PhD, Cambridge English Teacher/Trainer

PhD, Cambridge English Teacher/Trainer
Cambridge International Examinations, EAP/ESP (aviation, business, legal & medical English Refresher Courses' Design, Teaching and Testing

Thursday, 31 October 2013

On scary maths...

Homer Simpson's scary maths problems



Wednesday, 30 October 2013

The Origins of Halloween


Straddling the line between fall and winter, plenty and paucity, life and death, Halloween is a time of celebration and superstition. It is thought to have originated with the ancient Celtic festival of Samhain, when people would light bonfires and wear costumes to ward off roaming ghosts. In the eighth century, Pope Gregory III designated November 1 as a time to honor all saints and martyrs; the holiday, All Saints’ Day, incorporated some of the traditions of Samhain. The evening before was known as All Hallows’ Eve and later Halloween. Over time, Halloween evolved into a secular, community-based event characterized by child-friendly activities such as trick-or-treating. In a number of countries around the world, as the days grow shorter and the nights get colder, people continue to usher in the winter season with gatherings, costumes and sweet treats.



Ancient Origins of Halloween

Halloween's origins date back to the ancient Celtic festival of Samhain (pronounced sow-in). The Celts, who lived 2,000 years ago in the area that is now Ireland, the United Kingdom and northern France, celebrated their new year on November 1. This day marked the end of summer and the harvest and the beginning of the dark, cold winter, a time of year that was often associated with human death. Celts believed that on the night before the new year, the boundary between the worlds of the living and the dead became blurred. On the night of October 31 they celebrated Samhain, when it was believed that the ghosts of the dead returned to earth. In addition to causing trouble and damaging crops, Celts thought that the presence of the otherworldly spirits made it easier for the Druids, or Celtic priests, to make predictions about the future. For a people entirely dependent on the volatile natural world, these prophecies were an important source of comfort and direction during the long, dark winter.
To commemorate the event, Druids built huge sacred bonfires, where the people gathered to burn crops and animals as sacrifices to the Celtic deities. During the celebration, the Celts wore costumes, typically consisting of animal heads and skins, and attempted to tell each other's fortunes. When the celebration was over, they re-lit their hearth fires, which they had extinguished earlier that evening, from the sacred bonfire to help protect them during the coming winter.
By 43 A.D., the Roman Empire had conquered the majority of Celtic territory. In the course of the four hundred years that they ruled the Celtic lands, two festivals of Roman origin were combined with the traditional Celtic celebration of Samhain. The first was Feralia, a day in late October when the Romans traditionally commemorated the passing of the dead. The second was a day to honor Pomona, the Roman goddess of fruit and trees. The symbol of Pomona is the apple and the incorporation of this celebration into Samhain probably explains the tradition of "bobbing" for apples that is practiced today on Halloween.
On May 13, 609 A.D., Pope Boniface IV dedicated the Pantheon in Rome in honor of all Christian martyrs, and the Catholic feast of All Martyrs Day was established in the Western church. Pope Gregory III (731–741) later expanded the festival to include all saints as well as all martyrs, and moved the observance from May 13 to November 1. By the 9th century the influence of Christianity had spread into Celtic lands, where it gradually blended with and supplanted the older Celtic rites. In 1000 A.D., the church would make November 2 All Souls' Day, a day to honor the dead. It is widely believed today that the church was attempting to replace the Celtic festival of the dead with a related, but church-sanctioned holiday. All Souls Day was celebrated similarly to Samhain, with big bonfires, parades, and dressing up in costumes as saints, angels and devils. The All Saints Day celebration was also called All-hallows or All-hallowmas (from Middle English Alholowmesse meaning All Saints' Day) and the night before it, the traditional night of Samhain in the Celtic religion, began to be called All-hallows Eve and, eventually, Halloween.

