimize
- International
- Percentage
- Pluralism
- Monetary
- Locating
- Marginalize
- Codify
- The prefix ‘self-’
- Maximize
- The prefix ‘post-’
- The prefix ‘infra-’
- Exhaustive
- Insurable
- Collaborator
- Alleviating
- Unaffordable
- Exclusionary
- Inexclusively
- Antagonising
- Deontology
- Disambiguation
- Eudemonic
- Evidentiary
- Characterizable
- Perusable
- Preferability
- Remediation
- Astuteness
- Uncalculating
- Uncoerced
- Unbridgeable
- Subvariety
You can find even more Bentham coinages at my source [lots more].
And as if all that weren’t enough, Bentham kind of invented jogging:
Bentham appears to have been a regular jogger—or, as he put it, ‘circumgyrater’. According to the journalist George Wheatley, who stayed with the eighty-one year-old Bentham in March 1831, before both breakfast and dinner Bentham would take ‘a few turns in the garden, which … he calls circumgyrating’, which Wheatley described as a ‘trotting or taking up a kind of trotting step’.
So not only are you quoting Bentham, you might be mimicking him too…
The second-greatest coiner of English words? “You are quoting Bentham.”
More coinage (and source of the image at the top): “Coined Words Acknowledged.”
* idiom
###
As we commend contrivers, we might recall that it was on this date in 1940 that another colossal coiner of phrases appeared: the Warner Bros. Merrie Melodies animated short “A Wild Hare”– the first “official” Bugs Bunny cartoon– premiered (though long-time readers will recall that Bugs [or at least, his prototype] made his inaugural screen appearance two years earlier). Directed by Tex Avery, “A Wild Hare” was nominated for an Academy Award.
“Never trust people who promise to make you rich in a day. They are generally crazy swindlers”*…
Scheduling note: as a consequence of visitors and attendant obligations, (R)D will be off tomorrow and Sunday. Regular service will resume on Monday.
Last month we lost Om Malick. The journalist, investor, and blogger who chronicled Silicon Valley was a collector of fine pens. In one of his final posts, he mused on one of his last acquisitions and on its inspiration…
I have always wanted to own a Montblanc Writers Edition dedicated to Carlo Collodi, the Italian author whose real name was Carlo Lorenzini. He took his pen name from the Tuscan village where his mother was born, and then spent his career writing under a false name about a character who could not sustain one. I grew up reading the tales of Pinocchio, but only read the non-Disneyfied version as a grown-up. The book left an indelible impression on me. It is a great parable for modern times.
In case you were wondering, I did get the pen. It is one of the most beautiful and underrated pens in the Montblanc Writers Series. I have been mildly obsessed with it for a long time.It is not overwhelming, gaudy, or over the top. It tells the full story, not just of the pen but the story behind it. And it starts with the clip, that subtly hints at Pinocchio’s nose.
The cap is where Montblanc’s craftsmen did their most serious work. It is cylindrical, dark resin, topped by the Montblanc snowflake, wrapped in a silver and platinum skeletal overlay, a filigree of characters and scenes from the story, the dark resin visible beneath through the cutouts. The effect is like looking at a shadow puppet theater contained in your hand. The barrel is restrained by comparison, dark resin with horizontal platinum ring banding, letting the cap hold the eye. The nib carries its own engraving tied to the story.
Holding it in my hands recently, I found myself thinking about the story of Pinocchio, and how it throws the names that dominate our headlines into sharp relief — the ones who shape our zeitgeist of half-truths…
… The Adventures of Pinocchio was published in serial form in 1881, aimed at Italian children in the way the 19th century aimed things at children, full of suffering, consequence, and moral instruction delivered through catastrophe. The puppet is hanged. He is swallowed by a giant fish. He watches companions degrade into beasts of burden. The world he moves through is predatory at every level, and the institutions that should protect him are either absent, corrupted, or actively hostile to his interests.
I can only imagine the outrage and horror over this story should it have been published today. I am old enough to have been smacked for my stupid mistakes as a kid. So this was actually not a bad story to read. Still, I can understand how much anxiety it might cause today’s parents.
Most people remember Pinocchio as a story about lying. The nose grows. You get caught. Lesson learned. But that reading misses almost everything Collodi was actually doing. The book is a close study of a society where deception has gone ambient, woven into every institution, every transaction. Courts punish victims. Authority figures perform competence without exercising it. Experts are decorative. Society holds together through spectacle and habit rather than accountability. Into this environment, a naive creature is released, constitutionally unable to resist a good story about easy reward.
