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讀書筆記
« 于: 2019-03-06, 周三 20:09:07 »
文章來源:http://www.biosmonthly.com/weekly_news_topic/8123

默會知識與兩種意識
邁可.博藍尼(Michael Polanyi,1891-1976)是著名的猶太裔哲學家,1958 年他提出了「默會知識」這個術語,以及一個重要的命題:「我們所理解的多於我們所能說的」,認為我們所擁有的知識未必都能訴諸言說。

近代以來,分析哲學以「知道的東西一定能夠說出來」為立場,惟「命題知識」之為聽,認為知識是理性對於認知對象的「表徵」(representation),因而所有的知識都可以用概念、命題形諸言述。

博藍尼的「默會知識」所要反對的正是這一種立場。對於「我們所理解的多於我們所能說的」這個命題,他提供了不少的案例,其中最經典也最完整的表述要屬「用鐵錘捶打釘子」的例子。

簡單來說,在我們關於「用鐵捶捶打釘子」這項知識的實踐中,包含著兩種意識:一個是我們把注意力鎖定在釘子上的「焦點意識」,另一個是我們整合骨骼、肌肉、筋膜、神經等複雜生理機制的「支援意識」,好讓我們可以執行一手拿釘子,一手揮動捶子的動作。如果沒有支援意識的存在,我們的焦點意識就無法順利執行,例如會造成揮動鐵錘卻敲到手指,或是無法固定釘子導致鐵錘揮空等情況。博藍尼因此提出,人類的知識是以「支援意識」為背景,以「焦點意識」為前景的「默會知識」。


其實,類似的例子也發生在我們的日常中。就像我們可以說出騎腳踏車的一般性規則──腳踩踏板,雙手控制方向,身體保持平衡,但是任何人都無法僅僅依照這樣的「言述知識」便立刻學會了騎腳踏車。又像開車,究竟轉彎時方向盤要打幾圈?路邊停車時什麼時候該打方向盤切進空位?又如同從頭學習一種語言,就算我們掌握了聲韻系統以及發音原則,但總是有一種「口氣」不到位的感覺。

這些經驗都顯示了這樣一個事實:知識無法僅靠指導手冊的說明就傳授或習得,因為所有的知識都是「默會知識」,其中有無法言述的支援意識,它們以隱沒的形態內在於我們的身體記憶之中,這正是博藍尼之所以說「我們所理解的多於我們所能說的」的原因。

知識,寓居於身體
博藍尼特別強調「默會知識」中的「身體」因素。不難發現,以上所舉的例子都需要身體的參與,所以「默會知識」的形成總伴隨著身體的存在。這說明了知識的習得需要我們同時帶著心靈與身體介入,而不是僅僅用理性映照客觀知識的內容,因此他又提出了一個命題:「通過寓居而認知」(Knowing by indwelling)。

我們可以設想這樣的情境:當一位盲人掌握了使用「手杖」的知識以後,他就能夠以手杖碰觸事物的震動,透過肌肉的接觸與神經系統的傳導,形成對於世界的認識。在此,盲人將自我寄託在手杖之中,寓居其間,手杖因此不再是一個客觀存在的事物,而是盲人身體的一部分,而因為寓居於手杖之中,他的世界變得和一個摸黑行走、顛簸碰撞的世界不再相同──因為他認知世界的「身體」已經不再相同了。


從另一面來說,一旦我們健全的身體因為疾病而損傷時,身體的不便將鮮明地形成許多知識與技能的障礙,此時我們會驚覺日常對於肢體的寄託之深刻。試著回憶你落枕的經驗,生活起居會有多大的改變,你會發現日常許多技能與知識的運作,竟如此深刻地寓居於身體。又如依賴手機生活的你,一旦手機故障或是遺失,會不會突然覺得自己少了一隻手,甚至世界開始變得陌生?這都證明了,當工具或技能內化為我們身體的延伸時,它們便成為我們認知事物的「支援意識」。