Halloween Comes to America

Celebration of Halloween was extremely limited in colonial New England because of the rigid Protestant belief systems there. Halloween was much more common in Maryland and the southern colonies. As the beliefs and customs of different European ethnic groups as well as the American Indians meshed, a distinctly American version of Halloween began to emerge. The first celebrations included "play parties," public events held to celebrate the harvest, where neighbors would share stories of the dead, tell each other's fortunes, dance and sing. Colonial Halloween festivities also featured the telling of ghost stories and mischief-making of all kinds. By the middle of the nineteenth century, annual autumn festivities were common, but Halloween was not yet celebrated everywhere in the country.
In the second half of the nineteenth century, America was flooded with new immigrants. These new immigrants, especially the millions of Irish fleeing Ireland's potato famine of 1846, helped to popularize the celebration of Halloween nationally. Taking from Irish and English traditions, Americans began to dress up in costumes and go house to house asking for food or money, a practice that eventually became today's "trick-or-treat" tradition. Young women believed that on Halloween they could divine the name or appearance of their future husband by doing tricks with yarn, apple parings or mirrors.
In the late 1800s, there was a move in America to mold Halloween into a holiday more about community and neighborly get-togethers than about ghosts, pranks and witchcraft. At the turn of the century, Halloween parties for both children and adults became the most common way to celebrate the day. Parties focused on games, foods of the season and festive costumes. Parents were encouraged by newspapers and community leaders to take anything "frightening" or "grotesque" out of Halloween celebrations. Because of these efforts, Halloween lost most of its superstitious and religious overtones by the beginning of the twentieth century.
By the 1920s and 1930s, Halloween had become a secular, but community-centered holiday, with parades and town-wide parties as the featured entertainment. Despite the best efforts of many schools and communities, vandalism began to plague Halloween celebrations in many communities during this time. By the 1950s, town leaders had successfully limited vandalism and Halloween had evolved into a holiday directed mainly at the young. Due to the high numbers of young children during the fifties baby boom, parties moved from town civic centers into the classroom or home, where they could be more easily accommodated. Between 1920 and 1950, the centuries-old practice of trick-or-treating was also revived. Trick-or-treating was a relatively inexpensive way for an entire community to share the Halloween celebration. In theory, families could also prevent tricks being played on them by providing the neighborhood children with small treats. A new American tradition was born, and it has continued to grow. Today, Americans spend an estimated $6 billion annually on Halloween, making it the country's second largest commercial holiday.

Today's Halloween Traditions

The American Halloween tradition of "trick-or-treating" probably dates back to the early All Souls' Day parades in England. During the festivities, poor citizens would beg for food and families would give them pastries called "soul cakes" in return for their promise to pray for the family's dead relatives. The distribution of soul cakes was encouraged by the church as a way to replace the ancient practice of leaving food and wine for roaming spirits. The practice, which was referred to as "going a-souling" was eventually taken up by children who would visit the houses in their neighborhood and be given ale, food, and money.  
The tradition of dressing in costume for Halloween has both European and Celtic roots. Hundreds of years ago, winter was an uncertain and frightening time. Food supplies often ran low and, for the many people afraid of the dark, the short days of winter were full of constant worry. On Halloween, when it was believed that ghosts came back to the earthly world, people thought that they would encounter ghosts if they left their homes. To avoid being recognized by these ghosts, people would wear masks when they left their homes after dark so that the ghosts would mistake them for fellow spirits. On Halloween, to keep ghosts away from their houses, people would place bowls of food outside their homes to appease the ghosts and prevent them from attempting to enter.

