My point: 钱学森, 丘成桐, 蒲蛰龙, 林书豪, 杨璟, 谢蜀生, 王水照, 朱铁志, 戴世强 (ZT) - you can see that, they say and write from their own angle - no much, no less.
Find your own angle - from all angles of angle as listed below. How to write your own angle? 99% of known materials, but you contribute your own 1%, which was equation of Isaac Asimov, the greatest writer of science ever in history.
e.g., Let say "10 sentences = (9 sentences of known) + (1 sentence of yours)."
“Almost all made a connection between their music training and theirprofessional achievements.(几乎所有成功杰出人才,他们的音乐训练和他们的专业成就之间有连接。)
The phenomenon extends beyond the math-musicassociation. Strikingly, many high achievers told me music opened up the pathways to creative thinking.And their experiences suggest that music training sharpens other qualities: Collaboration. Theability to listen. A way of thinking that weaves together disparate ideas. Thepower to focus on the present and the future simultaneously.Visualize all of the notes andtheir interrelationships. It helps train you to think differently, to process different points ofview — and most important, to take pleasure in listening. Music providesbalance. (音乐训练锐化协作, 倾听的能力,不同的想法交织在一起的一种思维方式,同时专注于现在和未来的能力,可视化所有的音符和它们之间的相互关系,处理整合不同的观点,听的乐趣,提供平衡等素质)
Paul Allen, the billionaire co-founder of Microsoft (guitar)(亿万富翁保罗·艾伦共同创办微软(演奏吉他))
the NBC chief White House correspondent Chuck Todd (French horn)(NBC的首席白宫记者查克·托德(圆号))
CONDOLEEZZA RICE trained to be a concert pianist. (美国国务卿赖斯是一个音乐会钢琴家。)
Alan Greenspan, former chairman of the Federal Reserve, was a professional clarinet and saxophone player. (前美联储主席艾伦·格林斯潘,是一家专业单簧管和萨克斯管演奏家。)
The hedge fund billionaire Bruce Kovner is a pianist who took classes at Juilliard (对冲基金亿万富翁布鲁斯Kovner在茱莉亚音乐学院是一个钢琴家)
Larry Page, a co-founder of Google, played saxophone (谷歌的联合创始人拉里·佩奇(Larry Page),演奏萨克斯管)
The former World Bank president James D. Wolfensohn has played cello (前世界银行总裁詹姆斯·沃尔芬森演奏大提琴)
US President William Clinton plays saxophone (美国总统威廉·克林顿演奏萨克斯管)。
钱学森先生酷爱音乐,上大学时就是校乐队的小号手,对声乐家妻子的才华和成就有透彻的认同。1991年,在国务院、中央军委给钱学森先生授奖的大会上,他深情地说:“蒋英是干什么的?她是女高音歌唱家,而且是专门唱最深刻的德国古典艺术歌曲。正是她给我介绍了这些音乐艺术,这些艺术里所包含的诗情画意和对于人生的理解,使得我丰富了对世界的认识,学会了艺术的广阔思维方法。或者说,正因为我受到这些艺术方面的熏陶,所以我才能避免死心眼,避免机械唯物论,想问题能够更宽一点,活一点,在这一点上我也要感谢我的爱人蒋英同志。”这就是一位大科学家对一位大艺术家的深刻评价和理解,从中足见蒋英的艺术的魅力。科学中的艺术,艺术中的科学,可谓珠联璧合。(Ref. #6). (All the following photos are from Ref. #5: 钱永刚:父母留给我的“财富”一生受用)
References (just for my own record ofreading library as I don’t believe in URL as it doesn’t work later on whenneeded.). 因为我不相信网址URL,因为以后需要网址的时候不连接到文档。)
CONDOLEEZZA RICE trained tobe a concert pianist. Alan Greenspan, former chairman of the Federal Reserve,was a professionalclarinet and saxophone player. The hedge fund billionaire Bruce Kovneris a pianist who took classes at Juilliard.
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Anna Parin
Multiple studies link musicstudy to academic achievement. But what is it about serious music training thatseems to correlate with outsize success in other fields?
The connection isn’t acoincidence. I know because I asked. I put the question to top-flightprofessionals in industries from tech to finance to media, all of whom hadserious (if often little-known) past lives as musicians. Almost all made a connection between their musictraining and their professional achievements.
The phenomenon extendsbeyond the math-music association. Strikingly, many high achievers told me music opened up the pathways tocreative thinking. And their experiences suggest that music training sharpens otherqualities: Collaboration. The ability to listen. A way of thinking that weavestogether disparate ideas. The power to focus on the present and the futuresimultaneously.