因此,博藍尼說:「默會認知的任何一種行動,都改變我們的生存狀態,重新定向和收緊我們介入世界的活動。」藉由身體的「寓居」,我們將知識對象、工具「內化」為身體的一部分,成為我們身體的延長與變形。每一次寄託於新的知識之中,我們面對世界、認識世界、接觸世界的方式就不會再與從前相同;每一次的默會認知,都是我們自身的變形,同時也帶來世界的更新。

語言的隱默向度
說到這裡,一定會有人質疑,上述的例子都是屬於技藝或是操作技巧,這和語言與思考還是有差別的。所以,如果「我們所理解的多於我們所能說的」這句話可以成立,博藍尼就必須說明:即使是以邏輯見長的語言,同樣也是一種默會知識;也就是說:他必須說明「使用語言說話、表達、思考」也是一種技藝。

我們不妨思考一下「詞語」與「詞語的運用」之間的差異。儘管我們可以說明某個詞彙或句子的意涵,但我們卻很難直接說清楚某個人說某句話究竟想「表達」什麼,因為語言的運用要參考的因素不僅是詞彙的概念和語句的命題,同時還要整合情境、人物性格、知識背景、彼此的共同經驗、傳統等許許多多因素,這樣才能決定自己的心意該用什麼樣的語句表達。


同樣一句話,在不同的場合、被不同的人說出來,可能會有不太一樣的意思;相同概念或命題的語言,用不同詞彙的排列組合、選擇不同的語句順序表達,也可能會產生不太一樣的效果。這說明語言不只是概念與邏輯,其中還具有一種與「身體技藝」相同的層面。

通常,我們會稱這樣的整合能力為「說話的藝術」,如果我們認為說話的藝術是重要的,那是因為我們知道決定語言的意思的因素不只是概念本身。說話就是一種「技藝」,而沒有人可以依靠說明書就成為說話的高手;語言這項技藝,就如同騎腳踏車的技藝一樣,需要學習者的實作,以「默會致知」的方式將其內化。


概念、命題並不比身體優先。博藍尼告訴我們,默會知識具有優先性,只要把人跟動物相比,這個事實就會被凸顯出來。所有動物賴以為生的知識,都是無法被言述的默會知識,而人類因為握有使用語言的能力,因此在智力和文化水平上高於動物。表面上看來,人類因為語言而大量產生的「言述知識」似乎蓋過了「默會知識」的重要性;然而,我們對於語言能力的掌握,其實是隨著年齡、生活經驗、與人互動以及求知的過程中不斷精進、擴大與變化的。

就如同一位初生的嬰兒並不懂得運用語言進行思考與表達,他與世界最直接的接觸點是他雙眼、耳朵、鼻子、嘴巴與四肢,他對世界的知識源自於身體的默會。而後,當他開始懂得使用語言、運用符號,他原本用身體學到關於世界的知識,便與語言這個新的工具帶來的新知識交融在一起。所以,語言對於人類來說,同樣也是一種知識的「身體化」,人類運用語言,就像運用自己的身體一樣,總有我們自己無法轉譯的規則。

人類語言知識的從無到有,從肢體動作到語言符號的過程中,我們的「理解力」始終在作用著,而語言與身體一樣,都是被「理解力」內化的「工具」。所以,如果我們內化了語言這項技藝,我們就擁有一個語言化的身體,以及身體化的語言;我們運用語言思考、認識世界,那麼我們就寓居於語言之中形構我們的世界。

背誦與默會知識
語言的用字遣詞、聲腔、節律、言述策略等修辭意識,正是語言技藝的大觀。學習一種語言技藝,就是將這些語言因素內化為我們思考、表達的器官。學習語言技藝,我們通常會認為「潛移默化」是最自然的方式,但是背誦也有它存在的意義。

嚴格來說,潛移默化當中也有「記憶」的存在。事實上,我們在日常中是透過反覆操作、調整、精進的語言實踐,以及各種新的與舊的經驗相互摩擦、嵌入、配合,才掌握了日常語言的技藝。此時,「記憶」自然而然地發生,而非透過明顯而直接的外力驅使,但潛移默化的「記憶」仍發生在身體之中,所以我們才能將語言「技藝」內化。