Halloween Superstitions

Halloween has always been a holiday filled with mystery, magic and superstition. It began as a Celtic end-of-summer festival during which people felt especially close to deceased relatives and friends. For these friendly spirits, they set places at the dinner table, left treats on doorsteps and along the side of the road and lit candles to help loved ones find their way back to the spirit world. Today's Halloween ghosts are often depicted as more fearsome and malevolent, and our customs and superstitions are scarier too. We avoid crossing paths with black cats, afraid that they might bring us bad luck. This idea has its roots in the Middle Ages, when many people believed that witches avoided detection by turning themselves into cats. We try not to walk under ladders for the same reason. This superstition may have come from the ancient Egyptians, who believed that triangles were sacred; it also may have something to do with the fact that walking under a leaning ladder tends to be fairly unsafe. And around Halloween, especially, we try to avoid breaking mirrors, stepping on cracks in the road or spilling salt.
But what about the Halloween traditions and beliefs that today's trick-or-treaters have forgotten all about? Many of these obsolete rituals focused on the future instead of the past and the living instead of the dead. In particular, many had to do with helping young women identify their future husbands and reassuring them that they would someday—with luck, by next Halloween—be married. In 18th-century Ireland, a matchmaking cook might bury a ring in her mashed potatoes on Halloween night, hoping to bring true love to the diner who found it. In Scotland, fortune-tellers recommended that an eligible young woman name a hazelnut for each of her suitors and then toss the nuts into the fireplace. The nut that burned to ashes rather than popping or exploding, the story went, represented the girl's future husband. (In some versions of this legend, confusingly, the opposite was true: The nut that burned away symbolized a love that would not last.) Another tale had it that if a young woman ate a sugary concoction made out of walnuts, hazelnuts and nutmeg before bed on Halloween night she would dream about her future husband. Young women tossed apple-peels over their shoulders, hoping that the peels would fall on the floor in the shape of their future husbands' initials; tried to learn about their futures by peering at egg yolks floating in a bowl of water; and stood in front of mirrors in darkened rooms, holding candles and looking over their shoulders for their husbands' faces. Other rituals were more competitive. At some Halloween parties, the first guest to find a burr on a chestnut-hunt would be the first to marry; at others, the first successful apple-bobber would be the first down the aisle.

Of course, whether we're asking for romantic advice or trying to avoid seven years of bad luck, each one of these Halloween superstitions relies on the good will of the very same "spirits" whose presence the early Celts felt so keenly.

Thursday, 24 October 2013

Happy Birthday, Brainiac!

Happy Birthday, Brain Pickings: 7 Things I Learned in 7 Years of Reading, Writing, and Living

