人人都是主播
三权分立：trias politica / separation of powers立法分支：the legislative branch行政分支：the excutive/administrative branch司法分支：the judicial branch最高法院（the Supreme Court制衡：checks and balances将军（国际象棋）：check将死（国际象棋）：checkmate僵局/无子可动：stalemateveto：否决（权）美国国会：the Congress两院的：bicameral参议院：the Senate众议院：the House of Representative
三权分立：trias politica / separation of powers立法分支：the legislative branch行政分支：the excutive/administrative branch司法分支：the judicial branch最高法院（the Supreme Court制衡：checks and balances将军（国际象棋）：check将死（国际象棋）：checkmate僵局/无子可动：stalemateveto：否决（权）美国国会：the Congress两院的：bicameral参议院：the Senate众议院：the House of Representative
节目相关文本：http://mp.weixin.qq.com/s?__biz=MzAwODM0NzE3OA==&mid=2654031292&idx=1&sn=02825348e5ab0685465915ab52d7baca#rd--------------------------------------------NO, THE TEN-THOUSAND-HOUR RULE ISN'T REALLY A RULE....Gladwell offered a catchy phrase: “the ten-thousand-hour rule.” According to this rule, it takes ten thousand hours of practice to become a master in most fields. We had indeed mentioned this figure in our report as the average number of hours that the best violinists had spent on solitary practice by the time they were twenty. Gladwell himself estimated that the Beatles had put in about ten thousand hours of practice while playing in Hamburg in the early 1960s and that Bill Gates put in roughly ten thousand hours of programming to develop his skills to a degree that allowed him to found and develop Microsoft. In general, Gladwell suggested, the same thing is true in essentially every field of human endeavor—people don't become expert at something until they've put in about ten thousand hours of practice.The rule is irresistibly appealing. It's easy to remember, for one thing. It would've been far less effective if those violinists had put in, say, eleven thousand hours of practice by the time they were twenty. And it satisfies the human desire to discover a simple cause-and-effect relationship: just put in ten thousand hours of practice at anything, and you will become a master.Unfortunately, this rule—which is the only thing that many people today know about the effects of practice—is wrong in several ways. (It is also correct in one important way, which I will get to shortly.) First, there is nothing special or magical about ten thousand hours. Gladwell could just as easily have mentioned the average amount of time the best violin students had practiced by the time they were eighteen—approximately seventy-four hundred hours—but he chose to refer to the total practice time they had accumulated by the time they were twenty, because it was a nice round number. And, either way, at eighteen or twenty, these students were nowhere near masters of the violin. They were very good, promising students who were likely headed to the top of their field, but they still had a long way to go when I studied them. Pianists who win international piano competitions tend to do so when they're around thirty years old, and thus they've probably put in about twenty thousand to twenty-five thousand hours of practice by then; ten thousand hours is only halfway down that path.And the number varies from field to field. Steve Faloon became the very best person in the world at memorizing strings of digits after only about two hundred hours of practice. I don't know exactly how many hours of practice the best digit memorizers put in today before they get to the top, but it is likely well under ten thousand.Second, the number of ten thousand hours at age twenty for the best violinists was only an average. Half of the ten violinists in that group hadn't actually accumulated ten thousand hours at that age. Gladwell misunderstood this fact and incorrectly claimed that all the violinists in that group had accumulated over ten thousand hours.Third, Gladwell didn't distinguish between the deliberate practice that the musicians in our study did and any sort of activity that might be labeled “practice.” For example, one of his key examples of the ten-thousand-hour rule was the Beatles' exhausting schedule of performances in Hamburg between 1960 and 1964. According to Gladwell, they played some twelve hundred times, each performance lasting as much as eight hours, which would have summed up to nearly ten thousand hours. Tune In, an exhaustive 2013 biography of the Beatles by Mark Lewisohn, calls this estimate into question and, after an extensive analysis, suggests that a more accurate total number is about eleven hundred hours of playing. So the Beatles became worldwide successes with far less than ten thousand hours of practice. More importantly, however, performing isn't the same thing as practice. Yes, the Beatles almost certainly improved as a band after their many hours of playing in Hamburg, particularly because they tended to play the same songs night after night, which gave them the opportunity to get feedback—both from the crowd and themselves—on their performance and find ways to improve it. But an hour of playing in front of a crowd, where the focus is on delivering the best