潛移默化的背景通常是日常生活,口語的表達方式雖然自然,但人類的思維與意念畢竟不止於此。我們還有更多日常以外的時刻,需要挖掘心靈的暗角,我們有時需要理解世界中難以言喻、超乎邏輯但卻迷人或者傷人的時刻,那些人與人之間的摩盪、交接之際,幽微而不可言說的種種,那些關於人生雖不可測但你總渴望追求的問題,並不是日常生活的語言技藝可以捕捉與處理的。



日常語言無法言述,但是透過文學語言,我們得以追求。龍應台曾經說過這樣一句話:

「為什麼需要文學?了解文學、接近文學,對我們形成價值判斷有什麼關係?如果說,文學有一百種所謂『功能』,而我必須選擇一種最重要的,我的答案是:德文有一個很精確的說法,machtsichtbar,意思是『使看不見的東西被看見』。在我自己的體認中,這就是文學跟藝術最重要、最實質、最核心的一個作用。」

如果文學可以使許多看不見的東西被看見,那麼將這種語言技藝內化、記憶,使其中的思維方式、節律美感、布局策略成為我們思想的器官,裝備我們觀看世界、接觸世界的身體,我們將會看見許多日常語言看不見的風景。因為,我們熟練了「什麼樣」的語言,我們就寓居於「什麼樣」的世界。

「背誦」,是為了熟悉一種與日常語言有所差異的語言工具,就如同盲人掌握了手杖、長輩接觸了智慧型手機,對他們而言,「世界」都不再是從前那個樣子,而認知的方式也因為裝備了不同的「肢體」,而有了轉化。

「背誦」,就如同當初你學習揮動捶子卻不免受傷,你試著滑水踢腿在泳池中嗆水浮沈,而那些陌生的語言就如同無法被歸類、定義的物體,橫在我們面前而難以入嚥。一旦學會以後,那些規則、指引都化為無形,透明如空氣,而你終於得以釘下釘子,自在泅泳,在語言中認知、內省與想像。這就是在我們重探「背誦」的意義時,可以在博藍尼的「默會知識」理論中得到的啟示。

以上我們通過博藍尼之眼,重探了「背誦」的意義,也點出了基於「命題知識」的立場,對原文做出翻譯所將犧牲的東西。在下一篇文章中,我們將從詩人羅毓嘉的創作經驗,談背誦中的身體,以及身體中的語言。
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Monte cook:PDF revolution
« 回帖 #1 于: 2020-04-26, 周日 03:39:21 »
10 Years: From Idea to Industry (by Monte Cook)
2011年5月28日上午2:29
This essay first ran the 5/19/2011 issue of the DriveThruRPG Newsletter. It's Monte's story and observations about the PDF revolution in the RPG industry, as seen from the eyes of a man who can truly be said to have started it all...

 

 

10 Years: From Idea to Industry

By Monte Cook

 

It started on my living room floor. That's where I sat, surrounded by a bunch of papers and things where I'd drawn up a plan. I sat with Sue, my wife, and my friend Bruce. I asked them, "If I price it at just 5 dollars, do you think maybe 50 people would buy it?"

 

Bruce said yes.

 

"100 people?"

 

He nodded, but seemed less sure. I was worried.

 

The year was 2001. We were talking about a short product that I had an idea for, called The Book of Eldritch Might. (I was a fan of the word "eldritch" being a fan of Dr. Strange from way back.) We were so leery not because of the product itself, however, but because of its format and delivery system. This would be an electronic-only product. A downloadable file. A pdf. I'd only heard that acronym a few times before, back at Wizards of the Coast.

 

Most don't remember this, but Wizards had tried to sell electronic products back in 2000. One was a Dark Matter supplement, The Final Church, released as a pdf for sale, and the other a Star*Drive product, The Externals, created as a hybrid pdf/html product. The revenue and interest generated was negligible for Wizards of the Coast, and the whole idea was scrapped. (It was because of these early failures that Wizards of the Coast only reluctantly entered into the electronic market, and only very, very late.) But I had heard through the grapevine that the pdf products had sold at least a thousand downloads. More importantly, I saw a bit later that Wizards of the Coast was having wild success with free (pdf) downloadable products, particularly adventures. Miguel Duran's Burning Plague adventure, for example This was an important development because, had hundreds of thousands of downloads. It was likely the most accessed 3rd edition adventure ever. This meant that the 3rd Edition D&D audience was very accustomed to using pdf products. I was intrigued.