by 
Reflections on how to keep the center solid as you continue to evolve.
On October 23, 2006, I sent a short email to a few friends at work — one of the four jobs I held while paying my way through college — with the subject line “brain pickings,” announcing my intention to start a weekly digest featuring five stimulating things to learn about each week, from a breakthrough in neuroscience to a timeless piece of poetry. “It should take no more than 4 minutes (hopefully much less) to read,” I promised. This was the inception of Brain Pickings. At the time, I neither planned nor anticipated that this tiny experiment would one day be included in the Library of Congress digital archive of “materials of historical importance” and the few friends would become millions of monthly readers all over the world, ranging from the Dutch high school student who wrote to me this morning to my 77-year-old grandmother in Bulgaria to the person in Wisconsin who mailed me strudel last week. (Thank you!) Above all, I had no idea that in the seven years to follow, this labor of love would become my greatest joy and most profound source of personal growth, my life and my living, my sense of purpose, my center. (For the curious, more on the origin story here.)
Illustration by Maurice Sendak from 'I'll Be You and You Be Me' by Ruth Krauss, 1954. Click image for more.
Looking back today on the thousands of hours I’ve spent researching and writing Brain Pickings and the countless collective hours of readership it has germinated — a smile-inducing failure on the four-minute promise — I choke up with gratitude for the privilege of this journey, for its endless rewards of heart, mind and spirit, and for all the choices along the way that made it possible. I’m often asked to offer advice to young people who are just beginning their own voyages of self-discovery, or those reorienting their calling at any stage of life, and though I feel utterly unqualified to give “advice” in that omniscient, universally wise sense the word implies, here are seven things I’ve learned in seven years of making those choices, of integrating “work” and life in such inextricable fusion, and in chronicling this journey of heart, mind and spirit — a journey that took, for whatever blessed and humbling reason, so many others along for the ride. I share these here not because they apply to every life and offer some sort of blueprint to existence, but in the hope that they might benefit your own journey in some small way, bring you closer to your own center, or even simply invite you to reflect on your own sense of purpose.
Illustration from 'Inside the Rainbow: Russian Children's Literature 1920-35.' Click image for more.
  1. Allow yourself the uncomfortable luxury of changing your mind.Cultivate that capacity for “negative capability.” We live in a culture where one of the greatest social disgraces is not having an opinion, so we often form our “opinions” based on superficial impressions or the borrowed ideas of others, without investing the time and thought that cultivating true conviction necessitates. We then go around asserting these donned opinions and clinging to them as anchors to our own reality. It’s enormously disorienting to simply say, “I don’t know.” But it’s infinitely more rewarding to understand than to be right — even if that means changing your mind about a topic, an ideology, or, above all, yourself.
  2. Do nothing for prestige or status or money or approval alone. As Paul Graham observed, “prestige is like a powerful magnet that warps even your beliefs about what you enjoy. It causes you to work not on what you like, but what you’d like to like.” Those extrinsic motivators are fine and can feel life-affirming in the moment, but they ultimately don’t make it thrilling to get up in the morning and gratifying to go to sleep at night — and, in fact, they can often distract and detract from the things that do offer those deeper rewards.
  3. Be generous. Be generous with your time and your resources and with giving credit and, especially, with your words. It’s so much easier to be a critic than a celebrator. Always remember there is a human being on the other end of every exchange and behind every cultural artifact being critiqued. To understand and be understood, those are among life’s greatest gifts, and every interaction is an opportunity to exchange them.
  4. Build pockets of stillness into your life. Meditate. Go for walks. Ride your bike going nowhere in particular. There is a creative purpose todaydreaming, even to boredom. The best ideas come to us when we stop actively trying to coax the muse into manifesting and let the fragments of experience float around our unconscious mind in order to click into new combinations. Without this essential stage of unconscious processing, the entire flow of the creative process is broken.
    Most importantly, sleep. Besides being the greatest creative aphrodisiac, sleep also affects our every waking momentdictates our social rhythm, and even mediates our negative moods. Be as religious and disciplined about your sleep as you are about your work. We tend to wear our ability to get by on little sleep as some sort of badge of honor that validates our work ethic. But what it really is is a profound failure of self-respect and of priorities. What could possibly be more important than your health and your sanity, from which all else springs?
  5. When people tell you who they are, Maya Angelou famously advised, believe them. Just as importantly, however, when people try to tell you who you are, don’t believe them. You are the only custodian of your own integrity, and the assumptions made by those that misunderstand who you are and what you stand for reveal a great deal about them and absolutely nothing about you.
  6. Presence is far more intricate and rewarding an art than productivity. Ours is a culture that measures our worth as human beings by our efficiency, our earnings, our ability to perform this or that. The cult of productivity has its place, but worshipping at its altar daily robs us of the very capacity for joy and wonder that makes life worth living — for, as Annie Dillard memorably put it, “how we spend our days is, of course, how we spend our lives.”
  7. “Expect anything worthwhile to take a long time.” This is borrowedfrom the wise and wonderful Debbie Millman, for it’s hard to better capture something so fundamental yet so impatiently overlooked in our culture of immediacy. The myth of the overnight success is just that — a myth — as well as a reminder that our present definition of success needs serious retuning. As I’ve reflected elsewhere, the flower doesn’t go from bud to blossom in one spritely burst and yet, as a culture, we’re disinterested in the tedium of the blossoming. But that’s where all the real magic unfolds in the making of one’s character and destiny.
One of Maurice Sendak's vintage posters celebrating the joy of reading. Click image for more.
Then, just for good measure, here are seven of my favorite pieces from the past seven years. (Yes, it is exactly like picking your favorite child — so take it with a grain of salt.)
Donating = Loving
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Wednesday, 23 October 2013

On Bushisms, Malapropisms and other "suppositories of wisdom"

by Bogdan Lepadatu

Notwithstanding Elan Dresher's utilitarian pamphlet mocking all attempts at codifying Standard English linguistic forms, and beyond other axiologically neutral (allegedly) critiques of those bold enough to point an accusing finger at Bushisms, malapropisms and other semantic or linguistic errors (ranging from split infinitives up to and including the so-called Oxford comma) that are ventilating the world's most spoken language (Yes, Bad English!), one is left to contemplate this...

