Conversation with Paul Cooijmans on Glia Society, Games, Tests, Puzzles, Thoth, Policy, and Absolute Freedom of Speech: Administrator, Glia Society (4)

Author(s): Scott Douglas Jacobsen

Publication (Outlet/Website): In-Sight: Independent Interview-Based Journal

Publication Date (yyyy/mm/dd): 2021/03/22

Abstract

Paul Cooijmans is an Independent Psychometitor and Administrator of the Glia Society, and Administrator of the Giga Society. He discusses: animated presentation of the Glia Society; three-part polyphonic piece; a palindromic “crab” canon; mind games; Glia Society crossword; the memory game; the Mastermind game; tests, puzzles and games; domain and aesthetic; community; active is the publication; absolute freedom of speech; heated exchanges; the general impression from the more active members of Thoth; the “value” of the “golden opportunity” of Thoth; the major themes of the publications; the policy of Thoth; the frequency of Thoth; annoying moments; parts of the copy section have been altered in the history of Thoth description; italics and bold; unusual font colours, font sizes, font changes, font types; most common font colours, font sizes, font changes, and font types; “the mark of bad authors”; the single most read/viewed article in the history of Thoth; infrequent errors of copy; frequent errors of copy; and further disclaimers or caveats.

Keywords: copy, Douglas R. Hofstadter, Field of eternal integrity, font, games, Glia Society, Paul Cooijmans, publications, Thoth.

Conversation with Paul Cooijmans on Glia Society, Games, Tests, Puzzles, Thoth, Policy, and Absolute Freedom of Speech: Administrator, Glia Society (4)

*Please see the footnotes, bibliography, and citation style listing after the interview.*

Scott Douglas Jacobsen: For those with an interest in an animated presentation of the Glia Society, they can see the website (The Glia Society, n.d.a; Cooijmans, 2016). Why the creation of an animated presentation?

Paul Cooijmans^[1],[2]*: At that time, in 2003-2004, I was taking a web design course, and one of the assignments was to make an animation in “Flash”. I made one that I could actually use. Later I converted it to video. To avoid confusion, I should explain that I took a programming course at the same school in 2002.

Jacobsen: With the “three-part polyphonic piece consisting of three canons using the same theme — a theme beginning with four notes based in pitch and duration on the letters Glia Society in a fairly trivial way — in three different manners,” what has been the feedback if any on the music and the animated presentation? (Cooijmans, n.d.a)

Cooijmans: I do not remember any feedback at the moment.

Jacobsen: Why have a palindromic “crab” canon? (Ibid.)

Cooijmans: Crab canons have fascinated me since the 1980s when I learnt how to write them in counterpoint class at the conservatory. One thing about them is that you do not hear that it is a canon. Another thing is that every note of the theme has to function in at least two different situations: in the top voice and in the bottom voice. That requirement creates a synergy, wherein the whole is more than the sum of parts. Double functions are key to understanding life and the universe. This is also dealt with in my favourite book, “Gödel, Escher, Bach” by Douglas R. Hofstadter. Many phenomena in nature, and many works of genius are, “under the hood”, akin to crab canons. If you learn how to write a crab canon, you understand more of reality and advance to a higher level of creative functioning.

Jacobsen: The mind games section has four parts: Glia Society crossword, Memory game, Mastermind, and More tests, puzzles and games. (Cooijmans, n.d.b). What has been the feedback on this section of the Glia Society webpages? Why create this particular section?

