When teaching, it feels natural to center on powerful ideas or techniques. But it’s usually better to center on *questions*—ideas and techniques can follow. Ideally, they’re deep, meaningful questions with no “right” answer, an active object for experts in the discipline.
e.g. If you're studying history, details are important, but usually in service of broad, enduring questions like "when and how do individuals make a difference?"

Wiggins & McTighe call these "essential questions" in Understanding by Design, a great text on instructional design.
I love this idea but often forget it when I'm writing or giving a talk. Institutionalized education sets a bad cultural norm: a teacher's supposed to know the answers and tell them to you… not ask impossible questions! Obviously, I don't *believe* this, but it sneakily seeps in.
This thread was prompted this sweng syllabus: cmu-313.github.io, which asks great questions: When and how much to design? How can we design security into a system? When is a program good enough to ship?

I've been coding 20+ years, and I'm still answering these questions!
This list has many good questions across domains: teachthought.com/pedagogy/examp…. e.g. When is the restriction of freedom a good thing? How does culture/society shape our concept of happiness?

Some of them are weak. It's a good exercise to try to sharpen them up!
Instructional philosophy aside, q's are often just a more striking way to communicate. That sweng syllabus opens with strong (non-essential) questions: What can we learn from the Boeing 737 disaster? How did Twitter eradicate the Fail Whale? And what does it have to do with Ruby?
A fun prompt: what are some essential questions in/around your field, open enough to be a focus for you but studied enough to meaningfully discuss in a course?

Here's one from my field: "What are the physical and practical limits to human cognition, and how can they be altered?"

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More from @andy_matuschak

29 Oct
!! Celebration day for food nerds: new Keller cookbook!

The first French Laundry cookbook (from ’99) was a revelation to me. Cooking through it taught me more than any other resource has. I was shocked how makeable it was in a home kitchen—very few unusual supplies needed.
The follow-up, Under Pressure, included dishes from Per Se. The style was barely recognizable! The dishes now included many modernist techniques and daring flairs. Fascinating to read, but much less suitable for home cooking: the components didn’t generalize very well.
I’m so happy that this book looks like it’s landed somewhere in between. Under Pressure was explicitly centered around technique (sous vide), but this one’s not; and a decade’s passed, so the enthusiasm for whiz-bang modernism has faded a bit.
Read 9 tweets
18 Oct
An unintuitive secret of reading books on computers: reading PDFs with original typesetting is much better than reading ebooks, which treat text like a 4chan shitposter and have impoverished reading software.

But… where to get the PDFs?! A survey & suggestions for future work:
Google Play:
👍 ~smooth workflow; clean pages
👎 PDFs lack text layer, so they're not searchable or selectable; only recent books available in PDF

archive.org:
👍 has many older books Play lacks; includes OCR'd text layer
👎 OCR errors; photo noise; clunkier workflow
Z-Library:
👍 occasionally has clean PDFs for books which others lack
👎 PDFs are often EPUB->PDF conversions (the worst!); more illegal
Read 6 tweets
18 Oct
I've noticed that consciousness recedes when I'm deep in a coding phase, many back-to-back days in flow. My mind narrows to tunnel-vision, fixated on the software and its issues. My sense of self shrinks; non-code ideas cease to arise; I get less curious; writing yields little.
It's an odd feeling: flow is experientially satisfying, but the creeping self-abnegation is worrying. I also notice it takes quite a while to "reset" from this phase, to start hearing myself think again, to feel like less of an automaton.
I don't experience this feeling when I spend many days back-to-back in flow doing other work: developing an idea, writing, designing. I wonder if it's bc those activities are more creative, involve more reflective thought. Or maybe it's that I'm worse at them—so flow's less deep!
Read 5 tweets
17 Oct
I enjoyed @eriktorenberg's observation that earned authentic respect is an underrated catalyst for the way one's skills, capital, brand, and network can reinforce each other. eriktorenberg.substack.com/p/see-your-car…
I've often misunderstood this b/c respect is not very illegible, and the scale is unlabeled.

e.g. It feels like success when others reliably accept your coffee invites. But that's actually not very high on the scale: better if people proactively think of you in relevant moments.
Part of why this is confusing is that respect *feels* more legible than it is. Proxies like $, media appearances, followers, citations, etc *seem* like they correspond to respect, but very often they don't! Easy to accidentally internalize false lessons about what earns respect.
Read 4 tweets
25 Sep
Woke up to a great paradoxical notion from @nsbarr: sometimes the main benefit of non-linear authoring (whiteboard, hypertext, Muse) is actually linear thought! These envs offer a “release valve” for tangential stuff so you can focus on your “main” idea. notes.andymatuschak.org/z3iT7pPmhbY8Wt…
@nsbarr One thing I really like about this is that it subverts the usual narrative around e.g. densely-linked note systems: maybe the value of non-linear writing isn’t (just) in the future value of the embedded links to you/readers—but rather in helping you focus in the moment.
@nsbarr In this framing, the tangential stuff and non-linear associations are ephemeral chaff, not durable future working material!

Too strong as stated, I think (see notes.andymatuschak.org/z2HUE4ABbQjUNj… for args in favor of future value of links), but a useful angle, I think.
Read 4 tweets
22 Sep
Alan Kay suggests that good inventors are like Michelangelo, both imagining the ceiling of the Sistine Chapel—and also spending years on their back painting it! Part visionary, part obsessive craftsperson.

I wonder about auteurs in film—hundreds of staff doing detail work!
Maybe one principle is that it’s possible to (partially) delegate to someone else who is themselves Michelangelo-like in that way.

Like: maybe Wes Anderson’s set dressers are just as visionary and obsessive as he is, so he can let them do some of the “painting”?
Likewise in games: maybe an auteur-like direct can “outsource” only to a level designer who will themselves bring auteur-like sensibilities—and not to a “technician”? @Jonathan_Blow suggests experiences along these lines in his comments about The Witness’s team.
Read 4 tweets

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