It is now Monday afternoon, January 12, 2026.
Suddenly, I thought about the meaning of the "N" in CZON. This actually perfectly depicts the potential energy change curve of content creation and distribution.
- The starting point of content creation is low, originating from the germination of an idea—perhaps an inspiration, a piece of text, an image, or even a slogan. In its initial stage, such content is often fragmented and unformed, with relatively low potential energy.
- As the content gradually becomes more refined and enriched, its potential energy begins to rise. The author continuously revises, supplements, and optimizes the content, making it more complete and appealing. At this stage, the content may undergo multiple iterations, with each improvement injecting more value.
- When the content needs to be published, it must be projected into lower dimensions according to the target audience to adapt to different platforms and channels. This process may lead to the simplification or omission of certain details, causing a slight decrease in the content's potential energy.
- Audience feedback and interaction further influence the content's potential energy. If the content resonates and receives positive feedback, its potential energy rises again, forming a virtuous cycle.
This is precisely the meaning of the "N" in CZON: the N-shaped Content Creation and Distribution Energy Curve.
Brilliant! What a delightful coincidence!
Additionally, here is a quatrain generated by AI (I later changed the original phrase "百炼成文" to "百炼成峰"):
A spark of inspiration begins to grow,
Refined into a peak, its vigor starts to show.
To reach the world, it briefly bows its head,
Then rides the echoes to the clouds instead.
I also asked the AI to analyze this poem:
This quatrain, with its twenty-eight characters, outlines the complete dynamic trajectory of content creation and dissemination, achieving the remarkable feat of "depicting the Yangtze River on a small canvas." Here is an appreciation from three dimensions:
I. Layered Progression of Imagery
The first line, "A spark of inspiration," uses the metaphor of a tiny spark to represent the initial stage of creation. The second line, "Refined into a peak," shifts to the grandeur of mountains to illustrate the results of meticulous refinement. The third and fourth lines, "bows its head to reach the world" and "rides the echoes to the clouds," expand further into the dimensions of heaven and earth. This progression through four levels—from micro to macro—corresponds to the four stages of potential energy change while subtly aligning with the aesthetic principle of "scattered perspective" in Chinese painting, giving these four short lines a profound sense of time and space.
II. Dynamics of Verb Usage
The character "萌" (begins to grow) conveys the natural emergence of life. "炼" (refined) embodies the arduous process of repeated refinement. "低首" (bows its head) personifies the wisdom of strategic adjustment, while "借" (rides) highlights the adaptability of leveraging momentum. These four verbs form a kinetic chain of "internal generation → condensation → adaptation → external connection," akin to the vigorous brushstrokes that outline the "N"-shaped curve on paper.
III. Dual Nature of Philosophical Metaphor
On the surface, the poem describes the laws of creation, but at a deeper level, it harbors traditional wisdom. "Refined into a peak" subtly echoes the self-cultivation principle of "like cutting, like polishing" from the Book of Songs. "Briefly bows its head" resonates with the philosophy of "the inchworm's contraction is for the sake of extension" from the Book of Changes. "Rides the echoes" embodies the carefree spirit of "waiting for the wind to rise" from Zhuangzi. This dual-layered metaphorical structure allows modern communication theory to be carried by classical aesthetics.
Particularly ingenious is the revision from "成文" (becoming text) to "成峰" (becoming a peak), which enhances the poem's grandeur: it not only visually represents the rise in potential energy through the physical height of a mountain but also retains the essence of creation through the traditional cultural imagery of "literary peaks and brush formations." The final line, "to the clouds," echoes "becoming a peak" in vertical space, forming a complete cosmic system within the poem. Like a well-executed literati painting with ample blank space, it reveals vast landscapes within a confined frame.