Cooijmans: Very little feedback on the crosswords. A little feedback on the memory game and mastermind. The reaction speed test has drawn much more feedback. Someone sent me collected data on it and asked to make a statistical report, which I did. But I fear that its meaning is limited because one’s score on the test may be affected by the hardware of one’s electronic computer, in particular the graphics card or “on-board” graphics. Also, simple reaction time is only one elementary cognitive task with a limited “g”-loading. For a better picture, one needs to test other tasks related to working memory, perceptual threshold, and decision time. And the hardware should be the same for all candidates, so this is not something you should be doing on your own computer with software. It takes standard equipment in a laboratory setting. I see no way to do that with high-range test candidates, because (1) I do not have the equipment and facilities and (2) said candidates are living all over the world so it is not doable to get them to travel thousands of kilometres to a particular location. For the same reason, supervised tests, valuable as they may be, are not usable for high-range purposes, unfortunately. I tried for years because I really like supervised tests and the in-person psychological examination, but could not get more than a small handful of people to travel here to take them.

The creation of this section, too, was part of the web design course I took.

Jacobsen: For the Glia Society crossword, what percent of people get all the answers correct? (Cooijmans, n.d.c)

Cooijmans: I have no idea, no one has ever sent me their answers, and that would also be superfluous because the solutions are given on the crossword itself. Hm, perhaps I should remove them to make it harder.

Jacobsen: For the memory game (Cooijmans, 2003), what was the inspiration for creating it?

Cooijmans: Also the web design course, and I chose to make games that had something to do with intelligence.

Jacobsen: What purpose does the Mastermind game or activity serve? (Cooijmans, n.d.d)

Cooijmans: The same answer as the previous about the memory game, I would say. Regarding the web design course, I might add that the institute where I took this course also housed a bodyguard school and a stewardess academy. Both, on two separate occasions, appeared in a television program during that period because of students who complained about having been ripped of. The episode about the stewardess academy came from a studio full of aspiring stewardesses in their professional attire. My novel “Field of eternal integrity” briefly mentions this stewardess academy.

Perhaps it is interesting to tell a bit more about the web college: When I started there, it was still allowed to smoke in the canteen, but at some point they forbade that, and from then on we were always sitting outside, often in the cold, on the terrace of the building during lunch breaks, overlooking the impressive garden. Several students were chain-smokers, so they could not have lunch indoors any more. One of the students was an astrologer who had worked as a brothel manager before. He was doing the course because he was planning to create an astrology-based dating program. I do not know if he succeeded eventually. For a short period I assisted in the project as a programmer, and he invited me home for dinner, which consisted of paprika filled with meatloaf prepared by his twenty years younger girlfriend. A few other programmers were involved too, including one of our teachers. The astrologer insisted that the dating program allow matches between people with a twenty-year age gap, like he had with his fiancée. Whenever a match was found, the candidate would be notified instantly on one’s mobile telephone. This was futuristic at the time, in the early 2000s, when not nearly everyone had a mobile phone yet, and long before smart phones became common. He was ahead of his time, also having been one of the first sex telephone line operators in the 1980s.

Not all of the students were knowledgeable regarding informatics; this was revealed when the teacher instructed us to make a web site and bring it along on a compact disk so he could see it. “What?! Does a whole web site fit on a compact disk?!” remarked one web designer-to-be. This person was taking the course for the second time, and would not show up any more after the first few lessons. For clarity, the web sites we made were in the order of a few hundred kilobytes, while a compact disk could hold 700 megabytes, so several hundred of those sites. But the astrologer took file-size-blindness to a new level when he tried to share with us the full documentation of a certain corporate developer’s network by electronic mail; he really could not understand why that e-mail had failed to sent after he attached the complete set of compact disks totalling several gigabytes. For information, the upper limit of an e-mail attachment was in the order of a few megabytes at the time, so he had exceeded it by a factor of thousand. Attaching compact disks to an e-mail message would be a remarkable feat even today, if I am correct.

Later on in the course, one of the participants brought a Universal Serial Bus stick of 200 megabytes with him to show his work, instead of a compact disk; this was the first time I saw a U.S.B. stick. This person worked at a fish store and was making a web site for it. On that occasion he printed a page from his site, containing a recipe for plaice. Then he looked around where the printer was, but could not find it. The teacher informed him that the printer was located in the school’s office, where they were probably wondering what to do with the recipe. In the years after the course, I sometimes used the building of the web college as a target when training for a marathon or longer distance. It was 35 kilometres up and down there from my house, mostly along the canal.