 

In April of 2001, I left Wizards of the Coast. I intended to work freelance while trying to figure out a way to get my own material published. This idea of a downloadable product was still in my head. I could write it, Sue could edit it, my friend JD could provide some artwork, but how would I actually sell and deliver it?

 

And most importantly, would anyone buy it?

 

Well first things first. One night soon after I was on my own, I stayed up all night, scouring the Internet. I looked for someone else doing what I wanted to do. I found very little. A company named 0one Games was selling an adventure, S. John Ross was producing a handful of downloadable game products, and that was about it. None of them used a payment or delivery method that I liked or thought I could use. (And a fact that would become important later, they were all different.)

 

Eventually, I found a company online that hosted downloadable patches for software and a few other kinds of small electronic products. They weren't selling anything like what I was considering, so their main storefront did me no good. I'd have to point to the product's sales page entirely on my own.

So I had the means to sell and deliver it. But would anyone buy it? Would anyone ever even find out about it? I worried that people would find the format unweildy. And I worried that people would not know or understand Malhavoc Press (the name of my new little company).

 

As a test, after the launch of montecook.com, we immediately hosted a free pdf, a 4-page presentation of an alternate ranger class. I was excited when it flew off the virtual shelf. It was also interesting that when I realized that I had made an error in the product, it was easy to change it and simply make a new, error-free version available. (The last time I checked, the alternate ranger had been downloaded almost 200,000 times.)

But what I still didn't know was, would anyone actually find such a thing worth spending money on?

 

The Book of Eldritch Might

 

My fears were put to rest the day The Book of Eldritch Might released: May 27th, 2001. Those 100 copies I wondered if I would sell over the life of the product? We sold more than that in the first hour. In fact, in the first day, we sold 1,000 copies. And, as a little bit of trivia, our very first customer was a guy by the name of Eric Noah, who founded what would eventually become ENWorld. That site would become crucial to our ability to get the word out about our new products.

 

The day after its release, two different print publishers contacted me interested in putting The Book of Eldritch Might into print. I made a deal with the one that contacted me first, Sword and Sorcery, a newly created imprint of White Wolf Publishing.

 

It quickly became obvious that pdfs were a viable format for releasing products. Many, many people emailed me to tell me that they didn't like it, that they wanted print books, that it was awful having to print the thing out, and so on. But the sales figures showed that there were plenty of people who did like it and were happy with it.

The next few days and weeks were a blur. Malhavoc Press became my primary professional concern, and not too long thereafter we would realize that we could afford to have Sue quit her job so that she could work full time on Malhavoc as well.

 

Meanwhile, others began assembling and pdf rpg products as well. Small companies like RPGObjects, Anubium, Bard's Productions, Thunderhead Games, and many more began to produce RPG pdfs, while others already in the market producing print products jumped in with pdfs as well, like Mongoose, Mystic Eye, and Bastion Press, to name just a few. But everyone was having to reinvent the wheel on how to host, sell, and deliver these things. Just as important, there was no centralized hub for pdfs. Customers didn't know where to go to look for new releases. We longed for a pdf store where all our "books" could be on a "shelf" together.

 

RPGNow

 

It was just later that same year that James Mathe created RPGNow, a storefront for gaming pdf products. I must admit, I was skeptical at first. I didn't know James, and I wasn't sure that RPGNow would last. I also didn't know if Malhavoc's support of RPGNow would help them more than the reverse, for we were certainly selling a lot of products on our own, and experiencing a lot of web traffic. And I may have been right about that latter fact, at least right then, but soon RPGNow became a go-to destination for rpg products in electronic form.

