4 Matching Annotations
  1. Jan 2021
    1. Van Breda Kolff says that Bradley is “a great mover,” and points out that the basis of all these maneuvers is footwork. Bradley has spent hundreds of hours merely rehearsing the choreography of the game—shifting his feet in the same patterns again and again, until they have worn into his motor subconscious. “The average basketball player only likes to play basketball,” van Breda Kolff says. “When he’s left to himself, all he wants to do is get a two-on-two or a three-on-three going. Bradley practices techniques, making himself learn and improve instead of merely having fun.”

      More classic deliberate practice type stuff. This guy rehearses footwork ..

    2. His jump shot, for example, has had two principal influences. One is Jerry West, who has one of the best jumpers in basketball. At a summer basketball camp in Missouri some years ago, West told Bradley that he always gives an extra hard bounce to the last dribble before a jump shot, since this seems to catapult him to added height. Bradley has been doing that ever since. Terry Dischinger, of the Detroit Pistons, has told Bradley that he always slams his foot to the floor on the last step before a jump shot, because this stops his momentum and thus prevents drift. Drifting while aloft is the mark of a sloppy jump shot. Bradley’s graceful hook shot is a masterpiece of eclecticism. It consists of the high-lifted knee of the Los Angeles Lakers’ Darrall Imhoff, the arms of Bill Russell, of the Boston Celtics, who extends his idle hand far under his shooting arm and thus magically stabilizes the shot, and the general corporeal form of Kentucky’s Cotton Nash, a rookie this year with the Lakers. Bradley carries his analyses of shots further than merely identifying them with pieces of other people. “There arc five parts to the hook shot,” he explains to anyone who asks. As he continues, he picks up a ball and stands about eighteen feet from a basket. “Crouch,” he says, crouching, and goes on to demonstrate the other moves. “Turn your head to look for the basket, step, kick, follow through with your arms.” Once, as he was explaining this to me, the ball curled around the rim and failed to go in.

      Great example of deliberate practice.

  2. Jul 2020
  3. May 2020
    1. Ericsson claims (2016, p. 98) that there is no deliberate practice possible for knowledge work because there are no objective criteria (so, poor feedback), because the skills aren’t clearly defined, and because techniques for focused skill improvement in these domains aren’t known.

      According to Ericsson deliberate practice for knowledge work is not possible because the criteria are not objective (you don't know if you're doing well).

      This collides with Dr. Sönke Ahrens' contention that note taking, specifically elaboration, instantiates two feedback loop. One feedback loop in that you can see whether you're capturing the essence of what you're trying to make a note on and a second feedback loop in that you can see whether your note is not only an accurate description of the original idea, but also a complete one.

      Put differently, note taking instantiates two feedback loops. One for precision and one for recall.