The nose is the least interesting lie in the book. The interesting lies are the ones that work.
The Fox and the Cat are the novel’s most modern characters. They persuade Pinocchio to bury his coins in the Field of Miracles on the promise that they will multiply overnight. Exploit impatience, exploit greed, frame skepticism as a failure of imagination, and dismiss skeptics as lacking vision. Remind you of someone? Space Cowboy for example?
That structure is so familiar I barely need to name it. But let me name it anyway.
Everyone from Jensen Huang to Sam Altman to Elon Musk spent a decade accumulating what I have called symbolic capital, the reputation, the prestige, the weight of being seen as someone who understands the future better than the rest of us. Now each of them seems to be running some version of the Field of Miracles, with promises that keep not arriving, timelines that dissolve, products that exist primarily as announcements, and platforms run as machines for generating more reputation regardless of what they actually do. They don’t need to be right. They need to be believed. Velocity is the new authority, and no one has weaponized that more effectively.
We are living, as I wrote years ago, in the golden age of half-truths.
Your average influencer flogging a supplement, a course, a skin cream, or a crypto token on TikTok and Instagram is running the same operation, just cheaper. The confidence is the product. The audience wants to believe. The Field of Miracles is open for business everywhere you look.
Collodi in 1881 was writing about all this at a point of major societal inflection. So perhaps now you understand why I am drawn to this story. Pinocchio is a story about a society organized around deception.
The Land of Toys is the sequence that haunts me most, especially now. Children abandon school and responsibility for a place of permanent amusement. They play. And then, gradually, they begin to change. They grow ears. They grow tails. They become donkeys, beasts of labor and exploitation, stripped of language, used until they break.
This is a parable of who we have become, a BNPL-fueled spectacle in itself.
Collodi was writing during rapid industrialization and the early emergence of mass entertainment. He understood, earlier than most, that distraction offered as pleasure can be a leash. The children who choose the Land of Toys over school are not liberated. They are owned more completely than any schoolroom could manage.
The algorithmic feed is the Land of Toys. It is built to keep you there past the point of nourishment, past the point where you are even enjoying it. Outrage travels faster than understanding. Spectacle beats judgment. The algorithm doesn’t care whether something is true. It cares whether it moves. And it keeps you scrolling, reacting, and returning in ways that benefit the platform, not you.
The political system has learned the same lesson. Governance is slow and grinding and unsatisfying. Performance is fast and shareable. We have built media and political economies that reward entertainers over administrators, and the clean story over the complicated truth.
Collodi refuses to assign blame only upward. That is what keeps the novel from collapsing into moralism. Pinocchio is deceived because he wants to be deceived. He chooses shortcuts over work, belonging over truth, spectacle over judgment, every time, until the costs become too steep to ignore. The Fox and the Cat succeed because he hands them what they need. His credulity is not innocent. It is participation.
The grifters and the hucksters and the influencers selling impossible things succeed because audiences reward certainty and punish doubt. They honor confidence and resist complication. A clean story about a genius who will fix everything travels faster than a difficult story about tradeoffs. The Field of Miracles stays open because people keep wanting to bury their coins there.
The Fox and the Cat is how the whole thing works.
Pinocchio becomes real, becomes human, only after he accepts obligation. Collodi is saying that it is important to have self-governance. It is necessary to choose the difficult truth over the easy satisfying one. That doesn’t jibe with everything the attention economy is selling, dopamine hits delivered so frequently that it becomes hard to distinguish stimulation from autonomy.
There is an obvious irony in a luxury pen commemorating a story about the seductions of wanting things you have not earned. The Montblanc Collodi is made to be admired, displayed, collected. And it honors a puppet who had to lose everything, friends, coins, his own body, before he understood what was actually worth having.
I am not sure Collodi would find that irony disqualifying. A beautiful object that makes you think seriously about the spectacle we are living in. It makes you think about what is the cost of being real. It is a more interesting pen to own than one that simply confirms your taste.
The clip is shaped like Pinocchio’s nose because the nose is the one honest thing in a world built on performance. It grows because the body keeps the score even when the mouth doesn’t.
When I hold this pen, I try to remember what that means…
A story for our times: “We Are Living in Pinocchio’s World.”
* Carlo Collodi, The Adventures of Pinocchio
###
As we know that the nose knows, we might remark that today Rhys Frake-Waterfield‘s horror film reimagining of Collodi’s tale, Pinocchio: Unstrung— featuring Robert “Freddy Krueger” Englund as the voice of “Cricket” (Jiminy!)– opens in theaters around the U.S.