 

Eventually, RPGNow would even make a deal with Wizards of the Coast to sell products from older editions of D&D or other out of print materials. Soon "RPGNow" became synonymous with "gaming pdfs." Making it onto one of their top 10 lists was often considered to be a sign that a company or an author had truly arrived.

 

Experiments with the Form

 

As the electronic format grew, we saw a lot of experimentation the form. Screen-friendly layouts (usually landscape oriented) and printer-friendly versions of books (low on art and graphics so as not to burn through your ink cartridge) became popular. Bookmarks became essential, as did the option to be able to copy/paste from the document.

 

A question arose amid all of this. Did pdfs need to feel like the rpg books that came before them--with a cover, a back cover, art throughout, and so forth? Or was it its own medium. One of the pioneers in creating pdfs that were not anything like books, Phil Reed of Ronin Arts, created a great many very short, very utilitarian, very inexpensive pdf products. This sort of product, often offering a small number of feats or magic items, a single new class or monster, and so on, became a model that many publishers adopted and was very successful. Most of the stime, these products were 99 cents or a dollar. Before this, the standard price for a pdf had been 5 dollars. I always found this amusing because I'm pretty sure that's because The Book of Eldritch Might had been 5 dollars. But of course, I had no idea how to price that originally, and just went with the cheapest price my vendor at the time would accept.

 

Other explorations of what pdfs could do took a very different path. Some publishers, like SkeletonKey Games and Fiery Dragon, released terrain tiles and counters. This was innovative because these high-quality artistic products could be printed out over and over again--very useful to players and GMs (and, I suppose, to printer ink manufacturers).

 

Meanwhile, Back at Malhavoc Press

 

Throughout the next few years, we published a number of smaller products, both in print and pdf. I was struggling with a number of conventional retailers, who claimed that making things available electronically would ensure that the product would never sell in print. Others condescendingly claimed that now that I had a deal in place to publish in print, I should give up this silly little pdf publishing. Sales figures on both sides proved them all wrong. There was a market for both versions of each product we produced, making it a very exciting time for us. With the OGL, the number of new publishers entering both sides of the market, the whole industry was a vibrant place.

 

For our part, we did less to innovate the presentation of pdfs, instead focusing on larger and more deluxe products. In 2003, Monte Cook's Arcana Unearthed was our largest pdf at 256 pages, but was soon undone by the even more deluxe, full-color Arcana Evolved in 2005, at 432 pages. We worried that these products would be too large to be desirable as electronic files, or that their deluxe nature would make people want a print version only, but again our worries were unfounded. Features like cut/paste, bookmarks and in particular the searchability of electronic books made them extremely useful in using large books.

 

Rise of the Ebook

 

Soon the pdf industry fueled such a busy marketplace that other vendors appeared to create new places for customers to find product. In 2005, DriveThruRPG (and its associated sites like DriveThruComics, DriveThruFantasy, and so on) appeared. DriveThru's interesting take on the pdf phenomenon was to encourage existing print publishers to make their existing books, including (and perhaps especially) older, out of print material available to gamers. I can tell you that the most compelling reason for a publisher to do this is that it means that nothing ever goes out of stock or out of print. One of the most frustrating things, from a publisher's point of view, is when a customer wants to buy their product but can't because it's not on the right store shelf at the right time. With pdfs, the product is always on the shelf all the time.

 

That's fantastic.

 

White Wolf Publishing, Game Designer's Workshop, FASA, Chaosium, and other long-time fan favorites made their products into pdfs through DriveThru. To entice leery publishers, DriveThru implemented piracy-protection features into their products, but these proved to be very unpopular with customers and eventually such measures were removed.

Steve Wieck of DriveThru even managed to convince Wizards of the Coast to sell new products in pdf form. (I played a very small role in those negotiations as well.) Eventually, however, the company would decide to stop selling those pdfs. DriveThru quickly became the market leader in pdf sales, and eventually, that site and RPGNow would merge into a single company, OneBookShelf.