Lets one forgets similar "suppositories of wisdom"...


Saturday, 19 October 2013

On boosting your creativity

Ray Bradbury on How List-Making Can Boost Your Creativity

By: 
How to feel your way toward something honest, hidden under the trapdoor on the top of your skull.
Susan Sontag argued that lists confer value and guarantee our existence. Umberto Eco saw in them “the origin of culture.” But lists, it turns out, might be a remarkably potent tool for jostling the muse into manifesting — a powerful trigger for that stage of unconscious processingso central to the creative process, where our mind-wandering makes magic happen.
In Zen in the Art of Writing (public library), one of these ten essential books on writingRay Bradbury describes an unusual creative prompt he employed in his early twenties: He began making long lists of nouns as triggers for ideas and potential titles for stories:
These lists were the provocations, finally, that caused my better stuff to surface. I was feeling my way toward something honest, hidden under the trapdoor on the top of my skull.
The lists ran something like this:
THE LAKE. THE NIGHT. THE CRICKETS. THE RAVINE. THE ATTIC. THE BASEMENT. THE TRAPDOOR. THE BABY. THE CROWD. THE NIGHT TRAIN. THE FOG HORN. THE SCYTHE. THE CARNIVAL. THE CAROUSEL. THE DWARF. THE MIRROR MAZE. THE SKELETON.
Bradbury would later come to articulate his conviction that the intuitive mind is what drives great writing, but it was through these lists that he intuited the vitalpattern-recognition machinery that fuels creativity. Echoing Einstein’s notion of“combinatory play,” Bradbury considers the true value of his list-making:
I was beginning to see a pattern in the list, in these words that I had simply flung forth on paper, trusting my subconscious to give bread, as it were, to the birds. Glancing over the list, I discovered my old love and fright having to do with circuses and carnivals. I remembered, and then forgot, and then remembered again, how terrified I had been when my mother took me for my first ride on a merry-go-round. With the calliope screaming and the world spinning and the terrible horses leaping, I added my shrieks to the din. I did not go near the carousel again for years. When I really did, decades later, it rode me into the midst of Something Wicked This Way Comes.
So he went on making lists, hoping they’d spark these fruitful associations that the rational mind tucks away in the cabinets of “useless knowledge”:
THE MEADOW. THE TOY CHEST. THE MONSTER. TYRANNOSAURUS REX. THE TOWN CLOCK. THE OLD MAN. THE OLD WOMAN. THE TELEPHONE. THE SIDEWALKS. THE COFFIN. THE ELECTRIC CHAIR. THE MAGICIAN.
Out on the margin of these nouns, I blundered into a science fiction story that was not a science-fiction story. My title was “R is for Rocket.” The published title was “King of the Grey Spaces,” the story of two boys, great friends, one elected to go off to the Space Academy, the other staying home.
Bradbury, who has since shared timeless wisdom on withstanding the storm of rejection, recalls:
The tale was rejected by every science-fiction magazine because, after all, it was only a story about friendship being tested by circumstance, even though the circumstance was space travel. Mary Gnaedinger, at Famous Fantastic Mysteries, took one look at my story and published it. But, again, I was too young to see that “R is For Rocket” would be the kind of story that would make me as a science-fiction writer, admired by some, and criticized by many who observed that I was no writer of science fictions, I was a “people” writer, and to hell with that!
I went on making lists, having to do not only with night, nightmares, darkness, and objects in attics, but the toys that men play with in space, and the ideas I found in detective magazines.
Susan Sontag's list of her favorite things, illustrated. Click image for details.
But more than merely sharing the amusing story of his youth’s quirky habit, Bradbury believes this practice can be enormously beneficial for any writer, both practicing and aspiring, as a critical tool of self-discovery:
If you are a writer, or hope to be one, similar lists, dredged out of the lopside of your brain, might well help you discoveryou, even as I flopped around and finally found me.
He offers himself as a testament:
I began to run through those lists, pick a noun, and then sit down to write a long prose-poem-essay on it.
Somewhere along about the middle of the page, or perhaps on the second page, the prose poem would turn into a story. Which is to say that a character suddenly appeared and said, “That’s me”; or, “That’s an idea I like!” And the character would then finish the tale for me.
It began to be obvious that I was learning from my lists of nouns, and that I was further learning that my characterswould do my work for me, if I let them alone, if I gave them their heads, which is to say, their fantasies, their frights.
He urges the aspiring writer:
Conjure the nouns, alert the secret self, taste the darkness … speak softly, and write any old word that wants to jump out of your nerves onto the page…
Shortly before his death, Bradbury speaks to his official biographer, Sam Weller — who also conducted Bradbury’s lost Comic Con interview — and revisits the subject of list-making in a Paris Review interview:
Three things are in your head: First, everything you have experienced from the day of your birth until right now. Every single second, every single hour, every single day. Then, how you reacted to those events in the minute of their happening, whether they were disastrous or joyful. Those are two things you have in your mind to give you material. Then, separate from the living experiences are all the art experiences you’ve had, the things you’ve learned from other writers, artists, poets, film directors, and composers. So all of this is in your mind as a fabulous mulch and you have to bring it out. How do you do that? I did it by making lists of nouns and then asking, What does each noun mean? You can go and make up your own list right now and it would be different than mine. The night. The crickets. The train whistle. The basement. The attic. The tennis shoes. The fireworks. All these things are very personal. Then, when you get the list down, you begin to word-associate around it. You ask, Why did I put this word down? What does it mean to me? Why did I put this noun down and not some other word? Do this and you’re on your way to being a good writer. You can’t write for other people. You can’t write for the left or the right, this religion or that religion, or this belief or that belief. You have to write the way you see things. I tell people, Make a list of ten things you hate and tear them down in a short story or poem. Make a list of ten things you love and celebrate them. When I wrote Fahrenheit 451 I hated book burners and I loved libraries. So there you are.
(That’s exactly what Roland Barthes did in 1977, to a delightful effect.)
Zen in the Art of Writing remains a must-read in its entirety, and a fine addition to the collected advice of great writers. Complement it with Bradbury onwriting with joy and this fantastic 1974 documentary on his fantastical mind.
For more wisdom on writing, see Stephen King on the art of “creative sleep,”Elmore Leonard’10 rules of writingWalter Benjamin’thirteen doctrines,H. P. Lovecraft’advice to aspiring writersF. Scott Fitzgerald’letter to his daughterZadie Smith’10 rules of writingDavid Ogilvy’10 no-bullshit tipsHenry Miller’11 commandmentsJack Kerouac’30 beliefs and techniquesJohn Steinbeck’6 pointers, and Susan Sontag’synthesized learnings.