Will your school music program turn your kid into a PaulAllen, the billionaire co-founder of Microsoft (guitar)? Or a Woody Allen(clarinet)? Probably not. These are singular achievers. But the way these andother visionaries I spoke to process music is intriguing. As is the way many ofthem apply music’s lessonsof focus and discipline into new ways of thinking and communicating — evenproblem solving.
Look carefully and you’llfind musicians at the top of almost any industry. Woody Allen performs weekly with a jazz band. Thetelevision broadcaster Paula Zahn (cello) and the NBC chief White House correspondent Chuck Todd (Frenchhorn) attended college on music scholarships; NBC’s Andrea Mitchelltrained to become a professional violinist. Both Microsoft’s Mr. Allen and theventure capitalist Roger McNamee have rock bands. Larry Page, a co-founder of Google, played saxophone inhigh school.StevenSpielberg is a clarinetist and son of a pianist. The former World Bankpresident James D. Wolfensohn has played cello at Carnegie Hall.
“It’s not a coincidence,”says Mr. Greenspan, who gave up jazz clarinet but still dabbles at the babygrand in his living room. “I can tell you as a statistician, the probabilitythat that is mere chance is extremely small.” The cautious former Fed chiefadds, “That’s all that you can judge about the facts. The crucial question is: why does that connectionexist?”
Paul Allen offers ananswer. He says music“reinforces your confidence in the ability to create.”Mr. Allen began playing theviolin at age 7 and switched to the guitar as a teenager. Even in theearly days of Microsoft, he would pick up his guitar at the end of marathondays of programming. Themusic was the emotional analog to his day job, with each channeling a differenttype of creative impulse. In both, he says, “something is pushing you to look beyond whatcurrently exists and express yourself in a new way.”
Mr. Todd says there is a connection between years ofpractice and competition and what he calls the“drive for perfection.” The veteranadvertising executive Steve Hayden credits his background as a cellist for hismost famous work, the Apple “1984” commercial depicting rebellion against adictator. “I was thinkingof Stravinsky when I came up with that idea,” he says. He adds that his cello performance backgroundhelps him work collaboratively: “Ensemble playing trains you, quite literally,to play well with others, to know when to solo and when to follow.”
For many of the high achieversI spoke with, musicfunctions as a “hidden language,” as Mr. Wolfensohn calls it, one thatenhances the ability to connect disparate or even contradictory ideas. When heran the World Bank, Mr.Wolfensohn traveled to more than 100 countries, often taking in localperformances (and occasionally joining in on a borrowed cello), whichhelped him understand “the culture of people, as distinct from their balancesheet.”
It’s in that context thatthe much-discussed connection between math and music resonates most. Both areat heart modes of expression. Bruce Kovner, the founder of the hedge fund Caxton Associatesand chairman of the board of Juilliard, says he sees similarities between hispiano playing and investing strategy; as he says, both “relate to patternrecognition, and some people extend these paradigms across different senses.”
Mr. Kovner and the concertpianist Robert Taub both describe a sort of synesthesia — they perceivepatterns in a three-dimensional way. Mr. Taub, who gained fame for his Beethovenrecordings and has since founded a music software company, MuseAmi, says thatwhen he performs, he can“visualize all of the notes and their interrelationships,” a skill thattranslates intellectually into making “multiple connections in multiplespheres.”
For others I spoke to, their passion for music is morenotable than their talent. Woody Allen told me bluntly, “I’m not anaccomplished musician. I get total traction from the fact that I’m in movies.”
Mr. Allen sees music as adiversion, unconnected to his day job. He likens himself to “a weekend tennis player whocomes in once a week to play. I don’t have a particularly good ear at all or aparticularly good sense of timing. In comedy, I’ve got a good instinct forrhythm. In music, I don’t, really.”
Still, he practices the clarinet at leasthalf an hour every day, because wind players will lose their embouchure (mouthposition) if they don’t: “If you want to play at all you have to practice. Ihave to practice every single day to be as bad as I am.” He performsregularly, even touring internationally with his New Orleans jazz band. “Inever thought I would be playing in concert halls of the world to 5,000, 6,000people,” he says. “I will say, quite unexpectedly, it enriched my life tremendously.”
Music provides balance,explains Mr. Wolfensohn, who began cello lessons as an adult. “You aren’ttrying to win any races or be the leader of this or the leader of that. You’reenjoying it because of the satisfaction and joy you get out of music, which istotally unrelated to your professional status.”