Jacobsen: The “More tests, puzzles and games” link leads to “I.Q. Tests for the High Range” (Cooijmans, n.d.e). A page with one of the most quotable phrases in the high-range testing environment, “A megalomaniac’s Waterloo,” which I love dearly. Individuals with an interest in further explorations into the high-range testing world can explore the website and the rich resources from there. Actually, this leads to some short side questions if I may, please. Some comment on the old nature of many of the high-IQ society web domains and web pages within them. When I examined 84 of them formally, or more informally, this appears true. Many are defunct. Others are extant, but inactive. Others are merely directories or listings of individuals who qualify for the societies. Some have a modest level of activity. A few are decades old, active, and well-run. Yours, happily, qualify for the lattermost, Glia Society and Giga Society. For the domain and aesthetics of the Glia Society, or the entirety of the lifework for you, as presented online, why this particular design?

Cooijmans: Regarding web design, I am for accessibility and not bothering visitors with unneeded distractions or intrusions like pop-ups, side-bars, or frequent changes of the site that send people looking for things they could find blindly in the previous design version. Do notice that the text on the site is actually legible, and not illegibly tiny as “professional” web designers insist on. In the past I had advertisements appear on my web sites, but I removed them after it became compulsory to ask visitors permission to store the advertisement-related cookies on their electronic computers. I do not want to harass people with that.

In this respect I want to mention it is nowadays rare to get honest advertising on your web site. I have been contacted countless times by people who wanted to “advertise” on my sites, but invariably it concerned sneaky text links disguised as normal content, not recognizable as advertising, to deceive the search engines and make the advertiser’s web sites seem popular. This is unethical and spoils the Internet. They call this “search engine optimization”; one of the cesspools of modern-day “marketing”.

Jacobsen: Why keep this domain and aesthetic into 2021?

Cooijmans: Because of its extreme beauty and accessibility, and to avoid forcing visitors to waste time and attention by learning to navigate something new all the time. As we say here, “what you do not want done to you, do not do that to others” (this rhymes in Netherlandic). I avoid all those things that make me run away from other web sites.

Jacobsen: What have been the feedback on those aforementioned levels regarding it? I should add. In the first part of the interview, you stated:

First, I must say that it was not the aim to construct a digitally-based community. In 1997, I did not have an Internet connection, and all communication regarding and within the Glia Society was conducted via regular correspondence… Only in January 2001, I bought a modern computer and got Internet access, and that was the first time I used the Internet and electronic mail. Around midnight of the day on which I got Internet access, I had a web site online, and from that moment on, the Glia Society had an online existence (it had been advertised online by a few friends of mine in the years before already though). (Jacobsen, 2020).

So, the original intent changed into the online, where the intent was the non-digital community the whole time, as a reminder to newer readers to this Glia Society series of interviews.

Cooijmans: I do not understand what is meant with “those aforementioned levels” and with “it”. Also I do not remember saying anything about a non-digital community. I said “it was not the aim to construct a digitally-based community” in response to a question about the Glia Society being a digital community. But that does logically not equate to saying “the aim was to construct a non-digital community”. The feedback in the period before going online (if that is the question) was hugely positive. This is also logical, as membership in those days involved regular mail correspondence and paying for a paper journal sent by mail, and I imagine that negatively inclined people would not be willing to go through all that trouble just to be negative about the society. You could not join an I.Q. society on a whim then, as you can now with everything going via the Internet.

Jacobsen: We have talked about the journal Thoth before, a bit.^[3] It is a digital publication available to members alone. “It guarantees absolute freedom of speech and has no editorial changes or censorship of any kind. Thoth is filled with members’ submissions, and occasionally contains material by others.” (Cooijmans, n.d.f) What makes “no editorial changes or censorship of any kind” a benefit to the Glia Society community? How active is the publication?