News from Elsewhere... ...as found by BBC Monitoring

China: Gadget users 'forgetting how to write'




Some people in China use electronics so much, they're forgetting how to write, it appears.
State news agency Xinhua quotes "internet addict" Zhang Lei as saying she's grown so used to electronic character input, she struggles with paper and pen. The 32-year-old apparently felt "an urgent need to pick up my Chinese" after watching a game show requiring contestants to write characters dictated to them, and realising she can't remember some things even youngsters are able to write. The Chinese Character Dictation Competition broadcasts weekly on state broadcaster CCTV, with linguistic authorities serving as judges while hosts read the characters to the contestants.
On Friday, one competitor from an initial 32 teams will be crowned champion. Xinhua says the programme's been a massive success, trending on microblogging site Weibo and being replicated in schools. Government figures reportedly put the number of internet users in China at 591 million, with 1.11 billion people owning mobile phones. The show has reminded people that writing characters helps them to understand Chinese culture better, as each character has a specific a cultural connotation, Xinhua quotes one academic as saying.

On Self-emancipation

The Psychology of Getting Unstuck: How to Overcome the “OK Plateau” of Performance & Personal Growth

By: 
“When you want to get good at something, how you spend your time practicing is far more important than the amount of time you spend.”
“Any sequence of mental action which has been frequently repeated tends to perpetuate itself,”William James wrote in his influential meditation on habit”so that we find ourselves automatically prompted to think, feel, or do what we have been before accustomed to think, feel, or do, under like circumstances.” As we’ve seen, one of the most insidious forms of such habitual autopilot — which evolved to help lighten our cognitive load yet is a double-edged sword that can also hurt us — is our mercilessly selective everyday attention, but the phenomenon is particularly perilous when it comes to learning new skills. In a chapter of Maximize Your Potential (public library) — that fantastic guide tomaking your own luck, the sequel to 99U’s blueprint to mastering the pace of productivity and honing your creative routine— science writer Joshua Foer explores the mechanisms that keep us from improving and the strategies we can use to disarm them. He sketches out the problem:
In the 1960s, psychologists identified three stages that we pass through in the acquisition of new skills. We start in the “cognitive phase,” during which we’re intellectualizing the task, discovering new strategies to perform better, and making lots of mistakes. We’re consciously focusing on what we’re doing. Then we enter the “associative stage,” when we’re making fewer errors, and gradually getting better. Finally, we arrive at the “autonomous stage,” when we turn on autopilot and move the skill to the back of our proverbial mental filing cabinet and stop paying it conscious attention.
And so we get to the so-called “OK Plateau” — the point at which our autopilot of expertise confines us to a sort of comfort zone, where we perform the task in question in efficient enough a way that we cease caring for improvement. We reach this OK Plateau in pursuing just about every goal, from learning to drive to mastering a foreign language to dieting, where after an initial stage of rapid improvement, we find ourselves in that place at once comforting in its good-enoughness and demotivating in its sudden dip in positive reinforcement via palpable betterment.
Color restoration of archival Einstein photograph by Mads Madsen
The challenge, of course, is that we can’t get better on autopilot. Fortunately, psychologists have found a number of strategies to help us overcome this stagnation by overriding our auto-mode — and it turns out the benefits of reflective failure and the art of making mistakes play a key role, something to which J. K. Rowling has attested. Foer writes:
Something experts in all fields tend to do when they’re practicing is to operate outside of their comfort zone and study themselves failing. The best figure skaters in the world spend more of their practice time practicing jumps that they don’t land than lesser figure skaters do. The same is true of musicians. When most musicians sit down to practice, they play the parts of pieces that they’re good at. Of course they do: it’s fun to succeed. But expert musicians tend to focus on the parts that are hard, the parts they haven’t yet mastered. The way to get better at a skill is to force yourself to practice just beyond your limits.