For Roger McNamee, whoseElevation Partners is perhaps best known for its early investment in Facebook, “music and technology haveconverged,” he says. He became expert on Facebook by using it to promotehis band, Moonalice, and now is focusing on video by live-streaming itsconcerts. He says musicians and top professionals share “the almost desperate need to dive deep.” Thiscapacity to obsess seems to unite top performers in music and other fields.
Ms. Zahn remembers spendingup to four hours a day“holed up in cramped practice rooms trying to master a phrase” on her cello.Mr. Todd, now 41, recounted in detail the solo audition at age 17 when he gotthe second-highest mark rather than the highest mark — though he stillwas principal horn in Florida’s All-State Orchestra.
“I’ve always believed the reason I’ve gotten ahead is byoutworking other people,” he says. It’s a skill learned by “playing that soloone more time, working on that one little section one more time,” and ittranslates into “working on something over and over again, or double-checkingor triple-checking.” He adds, “There’s nothing like music to teach you that eventuallyif you work hard enough, it does get better. You see the results.”
That’s an observation worthremembering at a time when music as a serious pursuit — and music education — is in decline in thiscountry.
Consider the qualitiesthese high achievers say musichas sharpened: collaboration, creativity, discipline and the capacity toreconcile conflicting ideas. All are qualities notably absent frompublic life. Music may not make you a genius, or rich, or even a better person.But it helps train you tothink differently, to process different points of view — and most important, totake pleasure in listening.
Joanne Lipman is a co-author, with Melanie Kupchynsky,of the book “Strings Attached: One Tough Teacher and the Gift of GreatExpectations.”
博主回复(2013-11-3 17:02):Thanks so much for your blog posts, which have been eye-opening experience for me. Grateful to have someone with your caliber to read my blog posts. Thanks so much for your insightful comment. Of course, as you pointed out, I've read a lot as my mind was fascinated with those great scientists I've known and read about. However, only recently I posted here. It's my hope someone may read and find interesting and useful. 非常感谢您的博客文章,这一直是我开眼界。感谢有你的才干的人来阅读我的博客文章。非常感谢您的见地的评论。当然,正如你所指出的,我已经读了很多,心里却迷上阅读了我知道的那些伟大科学家。然而,只是在最近,我贴在这里。这是我希望有人可以读取并觉得有趣和有用的。
因为毕竟形势不给他创造条件,非常可惜。因为同样的原因,任继愈先生、季羡林先生,他们晚年也放弃了自己曾经坚持的东西来迎合潮流。他们本应有更大收获,应该是辉煌的,但实际上并没有。反而他们往往随波逐流,讲一些人家愿意听的话,放弃了自己真正的独立思考。当然我对他们是非常尊敬的,但是我觉得这是一个问题。 在学术上不要老是要讲统一思想,什么都统一了,还怎么能有特色,怎么能有创造呢?所以钱学森最后提出来的关于为什么培养不出有创造性的人的问题,我觉得这是很大的问题,因为你老统一在一个思想上,你就没法创造。 None of these is reasonable: If you have a theory, you may get it out sooner or later. Do you have a theory?
Randy SchekmanCorresponding Author, Fiona M Watt, Detlef Weigel DOI: http://dx.doi.org/10.7554/eLife.01633 Published October 22, 2013 Cite as eLife 2013;2:e01633 Abstract There are many reasons for submitting your best work to eLife, especially if you are an early career researcher.
Main text Science students and active researchers are evaluated and assessed many times during their career as they progress from high school to university to graduate school to one or more postdoc positions to eventually—most of us hope—a secure job. As high school students, we were judged by exam results, grade-point averages or standardized test scores. Later, from graduate school onwards, we are mostly evaluated according to the quality of our research. Performing well in such evaluations is essential for anyone who wants to advance in a research environment, so it is crucial that these assessments are performed in a way that is fair and transparent.
The system of evaluation and assessment places substantial pressure on early career researchers, especially when looking for a fellowship or a tenure-track position in a university or research institute. It is not uncommon for job or fellowship announcements to attract hundreds of applications. Many scientists, especially those in the early stages of their career, believe that their chances of succeeding (or even getting an interview) depend primarily on the impact factors of the journals in which they have published. This is more true in some institutions and countries than in others (Ching, 2013). Although more and more funders and institutions are emphasizing that the intrinsic quality of the research is what really matters (DORA, 2013; Schekman and Patterson, 2013; Schmid, 2013), too many scientists still have an unhealthy obsession with getting published in the rarefied world of ‘top-tier’ journals that are characterized by review processes and acceptance policies that often appear opaque and capricious.