possible performance at the time, is not the same as an hour of focused, goal-driven practice that is designed to address certain weaknesses and make certain improvements—the sort of practice that was the key factor in explaining the abilities of the Berlin student violinists.A closely related issue is that, as Lewisohn argues, the success of the Beatles was not due to how well they performed other people's music but rather to their songwriting and creation of their own new music. Thus, if we are to explain the Beatles' success in terms of practice, we need to identify the activities that allowed John Lennon and Paul McCartney—the group's two primary songwriters—to develop and improve their skill at writing songs. All of the hours that the Beatles spent playing concerts in Hamburg would have done little, if anything, to help Lennon and McCartney become better songwriters, so we need to look elsewhere to explain the Beatles' success.This distinction between deliberate practice aimed at a particular goal and generic practice is crucial because not every type of practice leads to the improved ability that we saw in the music students or the ballet dancers. Generally speaking, deliberate practice and related types of practice that are designed to achieve a certain goal consist of individualized training activities—usually done alone—that are devised specifically to improve particular aspects of performance.The final problem with the ten-thousand-hour rule is that, although Gladwell himself didn't say this, many people have interpreted it as a promise that almost anyone can become an expert in a given field by putting in ten thousand hours of practice. But nothing in my study implied this. To show a result like this, I would have needed to put a collection of randomly chosen people through ten thousand hours of deliberate practice on the violin and then see how they turned out. All that our study had shown was that among the students who had become good enough to be admitted to the Berlin music academy, the best students had put in, on average, significantly more hours of solitary practice than the better students, and the better and best students had put in more solitary practice than the music-education students.The question of whether anyone can become an expert performer in a given field by taking part in enough designed practice is still open, and I will offer some thoughts on this issue in the next chapter. But there was nothing in the original study to suggest that it was so.Gladwell did get one thing right, and it is worth repeating because it's crucial: becoming accomplished in any field in which there is a well-established history of people working to become experts requires a tremendous amount of effort exerted over many years. It may not require exactly ten thousand hours, but it will take a lot.
节目相关文本：http://mp.weixin.qq.com/s?__biz=MzAwODM0NzE3OA==&mid=2654031292&idx=1&sn=02825348e5ab0685465915ab52d7baca#rd--------------------------------------------NO, THE TEN-THOUSAND-HOUR RULE ISN’T REALLY A RULE....Gladwell offered a catchy phrase: “the ten-thousand-hour rule.” According to this rule, it takes ten thousand hours of practice to become a master in most fields. We had indeed mentioned this figure in our report as the average number of hours that the best violinists had spent on solitary practice by the time they were twenty. Gladwell himself estimated that the Beatles had put in about ten thousand hours of practice while playing in Hamburg in the early 1960s and that Bill Gates put in roughly ten thousand hours of programming to develop his skills to a degree that allowed him to found and develop Microsoft. In general, Gladwell suggested, the same thing is true in essentially every field of human endeavor—people don’t become expert at something until they’ve put in about ten thousand hours of practice.The rule is irresistibly appealing. It’s easy to remember, for one thing. It would’ve been far less effective if those violinists had put in, say, eleven thousand hours of practice by the time they were twenty. And it satisfies the human desire to discover a simple cause-and-effect relationship: just put in ten thousand hours of practice at anything, and you will become a master.Unfortunately, this rule—which is the only thing that many people today know about the effects of practice—is wrong in several ways. (It is also correct in one important way, which I will get to shortly.) First, there is nothing special or magical about ten thousand hours. Gladwell could just as easily have mentioned the average amount of time the best violin students had practiced by the time they were eighteen—approximately seventy-four hundred hours—but he chose to refer to the total practice time they had accumulated by the time they were twenty, because it was a nice round number. And, either way, at eighteen or twenty, these students were nowhere near masters of the violin. They were very good, promising students who were likely headed to the top of their field, but they still had a long way to