Foer first bumped up against the OK Plateau while working on Moonwalking with Einstein: The Art and Science of Remembering Everything(public library) — the fascinating record of his quest to dramatically improve his memory’s capacity using a combination of ancient wisdom and modern science. After spending several months learning to memorize a deck of playing cards, he rapidly plateaued, but his memory-mentor assured him this was the standard course of improvement. Intrigued, Doer dusted off the work of psychologists Paul Fitts and Michael Posner, the researchers who had discovered those three stages of skill acquisition — cognitive, associative, and autonomous. The autonomous stage in particular was what interested Foer the most:
During the autonomous stage, you lose conscious control over what you’re doing. Most of the time that’s a good thing. Your mind has one less thing to worry about. In fact, the autonomous stage turns out to be one of those handy features that evolution worked out for our benefit. The less you have to focus on the repetitive tasks of everyday life, the more you can concentrate on the stuff that really matters, the stuff that you haven’t seen before. And so, once we’re just good enough at [something], we move it to the back of our mind’s filing cabinet and stop paying it any attention. You can actually see this shift take place in fMRI scans of people learning new skills. As a task becomes automated, the parts of the brain involved in conscious reasoning become less active and other parts of the brain take over. [This is] the “OK Plateau,” the point at which you decide you’re OK with how good you are at something, turn on autopilot, and stop improving.
Early psychologists, Foer tells us, used to believe the OK Plateau signified the upper limit of one’s innate capacity — in other words, they thought the best we can do is the best we could do. But Florida State University’s Anders Ericsson and his team of performance psychologists, who have studied the phenomenon closely, found that the single most important factor for overcoming the OK Plateau to become truly exceptional at a skill is the same thing that turned young Mozart into a genius and that drives successful authors to their rigorous routines. Foer writes:
What separates experts from the rest of us is that they tend to engage in a very directed, highly focused routine, which Ericsson has labeled “deliberate practice.” Having studied the best of the best in many different fields, he has found that top achievers tend to follow the same general pattern of development. They develop strategies for consciously keeping out of the autonomous stage while they practice by doing three things: focusing on their technique, staying goal-oriented, and getting constant immediate feedback on their performance. In other words, they force themselves to stay in the “cognitive stage.”
The Mozart family on tour: Leopold, Wolfgang, and Nannerl. Watercolor by Carmontelle, 1763 (public domain)
And yet, Foer is careful to point out, the mere amount of practice has little to do with improvement — it is, rather, its deliberateness that drives progress. In fact, studies have shown that in areas of expertise as diverse as basketball and chess the number of years one has spent honing the respective skill correlates only weakly with the degree of mastery and level of performance. What Ericsson found, rather, is that the best way to transcend the OK Plateau and reboot the autonomous stage is to cultivate conscious control over the thing we’re practicing and, above all, to actually practice failing:
Deliberate practice, by its nature, must be hard.
When you want to get good at something, how you spend your time practicing is far more important than the amount of time you spend. … Regular practice simply isn’t enough. To improve, we must watch ourselves fail, and learn from our mistakes.
Complement Maximize Your Potential and Moonwalking with Einstein, both excellent reads in their entirety, with philosopher Daniel Dennett on how to make mistakes that improve us and some of today’s most celebrated contemporary creators on how to break through your creative block.