The trailer is here.
“As the servants of the Machines are becoming a privileged class, the Machines are going to be enormously more powerful”*…
Technological sovereignty is a nation’s ability to create, control, and own (or reliably source from reliable alllies) the technologies, infrastructure, and data essential to national security and economic growth.
Concerns with technological sovereignty date back to at least the 17th century (when, for instance, European mercantilist states banned the export of textile machinery to protect domestic monopolies and maintain a favorable balance of trade). They characterized much of the 20th century (as nations built up indigenous defense industries to ensure military independence).
In our 21st century, the one-two punch of the Trump tariffs and his attack on Iran (and the effective closure of the Straights of Hormuz), with the supply chain disruptions attendant on them, have raised the issue of technological sovereignty anew– and with a vengence. In our interconnected, interdependent– thus vulernable to disruption– world, China and the U.S. are in the lead; but experts project slow advance in national tech sovereignty over the next several years.
But this time around, Francesco Crespi and his co-authors argue, the Big Tech corporate monopolies/oligopolies in both China and the U.S. have emerged as even more important players (than their historical analogues have been). Their increasing dominance of private R&D, the increasing centrality of privately-controlled digital technology, their resultant control over knowledge, infrastructures, and key technologies such as telecoms, cloud computing, and AI. have made them central to nation’s futures, even as the Big Tech players (as corporations) have different imperatives.
Crespi, et al. unpack this state of play and propose a typology of technological sovereignty that takes into account the degree of technological dependence on Big Tech, the nature of the relationship between states and digital companies, and, consequently, a nation’s capacity to align the activities of these companies with its own strategic objectives. They summarize:
This paper has examined TS at a historical moment in which the control of critical technologies, infrastructures and knowledge is increasingly concentrated in a limited number of digital corporations. Its starting point was a conceptual tension in the existing debate. TS is commonly defined as the capacity of a state, or a federation of states, to access and provide critical technologies without incurring one-sided structural dependence (Edleret al., 2023). Yet this definition implicitly assumes that sovereignty is ultimately held and exercised by public authorities. The argument developed in the present paper is that this assumption has become increasingly problematic. In core domains such as cloud computing, AI, data infrastructures, satellite systems and digital services for defence, the effective control of technological capabilities is often exercised by private corporations whose interests, strategies and governance mechanisms only partly overlap with public objectives.
The empirical evidence discussed in the paper points to three connected transformations. First, the long-term retreat of public research and the expansion of intellectual property regimes have shifted the centre of gravity of innovation systems towards large private actors. The rise of ICT and platform-based business models has reinforced this tendency by allowing a small group of firms to accumulate data, proprietary knowledge, network advantages and infrastructural assets on a global scale. Second, the hierarchy of corporate R&D has changed substantially since the early 2000s. Digital firms, especially from the United States and China, now occupy the leading positions among global R&D spenders and dominate strategic technological areas such as AI, cloud and software ecosystems. Third, this concentration is infrastructural as much as technological. The control of data centres, cloud availability zones, platforms, operating systems and search engines gives Big Tech firms a systemic role in the functioning of economies, public administrations and security apparatuses (Coveri et al., 2025).
As a result, this concentration of techno-economic power modifies the relationship between the state and private capital. Public authorities no longer simply procure technologies from firms operating in competitive markets. In many cases, they depend on proprietary ecosystems that set standards, store data, provide computing capacity, update software and mediate access to essential digital functions. This produces a form of structural lock-in that is particularly severe in dual-use and security domains. The state can retain formal authority while losing part of the operational capacity required to exercise it. Under these conditions, TS cannot be evaluated only by measuring the presence of advanced technologies within a territory; it must also be assessed by asking who owns, controls and governs the infrastructures and knowledge through which those technologies are produced and deployed.
The analysis of the military-digital complex further strengthens this conclusion (Guarascio and Pianta, 2025). The digitalisation of warfare has made the capabilities of Big Tech increasingly indispensable for military and intelligence activities. Cloud infrastructures, AI systems, cyber-defence tools, satellite connectivity and battlefield data services have become essential components of contemporary security systems. At the same time, public procurement, defence contracts and battlefield experimentation reinforce the technological and market position of these firms. Hence, the resulting relationship is one of mutual dependence, but it is not necessarily symmetrical. Governments need access to digital infrastructures and capabilities that they often do not control internally, while Big Tech firms use military and security demand to consolidate their technological advantages, expand proprietary ecosystems and increase their bargaining power vis-a-vis public authorities. This gives concrete substance to the notion of privatised TS (Abels, 2026).