go when I studied them. Pianists who win international piano competitions tend to do so when they’re around thirty years old, and thus they’ve probably put in about twenty thousand to twenty-five thousand hours of practice by then; ten thousand hours is only halfway down that path.And the number varies from field to field. Steve Faloon became the very best person in the world at memorizing strings of digits after only about two hundred hours of practice. I don’t know exactly how many hours of practice the best digit memorizers put in today before they get to the top, but it is likely well under ten thousand.Second, the number of ten thousand hours at age twenty for the best violinists was only an average. Half of the ten violinists in that group hadn’t actually accumulated ten thousand hours at that age. Gladwell misunderstood this fact and incorrectly claimed that all the violinists in that group had accumulated over ten thousand hours.Third, Gladwell didn’t distinguish between the deliberate practice that the musicians in our study did and any sort of activity that might be labeled “practice.” For example, one of his key examples of the ten-thousand-hour rule was the Beatles’ exhausting schedule of performances in Hamburg between 1960 and 1964. According to Gladwell, they played some twelve hundred times, each performance lasting as much as eight hours, which would have summed up to nearly ten thousand hours. Tune In, an exhaustive 2013 biography of the Beatles by Mark Lewisohn, calls this estimate into question and, after an extensive analysis, suggests that a more accurate total number is about eleven hundred hours of playing. So the Beatles became worldwide successes with far less than ten thousand hours of practice. More importantly, however, performing isn’t the same thing as practice. Yes, the Beatles almost certainly improved as a band after their many hours of playing in Hamburg, particularly because they tended to play the same songs night after night, which gave them the opportunity to get feedback—both from the crowd and themselves—on their performance and find ways to improve it. But an hour of playing in front of a crowd, where the focus is on delivering the best possible performance at the time, is not the same as an hour of focused, goal-driven practice that is designed to address certain weaknesses and make certain improvements—the sort of practice that was the key factor in explaining the abilities of the Berlin student violinists.A closely related issue is that, as Lewisohn argues, the success of the Beatles was not due to how well they performed other people’s music but rather to their songwriting and creation of their own new music. Thus, if we are to explain the Beatles’ success in terms of practice, we need to identify the activities that allowed John Lennon and Paul McCartney—the group’s two primary songwriters—to develop and improve their skill at writing songs. All of the hours that the Beatles spent playing concerts in Hamburg would have done little, if anything, to help Lennon and McCartney become better songwriters, so we need to look elsewhere to explain the Beatles’ success.This distinction between deliberate practice aimed at a particular goal and generic practice is crucial because not every type of practice leads to the improved ability that we saw in the music students or the ballet dancers. Generally speaking, deliberate practice and related types of practice that are designed to achieve a certain goal consist of individualized training activities—usually done alone—that are devised specifically to improve particular aspects of performance.The final problem with the ten-thousand-hour rule is that, although Gladwell himself didn’t say this, many people have interpreted it as a promise that almost anyone can become an expert in a given field by putting in ten thousand hours of practice. But nothing in my study implied this. To show a result like this, I would have needed to put a collection of randomly chosen people through ten thousand hours of deliberate practice on the violin and then see how they turned out. All that our study had shown was that among the students who had become good enough to be admitted to the Berlin music academy, the best students had put in, on average, significantly more hours of solitary practice than the better students, and the better and best students had put in more solitary practice than the music-education students.The question of whether anyone can become an expert performer in a given field by taking part in enough designed practice is still open, and I will offer some thoughts on this issue in the next chapter. But there was nothing in the original study to suggest that it was so.Gladwell did get one thing right, and it is worth repeating because it’s crucial: becoming accomplished in any field in which there is a well-established history of people working to become experts requires a tremendous amount of effort exerted over many years. It may not require exactly ten thousand hours, but it will take a lot.