Tuesday, 15 October 2013

The Age of (a)Etherity... formerly known as 'The Age of Ghost-Modernism'



N.B. In case you thought my caption was a faux-pas and I should rather blame my 'fat finger' for the 'spoiling' error... 

Though, admittedly, in my attempted coining of a catchy tagline, I'm using an archaic term (harking back to a time when 'ether' was used to denote the air regarded as a medium for radio!), as with this teacher clearing up this 'whiteboard' to begin his own presentation, I believe "etherity" goes a long way in depicting the virtual (hence, alienating) potentiality of internet and other alternative media that we substitute for communication. 

by Bogdan Lepadatu (all rights reserved)


P.S. Yet, whether or not the societal numbness demonstrated below is about the all-pervasive pressure "to conform to neoliberalism's hegemonic, cognitive hyper-reality matrix" is another matter...


Street artist Banksy set up a stall in New York's Central Park Saturday, selling his original pieces — worth tens of thousands of dollars each — for $60.


The event was documented on video and posted on Banksy's website. It took several hours for the first artwork to be sold, to a lady who managed to negotiate a 50% discount for two small canvases. There were only two more buyers, and by 6 p.m. the stall was closed with total earnings of $420.
For comparison, in 2007 Banksy's work "Space Girl & Bird" was purchased for $578,000, and in 2008 his canvas "Keep it Spotless" was sold for $1,870,000.
The three buyers who managed to buy Banksy's originals for a fraction of their worth will surely be happy with the purchases.
The one-off sale was another stunt by the secretive artist who just enjoys yanking the public's chain like this. In 2009 he staged his biggest-ever British exhibition in the Bristol Museum in almost complete secrecy.
And this was not the only stunt Banksy pulled during his visit to New York. A couple of days earlier he also delivered a truck full of stuffed animals to a slaughterhouse in Brooklyn.