Building on this analytical and empirical framework, the paper proposes a typology for interpreting the notion of TS according to these structural transformations. In particular, it distinguishes between strong and weak technological sovereignty and between private-driven, public-driven and public-private-driven governance arrangements. This distinction matters because the same technological capability may have different economic and political implications depending on the distribution of control across states, domestic firms, foreign firms and hybrid institutional arrangements.
They conclude:
Taken together, these findings suggest that TS should not be assessed only by asking whether a country possesses advanced technologies. It should also be assessed by examining how control is distributed and governed across the state, domestic firms, foreign firms and hybrid governance arrangements. The broader implication is that private-driven TS is not neutral from a welfare standpoint. It may increase innovation speed and geopolitical capacity, but it can also redirect technological change towards rent extraction, militarisation and proprietary lock-in. On the opposite, public-driven technological sovereignty can better preserve public-good objectives, but public institutions should possess adequate technical, financial and organisational capabilities, while public-private technological sovereignty can work when public conditionality is strong; otherwise, it may degenerate into the socialisation of risk and the privatisation of control. A welfare-oriented strategy for TS should therefore prioritise public and collective control over essential technological infrastructures, strengthen public R&D and procurement capabilities, impose interoperability and open- standard requirements, and ensure that critical data, patents and infrastructures generated with public support remain accessible for public purposes.
The central policy question, therefore, is not simply how to become technologically sovereign, but how to prevent the pursuit of sovereignty from becoming a vehicle for the privatisation of the very capabilities on which welfare, democracy and long-term development depend. Technological sovereignty can strengthen resilience, strategic autonomy and collective welfare only if it is embedded in institutions capable of governing technological change in the public interest. Without such institutions, the language of sovereignty may legitimise new forms of dependency: dependence on domestic monopolies in some countries, dependence on foreign platforms in others, or dependence on public-private arrangements in which public authorities finance
strategic projects while private actors retain control over their future trajectories. A research and policy agenda on TS should therefore place ownership, governance and accountability at the centre of the analysis, alongside capabilities and geopolitical positioning.
Eminently worth reading in full: “Technological Sovereignty, Big Tech, and the Military-Digital Complex” via @ssrn.bsky.social. (Full PDF here.)
See also: “Technology sovereignty as an emerging frame for innovation policy. Defining rationales, ends and means” and “Reconciling open science with technological sovereignty“
And for a look at one of the moving parts of the puzzle, one that underlines the importance of Crespi’s closing suggestions: “Elon Musk and SpaceX’s Futurist Coup.”
(Image above: source)
* J.R.R. Tolkien, The Letters of J.R.R. Tolkien
###
As we develop deftly, we might might send connected birthday greetings to a man who was instrumental in the development the promise/threat of Big Tech as today we know it: Mark Weiser; he was born on this date in 1952. A comouter scientist and CTO of Xerox PARC, he is is widely considered to be the father of ubiquitous computing, a term he coined in 1988, when he described a future in which personal computers would be replaced with tiny computers embedded in everyday “smart” devices and their connection via a network.
“Always create more value than you capture”*…
There are, of course, myriad ways to rank people. Increasingly these days, the preferred scale seems to be one’s wealth. The Forbes 400, which ranks the richest Americans by their wealth, has become the scorecard of our zeitgeist. But one of its denizens (currently #4), Jeff Bezos, suggested in 2024, “somebody needs to make a list where they rank people by how much wealth they’ve created for other people.”
Sakshyam Patro has obliged…
… this is that list: [It ranks] founders by Wealth Created For Others (WCFO): the dollar value their companies generated for shareholders other than themselves…. every number traceable to an SEC filing, an academic dataset, or a named data source — refreshed every fifteen minutes while markets are open. Each figure is the shareholder wealth a founder’s company created, now held by index funds, pensions, employees and co-founders, minus what the founder kept. It’s not a claim that one person built the company alone…
See the list here. (Teaser: as of this writing, Bezos moves up one slot, from #4 to #3); the current Forbes #1, Elon Musk, drops to #28 (his wealth is $798B; his investors have lost $243B). And see the details of the methodology here.