Cooijmans: “No editorial changes or censorship of any kind” is a benefit because it allows members (and possible non-members who submit copy) to express their ideas without interference. Anyone who has ever had an incompetent or corrupt editor destroy one’s work will recognize the value of that. The publication is quite active in some periods, and less active in others. It varies, and with the advent of Internet fora, the importance of a journal has gone down. It is no longer the only communication medium of the society.

Jacobsen: The policy section of the public website states:

Thoth is meant to be a verbatim, uncensored, unedited publication forum for Glia Society members’ materials of almost any kind, and as such offers an almost unique and golden opportunity to who understand the value of such. So, actually to very few.

Copy for Thoth is published without alterations and as close as possible to what the author wrote or created (insofar as electronic word processing allows this; some formatting changes are inevitable). Notice that this means that one’s possible errors too remain uncorrected; to write correctly is the author’s task. Please check copy for errors repeatedly and meticulously before submission. Do not just rely on a software spelling checker.

Notice that the previous paragraph implies one needs to put one’s name and the possible title of one’s submission in one’s copy. Leaving these out implies that the copy is anonymous and/or has no title. For clarity; this means that the name and title must be in the submission itself, not just in an accompanying note. The previous sentence follows from the fact that copy is not altered, implying that the author’s name and title are not added if one does not put them in oneself.

It is recommended to put one’s address in one’s copy so that readers can respond directly to the author if they wish. Remarks to the Administrator about copy are not passed on to the author. (Ibid.)

With absolute freedom of speech, have there been any issues internal to the Glia Society community or Thoth itself?

Cooijmans: The main issue I remember is the publication, in instalments, of a novel by a member. A number of other members objected to its contents, which they found too violent and explicit. There was discussion on it on the electronic mail forum of the society, but no official measures were taken. The novel’s author was not online oneself, which made discussing the topic difficult. Arguments were, “I can not show the journal to my family with this content in it”, which was countered by “but the journal is members-only so you are not supposed to show it to your family anyway”.

Jacobsen: Have there been any significantly heated exchanges in such fora based on absolute freedom of speech?

Cooijmans: The one I just mentioned, about the novel.

Jacobsen: What is the general impression from the more active members of Thoth, in terms of submissions/publications in it, of the quality of the submissions if any feedback at that level?

Cooijmans: There are two types of submissions: From ambitious members who send a lot of material to promote their work and themselves, and from members who send copy to contribute toward a high-quality publication. Both are welcome and fit the goals of an I.Q. society.

Jacobsen: To the aforementioned “very few” from the block quote, what is the “value” of the “golden opportunity”? (Ibid.)

Cooijmans: The value is in the rare chance to publish one’s work uncensored and verbatim.

Jacobsen: What are the major themes of the publications? What is the most common type of submission, e.g., articles, interviews, etc.?

Cooijmans: Articles are the most common type of submission I think. Other types are poems, short stories, photos, things like that. I have no idea how to describe the major themes of the publications, I do not think in themes myself, in fact I have sometimes turned down participation in activities with prescribed themes. It can be said that the articles and other submissions in Thoth often reveal a way of looking at or experiencing the world that is typical of highly intelligent persons.

Jacobsen: Has the policy of Thoth ever changed?

Cooijmans: No.

Jacobsen: The copy section of the public website states:

Copy can be submitted at any time and will appear in the next issue. Please try to get it right at once and not send corrections or corrected versions to already submitted copy. Thoth appears whenever a minimum amount of copy is available. Obviously, there is no “deadline”; the time to send copy is when that copy is ready.

The best file formats for copy are .txt, .rtf, .odt, and .doc. Send the copy in any one of those formats; there is absolutely no need send the copy in more than one of those formats simultaneously. Do not send copy as .pdf; that is a read-only format and can not be edited or inserted into another document without corruption of white space and layout.