微信公众号：bujiantan微博：http://weibo.com/bujiantan【The 12 Labours of Hercules】Labor 1: The Nemean LionLabor 2: The Lernean HydraLabor 3: The Hind of CeryneiaLabor 4: The Erymanthean BoarLabor 5: The Augean StablesLabor 6: The Stymphalian BirdsLabor 7: The Cretan BullLabor 8: The Mares of DiomedesLabor 9: The Belt of HippolyteLabor 10: Geryon&`&s CattleLabor 11: The Apples of the HesperidesLabor 12: Cerberus
微信公众号：bujiantan微博：http://weibo.com/bujiantan【The 12 Labours of Hercules】Labor 1: The Nemean LionLabor 2: The Lernean HydraLabor 3: The Hind of CeryneiaLabor 4: The Erymanthean BoarLabor 5: The Augean StablesLabor 6: The Stymphalian BirdsLabor 7: The Cretan BullLabor 8: The Mares of DiomedesLabor 9: The Belt of HippolyteLabor 10: Geryon&`&s CattleLabor 11: The Apples of the HesperidesLabor 12: Cerberus
微信公众号：bujiantan （回复 160331 获取本期相关文章）微博：http://weibo.com/bujiantan 太阳系（按跟太阳的距离从近到远排列，括号里是希腊神话的名字）：- Mercury (Hermes): 水星- Venus (Aphrodite): 金星- Earth: 地球 (源自 Gaia/Gaea)- Mars (Ares): 火星- Jupiter (Zeus): 木星- Saturn (Cronus): 土星- Uranus: 天王星- Neptune (Poseidon): 海王星- Pluto (Hades): 冥王星
你知道 Mr Big 说的 "Ice them" 其实是什么意思吗？微信公众号：bujiantan微博：http://weibo.com/bujiantan
微信公众号：bujiantan微博：http://weibo.com/bujiantan 第1章 Oliver Twist 出世英格兰某镇，由于种种原因，具体名字不便明说，我也不想给它起个假名。镇上有许多公共设施，其中之一是旧时多数市镇——无论是大的市镇还是小的市镇——普遍设立的，那就是贫民教养所。某年某月某日——确切的日期无须赘述，反正在故事的目前阶段对读者也是无关紧要的——这家教养所里添了一条小生命，他的名字已经在本章的标题里出现过。接生的是一名教区大夫。孩子来到这充满苦难的世界上以后，究竟能不能存活到拥有一个名字，在很长时间里是一件令人怀疑的事。倘若他活不到那个时候，这部传记很可能根本不会问世，即便问世也只有两三页篇幅。要是那样，它倒能具有无可比拟的优点，成为古今英外的文学作品中最简短、最忠实的传记精品。我无意认为，生在教养所这件事本身，是一个人所能碰上的 最让人妒羡的好运气；然而，我确实觉得，对 Oliver Twist 这个特定人物来说，这真是一件大好事。事实上，为了让 Oliver 运用自己的呼吸器官，大家可是费了一番工夫——呼吸是一件很累赘的事情，可是为了轻松自如地活下去，我们又非呼吸不可。在一段时间里，他躺在一块小垫子上，吁吁地喘着气，这个世界和那个世界都想把他夺到手，而优势显然是在后者。在这短暂的时间里，倘若 Oliver 身边 围满细心照料的姥姥奶奶，心急如焚的姑姑姨姨，经验丰富的护士，医术高明的大夫，那么他势必顷刻丧命，这是毫无疑问的。