Patro adds some important context– the first point especially:
- It is the Forbes billionaires list, re-sorted — not a ranking of humanity’s benefactors. The universe is living billionaires with a trackable public company. Norman Borlaug, Linus Torvalds, vaccine developers, and public-sector reformers created enormous value and belong at the top of a different list; they are absent here because they are not billionaires with public equity, not because the metric judges them small. This list answers exactly one question Bezos posed: among the people Forbes already ranks by personal wealth, who created the most for others versus kept for themselves?
- Not a measure of consumer surplus, wages, or societal value beyond shareholders (those are larger still — Nordhaus [see here] estimates innovators capture only ~2.2% of the social surplus they create — but they are not reliably measurable per person, so we do not headline them).
- Not a moral scoreboard. It measures one thing: dollars of shareholder wealth created beyond a risk-free benchmark, minus dollars kept.
- Not affiliated with Forbes or with any prior ranking site.
Ranked by the wealth they built for other investors: “The Anti‑Forbes List.”
To observe the obvious, the numbers at play here are big… so big as to be hard to understand. Amanda Shendruk urges us to make the effort and offers some helpful tips: “Understanding large values: It’s our ethical duty.”
###
As we re-evaluate, we might recall that it was on this date in 1598 that Shakespeare’s The Merchant of Venice was entered on the Stationers’ Register. By decree of Queen Elizabeth, the Stationers’ Register licensed printed works, giving the Crown tight control over all published material. In those days, “copyright” mainly meant “the right to make copies”; secondarily, it conferred intellectual property rights (though in those days, mainly to the guild printers who got the permissions).
In some cases, the companies of actors appear to have registered plays through co-operative stationers, with the express purpose of forestalling the publication of a play when publication was not in their interest. This seems to have been the case with The Merchant of Venice and Shakespeare’s company, The Lord Chamberlain’s Men: the copyright was granted to James Roberts, who printed the company’s playbills and held copyrights on five of their plays (two by Shakespeare). But Roberts transferred the copyright to fellow stationer Thomas Heyes in 1600, and Hayes published first quarto edition of the play before the end of the year.
“It’s about nothing”*…
Seinfeld, which originally aired on NBC from July 5, 1989, to May 14, 1998 (for a total of 180 episodes over nine seasons) ruled the airwaves during the 90s. Its reign continued, first in syndication, then streaming, and hold sway to this day. The series won all of the major awards for which it was eligible (a few, several times over) and is universally regarded as one of the greatest and most influential American shows of all time. Quotes from several of its episodes have become catchphrases in popular culture.
Most of us know Seinfeld, but not all of us… and even those if us who do, have more to learn. Andy Kirk is here to help…
I was intrigued by the possibilities of mixing work with pleasure: visually exploring a sitcom through its data.
Intrigued became compelled. I wanted to explore how Seinfeld and David, with the support of their evolving pool of talented writers, managed to achieve such sustained sitcom brilliance. Much like a sports coach seeks to assemble the right players in the right combinations, to win a game, how did the Seinfeld ‘coaching team’ use their resources to assemble the right characters in the right scenes, in order to score the laughs and create TV gold?
And so began a self-motivated, long-running, entirely unnecessary, data-driven exploration of every episode of Seinfeld.
The first product of this work was my 2020 publishing of The Seinfeld Chronicles, a limited-edition printed book presenting all my extensive analysis. With 176 copies released, matching the number of written episodes, this reached a small but exclusive, passionate, and generous audience.
A few years later, I decided it was time to revisit this work and develop a new format that could reach a wider audience…
A trove of insight into a epoch-defining sit-com and a glorious example of data visualization: “The Seinfeld Chronicles: Digital Edition,” from @visualisingdata.com.
* George explaining the premise of the show he and Jerry are trying to pitch to NBC
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As we codify comedy, we might recall (on this, National Junk Food Day) that it was on this date in 1988 that The New York Yankees traded Jay Buhner (along with minor leaguers Rich Balabon and Troy Evers) to the Seattle Mariners in exchange for 33-year-old first basemen and designated hitter Ken Phelps– widely considered one of the most lopsided deals in MLB history. While Phelps had a brief, productive stint in New York before being traded again, Buhner became a fan favorite and a legend in Seattle. Over his 14 seasons with the Mariners, he hit 310 home runs and was a key piece of the team that reached the ALCS in 1995, 1997, and 2000. He was inducted into the Seattle Mariners Hall of Fame in 2004.
In Seinfeld‘s seventh season episode “The Caddy,” Yankee’s owner George Steinbrenner (voiced by Larry David) visits George’s parents to (mistakenly) inform them that their son is dead. While George’s mother tears up, George’s father Frank (Jerry Stiller) responds…
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