To avoid loss of quality, possible images should best be (also) sent separately, for instance as attachments, rather than inserted into a word processor document. Displaying text in image form is extremely unwise as it increases file size in the order of a hundredfold.

Be sparing with layout features like italic and bold, and especially sparing with underlined, font colours, font size changes, font changes and so on. Keep in mind that underlined nowadays means “this is a hyper reference”, and dozens of readers will click on it only to discover it is not. Be informed that the excessive use of layout features is the mark of bad authors.

To obtain an impression of how copy looks, one may consult this Thoth copy template.

It is possible to submit copy even if one is not a member but has material one thinks is of interest to the Glia Society members. Copy should be sent to the Administrator; indicate in an accompanying note that the submitted material is copy, to avoid confusion between personal correspondence and copy. (Ibid.)

What has been the frequency of Thoth issues per year? How many per year? How much does this rate vary? What is the range?

Cooijmans: In the first few years it was eight times per year, then it went down to six and remained at that for over two decades. About a year ago I reduced it to “whenever there is copy”, but in practice it has mostly appeared every two months still. The size of an issue has gone down a few years ago, when I stopped filling it up with my own material when there was little copy. The size now reflects how much copy there is.

Jacobsen: Have there been any particularly annoying moments of corrected versions sent an inordinate amount of times to you? In that, there were a large number of corrected versions sent to you. Is it a fair time to recount these potential historical moments?

Cooijmans: I remember one person who had a habit of sending corrected versions to almost everything said person submitted. This was annoying because I tend to work ahead in producing the journal, so every correction caused unneeded (“double”) work. A typical example of a situation where a lazy person, who postpones his work until the last moment, has an advantage over a conscientious person who wants to get things done.

Jacobsen: Have many parts of the copy section have been altered in the history of Thoth description, based on adaptations and difficulties faced in the midst of production of it?

Cooijmans: Eight parts, it seems. The matter is always, how explicit and emphatic do you have to phrase something to get through to people who are persistently not “getting” it?

Jacobsen: What textual circumstances justify the use of italics and bold to you?

Cooijmans: In technical texts, when there are requirements or conventions to italicize or embolden things et cetera, it is justified to do so, and the best (or easiest) way to reproduce this in a journal is probably in image form, or in a tag-based markup language like H.T.M.L. or X.M.L. But in more informal prose, articles, columns and so on, when one’s writing has to be included in a publication edited by another person, it is plain antisocial to make heavy use of text layout features. Let me explain, for the sake of readers who have not experienced this hell first-hand: A submission that includes such layout as bold, italic, font changes and more tends to come in the form of a word processor document. The editor has to insert (or paste) this into the target document. Almost invariably, the layout is corrupted in this process, especially if the author’s and editor’s word processors are not of the exact same brand and version (which they never are, trust me; everyone’s computer system is different from everyone else’s!)

Repairing this corrupted version is usually so laborious, if possible at all, that it is more convenient to reduce the submission to plain text and redo the layout from scratch. Depending on the submission’s length and the use of layout, this is a tedious task because one has to scan with eagle eyes over the original and reproduce every layout feature one sees, with the risk of overlooking something. And then imagine the joy when the author sends a corrected version after one has already gone through this mountain of labour…

That is why it is generally best to submit copy as plain text. Unfortunately, many do not know these days what “plain text” is. They think that a text in a word processor document can be plain text, but this is not so. It contains hidden layout codes. Plain text is the output of text editors like Notepad.

Jacobsen: What contexts in submissions would justify unusual font colours, font sizes, font changes, font types, and so on?

Cooijmans: Almost the same answer as the previous question, except that these features are even much worse to deal with. For instance, most people do not realize that when they specify a certain font family, readers who do not happen to have that font installed on their system will see the text in a replacement font and it will look different. And this is the rule rather than the exception because, again, everyone’s computer system is different from everyone else’s. There are as good as no fonts that can be relied upon to be present on a random other person’s computer.