And the pressure does not go away after you have landed a tenure-track position, because the next challenges are to secure grant money and to convince your new colleagues that you deserve tenure. (Plus you have to show that you are a good colleague). Again, despite what senior investigators tell them and what the grant-awarding agencies say, many pre-tenure researchers believe that the number of papers in top-tier journals is the key to professional success and happiness. It is worth repeating here that the journal impact factor was never intended to be a measure of the quality of individual research papers: it was designed as a tool for comparing journals (and even then it has certain limitations), and scientists themselves are largely to blame for allowing it to influence decisions about hiring and promotion to the extent that it does (Curry, 2012).
At eLife, we recognize these pressures and have introduced a number of measures for the benefit of our colleagues who are in the early stages of their careers. First, we encourage corresponding authors who do not have tenure to mention this in their cover letter. The Senior Editor who handles the manuscript will take this into account when deciding whether or not it merits in-depth peer review by a Reviewing Editor and one or more external referees (Schekman et al, 2013a): as a result, a higher-than-average percentage of manuscripts from early career authors receive in-depth peer review. However, this does not mean that manuscripts from early career authors are more likely to be accepted than those from more established investigators. Rather, it means that early career authors are more likely to receive (and benefit from) the sort of considered, in-depth feedback from referees that will help them to improve the manuscript and increase its chances of publication in eLife (or a different journal). And if the Senior Editor decides that a manuscript from an early career researcher should not be sent for in-depth peer review, the authors will in general receive more than just a standard rejection letter.
Second, we recognize that graduate students and postdocs require letters of recommendation when they are applying for jobs and fellowships. Therefore, the Senior Editors of eLife have agreed to write a letter of recommendation on behalf of the first author in support of job or fellowship applications, and many authors have requested and received such letters.
The Senior Editors of eLife have agreed to write a letter of recommendation on behalf of the first author in support of job or fellowship applications.
In a new effort, we are identifying a small number of particularly outstanding eLife Research Articles by early career researchers and inviting the first or corresponding author on each article to give a presentation at a meeting organized by one of the three agencies that sponsor the journal (the Howard Hughes Medical Institute, the Max Planck Society and the Wellcome Trust). Since most eLife authors are not funded by these agencies, this initiative gives these early career researchers a valuable opportunity to publicize and discuss their work with audiences that will include many leading researchers in their field. The names of the first four authors to be invited to give such presentations have just been announced (Table 1).
View this table:View popupView inline Table 1. The first four eLife-sponsored presentations by early career researchers
Figure1 ILLUSTRATION: RIPE.COM Obviously, we welcome submissions from researchers of all vintages, and we have introduced a number of innovations to improve scientific publishing for the benefit of all authors, such as our innovative approach to peer review, our policy of accepting all manuscripts that meet our (admittedly high) scientific criteria, our commitment to open access, our policy of making the most of digital media by not restricting the number of words, figures or references in a Research Article, our ability to integrate data and video into articles, our sharing of referee reports for rejected articles with a number of other journals, our commitment to extending the reach and impact of articles through plain-language summaries, Insight articles and podcasts, and our progressive media policy, which allows authors to share their results with others ahead of publication if they wish (Schekman et al., 2013b).
We also promise that the initial decision on submissions will be quick—the average is presently 3 days—and that manuscripts will not be subjected to needless cycles of revision and re-review before they are eventually accepted or rejected. Those near the start of their career may have time on their side, but when you have an exciting story to tell, and the competition on the career ladder is intense, the last thing you can afford to happen is for your work to languish in a seemingly endless editorial process.
Neuroengineer • 2 hours ago − Fantastic, article. Thanks eLife for the innovations and giving a fair chance for upcoming young scientists. When I was in high school, I had a dream to explore and to understand the secrets of nature. But slowly that dream seemed to vanish in the craziness of the scientific industry. I think we need these newer tools for those practicing science to make it more fun for them. After all great ideas can only be generated in the mind at peace! 1 •Reply•Share › Avatar Petros Ligoxygakis • an hour ago "Again, despite what senior investigators tell them and what the grant-awarding agencies say [...] scientists themselves are largely to blame for allowing it to influence decisions about hiring and promotion to the extent that it does".
It is not true at all that senior investigators tell early career scientists (ecs) to not go for the impact factor and to that extent it is the culture that ecs are coming into, which dictates what they are doing to secure tenure (and even then...). So don't just imply that they do it because they somehow aspire to publish in those journals: they are forced to do it and senior people should openly recognise their share of responsibility for it.