All of Kaveh-Sedghi's Comments + Replies

I believe you meant "in contrast with vertical search like Google".

I agree in general with your point about incentives. However, there is also another angle to consider: other companies. Google will have to keep innovating to some extent; if it doesn't, other rival search services may do so threatening Google's market share (although this threat would probably not be very impactful given the number of people used to Google).

Books don't have a learning model at their core, their main aim isn't to impart information, but rather, to store it (this makes the point better than I did).

What would you say makes Ommwriter better than Scrivener? 

How does your new approach compare with the "fear heuristic" method you used previously?

Putting the process of reading a textbook into words, and a practical framework, helped me, but I think this post did not offer as much value as the Jenga tower one you wrote previously, perhaps due the "obviousness" of this post's material (I do recognize that although this may not be helpful to me, it is helpful to others).

Is there a way to build broad knowledge for sight reading pieces, or is it merely a matter of sufficiently immersing oneself by just practicing?

To me, being competent at sight-reading comes from immersive practice. But sight-reading itself helps you build broad knowledge, because it gives you the ability to sample lots and lots of pieces of music - not just the sounds, but the physicality. And uniting mind and body in sight reading is an excellent complement to just listening to other people's recordings as you explore the world of classical music. For example, let's say you were capable of stumbling through a Beethoven sonata at low speeds via sight-reading. You might be able to play (badly) 1-2 pages of the sonata in the time it would take you to listen to it. One way to really get familiar with a wide swath of the classical music literature in, say, an hour a day, might be to listen to 2 sonatas (each ~15 minutes), and sight-read two other sonatas for ~15 minutes. Try to space out your listenings and your sight-readings of the same piece. For example, listen to them in order from first to last, but sight read them in reverse order so that most of the listenings/playthroughs are spaced out. This capitalizes on the spacing effect. In this way, you would be able to expose yourself to all 32 Beethoven sonatas in a couple weeks. I bet you'd have a much better memory of how they go if you did the sight reading + listening combo, rather than doubling the amount of listening and doing no sight reading.

Yes, I am quite hesitant to leap into the Sequences, not knowing how valid the studies cited are. I too would like to know how some of the mainstay LW concepts fare in light of the replication crisis (as psychology especially has faced a lot of problems in that regard).