And yes, you can include a font in the eventual portable document format publication (popularly known as “P.D.F.”) with the “archive” option, but that increases file size. Is an individual copy submitter so important that you want to do that?

Jacobsen: What are the most common font colours, font sizes, font changes, and font types?

Cooijmans: In principal I use the font Verdana in Thoth, and make the size so that the number of characters on a line, excluding spaces, does not exceed 70. Legibility is about the number of characters on a line, not about actual font size. You have to count them to get it right; otherwise the inexperienced amateur editor will choose a childishly big font, while the graphically inclined visual artist will gravitate toward the illegibly tiny (such people never actually read what they publish, they only look at the “big picture” and care not about the poor eyes of the readers).

The colour is black, except for warnings, which are strong red, or #CC0000 in hexadecimal code; incidentally, this was also the colour of the bow tie of the pianist who used to play in the hall of the institute where I took that web design course. On Saturdays, the day of my course, they were always showing around potential students and their parents, and a pianist was sitting there playing all day on a grand piano to create an attractive atmosphere to reel in new customers. Not infrequently, some of my fellow students expressed their secret desire to slowly strangulate aforesaid musician. The piano did not bother me much though, being used to the cacophony of a music conservatory, where I sometimes sat practising in a study room with the noise of trombones, tubas, trumpets, and sopranos coming from neighbouring rooms so that is was hard to tell if my guitar made any sound at all. When all rooms were occupied, guitarists would sometimes practise in corridors or on the halfway-plateaus of staircases in between floors.

In Christmas time, a Christmas tree was placed in the hall of the web college, with a device attached to it that played pacifying Christmas melodies incessantly. This would not be turned off when the pianist came; he just had to hammer the keys a bit harder, and some students could then be observed making movements as if wringing a wet towel. The lessons lasted all day on Saturday, and many students came from remote parts of the country, some having to travel over 200 kilometres. This had to do with the fairly aggressive marketing by the (locally) somewhat notorious family who ran the institute. Incidentally, a course there would cost a bit over 4000 euros, but if you paid within two weeks you got a discount of almost 1000 euros, and under certain conditions you could take a second course for free.

Ideally, font family never changes. If someone submits copy with some marked and apparently intended layout, I try to copy or reproduce that, which is mostly more work than starting from plain text and applying the default Thoth layout.

While writing the above I realized that the following warning is in place: The default Thoth layout referred to here is applied after reducing a submission to plain text, as explained before. So, there is no point in trying to apply or imitate this default layout oneself in one’s submission; that self-applied layout will be removed anyway.

Jacobsen: Why are “the excessive use of layout features… the mark of bad authors”? (Ibid.)

Cooijmans: If you are an author of text, your task is to express yourself in words, in language, verbally. Layout is non-verbal, it is visual expression. If you find yourself needing things like italic, bold, colours, and font changes, that means you are failing to express yourself in words; that is, you are failing as an author of text. To overcome this, you should force yourself to avoid all layout and write purely in language, exerting yourself to express what you want to say in words. A good method is to use a text editor instead of a word processor; advanced text editors have spell checking, incidentally, so that is feasible. I always write in a text editor (Notepad++), never in an word processor. The advice contained in this paragraph will help more than one writer toward a Nobel prize in literature. (Editor, italicize that last sentence please.)

Jacobsen: If I may ask, or if the information may be divulged, what has been the single most read/viewed article in the history of Thoth? What was its content, theme? Who was its author? What seems like the reason for the responsiveness to the publication?

Cooijmans: We have not done a formal counting, but the novel “Die Wohnungenparkdämmerung” by Barney Vincelette springs to mind. A highly idiosyncratic tale of culture clash, and controversial because of the violence occurring in it.