幸好他的身边没有这类人物，只有一个穷苦的老婆子和一名教区大夫。而老婆子又难得配给到一点啤酒，喝得迷迷糊糊的；大夫也仅仅根据合同才来例行公事。 Oliver 跟大自然进行了生死搏斗。经过几番拼搏以后，结果明朗了： Oliver 吸一口气，打个喷嚏，哇地哭出声来，张开嘴巴向教养所里的人们宣布，教区又背上了一个新的包袱。他哭得很响，这是估计得到的，也是合情合理的，因为过了远远不止 3 分 15 秒工夫，这男婴才好不容易拥有声音这个最有用的工具。当 Oliver 第一次证明他具备自如而正常的肺部功能的时候，胡乱盖在铁床上的破烂被子下面窸窸窣窣地动了一下。一个年轻女人勉强从枕头上仰起苍白的脸，以有气无力的声音断断续续地说出这样一句话：“让我看一眼这孩子，我死也瞑目了。”大夫面朝火炉坐着，一会儿把手烤一烤，一会儿把手搓一搓。听到年轻女人开口说话，他站起来走到床前，以料想不到的温和口气说：“哦，千万别说这种话。”“愿上帝保佑她，别让她现在就死去！”接生婆急忙把一个绿玻璃瓶放进口袋，插话说。她一直躲在角落里品尝瓶里的东西，显然觉得心满意足。“愿上帝保佑她，她要是活到我这把年纪，先生，生上十三个孩子，除了两个以外别的都死掉，活着的两个也跟我待在教养所里，她就不会这样大惊小怪了。愿上帝保佑她！想想 做妈妈是什么滋味，瞧瞧这可爱的小宝宝。想一想吧。”然而，尽管接生婆那样安慰她，让她看到做妈妈的美好前景，她的话看来没有产生预期的效果。产妇摇了摇头，朝孩子伸过手去。大夫把婴儿放到她的怀里。她用冰凉、苍白的嘴唇热烈地吻了几下婴儿的前额，然后两只手抹了抹自己的脸部，瞪大眼睛四下里望一眼，打个哆嗦，身体往后一仰——死了。他们揉她的胸口，搓她的两只手，按她的太阳穴；但是血液已经永远停止流动。他们又说了几句鼓励和安慰她的话，他们说得太迟了。“她走了，Thingummy 太太！”大夫最后开口说。“啊，可怜的人儿，她走了！”接生婆说着，拾起绿玻璃瓶上的软木塞；她刚才俯身抱孩子的时候，把瓶塞掉在枕头上了，“可怜的人儿！”“要是孩子哭得厉害，请别介意派人来叫我，婆婆，”医生一面说，一面慢悠悠地戴上手套，“这孩子说不定不大好带。要是他哭得厉害，你给他喂一点稀粥。”他戴上帽子朝门口走去，然后在床边停下来补充说，“这姑娘长得倒挺漂亮，她是从哪儿来的？”“是昨天夜里教区的济贫助理让送到这儿来的，”老婆子答道，“有人发现她倒在街头。看样子她走了好远的路，鞋子也磨破了。不过，她打哪儿来，上哪儿去，谁也说不清楚。” 大夫朝尸体俯下身去，拉起她的左手。“还是老一套，”他摇着头说，“没有结婚戒指。唉！晚安！”大夫出门吃晚饭去了，接生婆又从绿瓶子里喝了几口，然后在壁炉跟前一把矮椅子上坐下来，着手替婴儿穿衣服。衣服的威力是多么大呀！小 Oliver Twist 特为此提供了一个卓越的例子。到这个时候，他还一直裹着毯子；裹在毯子里，谁也看不出他究竟是贵族的孩子，还是乞丐的孩子；哪个聪明绝顶的旁人也很难断定他确切的社会地位。而现在，他 被套上那件 因反复派同样用场 而发了黄的白布衣服，还做上标记，挂上标签，他的身份顿时一清二楚——他是一个教区的孩子—— 一个贫民教养所的孤儿—— 一个半饥半饱的苦命人—— 一个要在吃拳头、挨耳光中过日子的人—— 一个众人鄙视、无人同情的人。Oliver 起劲地哭哇。他要是知道自己是个孤儿，一生的命运掌握在教区干事和济贫助理的手中，说不定哭得还要响一点。
Our use of the internet involves many paradoxes, but the one that promises to have the greatest long-term influence over how we think is this one: the Net seizes our attention only to scatter it.微信公众号：bujiantan微博：http://weibo.com/bujiantan
The medium is the message. 微信公众号：bujiantan微博：http://weibo.com/bujiantan
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