Jacobsen: On the frequent errors of copy, you state:

Although the above instructions should suffice, for extra redundancy here is a list of typical errors in submitting copy to make absolutely certain that the reader understands what is meant:

Submitting copy in .pdf format;

Leaving out the title of the piece;

Leaving out the author name;

Leaving out contact information (if applicable);

Withholding (not sending) copy that is ready, thinking that copy can only be submitted shortly before a “deadline”;

Sending corrections or corrected versions to already submitted copy;

Using excessive layout features like bold, italic, font colours, font size changes and so on;

Sending copy in several file formats simultaneously;

Submitting copy inside a message that also contains (non-copy) correspondence without very meticulously distinguishing the copy from the correspondence. (Ibid.)

What are the infrequent errors of copy?

Cooijmans: A few infrequent errors: Sending “original” essays that have really been constructed by copying and pasting from existing online news articles; sending esoteric “decodings” of hidden patterns in certain texts, works of art, or historical events; imitating the default layout of Thoth in one’s submission. The last is superfluous because I reduce the submission to plain text anyway and then apply the default layout. I know I already stated that a few answers ago, but these layout matters in word processing are so poorly understood that it is warranted to repeat this once more here, just for extra redundancy.

Jacobsen: What are frequent errors of copy, correspondence clarification, and future copy? Where you see an error in the copy, it’s pointed out by a Glia Society member or the Administrator. Yet, future submissions continue to contain the same kind of copy error by the same author.

Cooijmans: The repeated sending of corrected versions to already submitted copy is an example of that.

Jacobsen: The disclaimer states, “Everything published in Thoth is for the exclusive responsibility of the author. If you have comments on things you read in Thoth, respond to the author or in Thoth.” Are there any further disclaimers or caveats to the current disclaimer needing stating here – minutiae or common misunderstandings beyond the general statement?

Cooijmans: Not really, but it could be noted here that responding in Thoth to another’s article has become a bit old-fashioned, now that things can be discussed easier and quicker on Internet-based fora.

References

Cooijmans, P. (2016, January 25). Glia Society animated presentation. Retrieved from https://www.youtube.com/watch?v=QgqNoHcgQzc&feature=youtu.be.

Cooijmans, P. (n.d.c). Glia Society Crossword. Retrieved from https://gliasociety.org/games/cross.html.

Cooijmans, P. (2003). Glia Society Memory Game. Retrieved from https://gliasociety.org/games/memory.html.

Cooijmans, P. (n.d.b). Glia Society mind games. Retrieved from https://gliasociety.org/games.html.

Cooijmans, P. (n.d.d). Glia Society Mastermind. Retrieved from https://gliasociety.org/games/mastermind.html.

Cooijmans, P. (n.d.e). I.Q. Tests for the High Range. Retrieved from https://iq-tests-for-the-high-range.com.

Jacobsen, S.D. (2020, September 1). Conversation with Paul Cooijmans on Introduction to the Glia Society: Administrator, Glia Society (1). Retrieved from http://www.in-sightjournal.com/cooijmans-1.

The Glia Society. (n.d.a). The Glia Society: Animated presentation. Retrieved from https://gliasociety.org/aboutmusic.html.

Cooijmans, P. (n.d.f). The Glia Society: The journal “Thoth”. Retrieved from https://gliasociety.org/thoth.html.

Appendix I: Footnotes

^[1] Administrator, Giga Society; Administrator, Glia Society.

^[2] Individual Publication Date: March 22, 2021: http://www.in-sightjournal.com/cooijmans-4; Full Issue Publication Date: May 1, 2021: https://in-sightjournal.com/insight-issues/.

^[3] “The Glia Society: The journal “Thoth”” states:

Thoth is named after the Egyptian moon god, who weighed the hearts of the deceased to determine if they would be admitted to the hereafter or, if the examination was failed, torn apart by a monster. Thoth is also the name used by the future Grail Society member.

Cooijmans (n.d.f).

*High range testing (HRT) should be taken with honest skepticism grounded in the limited empirical development of the field at present, even in spite of honest and sincere efforts. If a higher general intelligence score, then the greater the variability in, and margin of error in, the general intelligence scores because of the greater rarity in the population.

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