 

In the non-game world, the latter years of the decade saw a revolution in traditional publishing, and the emergence of the ebook as a viable format for regular fiction and nonfiction became undeniable. Ebook readers like Amazon's Kindle, Barnes and Noble's Nook, and related apps on smart phones and iPads made ebooks accessible to everyone. They made them easy and even fun to use. The general public discovered what many gamers had known for a few years--that electronic books offer advantages in storage and usability that traditional books cannot. While many find that there is a certain kind of satisfaction in holding and reading a print book (and there's nothing wrong with that--I have a large library of them myself), e-readers and tablets make ebooks almost as nice to read. Some people prefer them.

 

Today

 

In 2005, we at Malhavoc Press launched our most ambitious product ever: Ptolus, Monte Cook's City by the Spire. This huge, ultra-deluxe product was a single tome, but by that point we knew the value of electronic books and included a CD-Rom with each print edition that contained support products, additional material, and some of the same material found in the book itself so that it could be printed out as needed. We eventually released Ptolus as a number of individual pdfs divided up by topic, but due to customer demand (and the fact that the print book sold out rather quickly) we also made the entire book available as a single pdf for those that wanted it.

 

After Ptolus, the number of products from Malhavoc Press slowed considerably, but we have produced a few things such as The Books of Experimental Might. I do enjoy keeping my hand in rpg design even as I work on other kinds of writing.

The advent of 4th Edition D&D and its more restrictive license meant that the number of publishers producing support for the game shrank, although many continued to use the OGL to create pdfs compatible with 3rd edition as well as Paizo Publishing's Pathfinder game. Now, pdf publishers continue to make more and more interesting products available each day, which if compared to how things were just 10 years ago is quite astonishing itself.

 

And looking to the future, we see that the whole marketplace has come full circle. With the advent of print on demand publishing, or POD, products that were pdfs can be delivered to customers as high quality print books. Which means that not only are pdfs always "on the shelf," but print books can be on the "virtual" shelf all the time as well. At Malhavoc, we're excited and proud to have Monte Cook's Arcana Evolved, the Complete Book of Eldrtich Might, and other products available once again as print books thanks to POD. Soon, we'll be able to even add Ptolus to that list, which is very exciting.

 

In 2001, I tried very hard to spread the word that electronic publishing was the wave of the future. While I was scoffed at numerous times, I stuck with that opinion. And now I'm proud to say that the future I envisioned is here. I will admit, however, that if you would have found me that night I scoured the Internet looking for a way to sell my first pdf, and told me that 10 years later people would refer to the rpg pdf industry, or that the marketplace would be able to sustain many different gaming pdf storefronts, with dozens of new products available each week, even I would have likely doubted you. It's been an interesting 10 years, to say the least. I'm happy and proud to have been a part of it.

Here's to another 10 years for Malhavoc Press, gaming ebooks, and gaming in general. As I said all those years ago: "Go PDF!"

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知識詛咒
« 回帖 #2 于: 2020-10-11, 周日 17:35:01 »
https://wiki.mbalib.com/zh-tw/%E7%9F%A5%E8%AF%86%E8%AF%85%E5%92%92

1990年伊麗莎白·牛頓(Elizabeth Newton)在斯坦福大學所做的關於一個簡單遊戲的研究。在這個遊戲中,她把參與者分為兩種角色:“敲擊者”和“聽眾”。每個敲擊者會拿到一張有25首名曲(針對美國人民)的清單,例如《祝你生日快樂》和美國國歌《星條旗永不落》,每位敲擊者要做的事情就是從中挑選一首並通過敲桌子把這個節奏敲給聽眾聽,然後讓聽眾根據敲擊的節奏猜出歌曲。

  這個遊戲聽起來很簡單,但是實際情況卻是很艱巨。在伊麗莎白的實驗過程中,敲擊者敲出了120首曲子的節奏,而聽眾僅猜出了其中的2.5%,也即120首裡的3首。更有趣的是,在聽眾猜歌曲名前,伊麗莎白讓敲擊者預測聽眾猜對的概率,他們預測概率為50%。

  敲擊者傳遞的信息40次中才有1次被理解,但是他們認為2次就有1次,為什麼呢?

  當一個敲擊者敲打的時候,他聽到的是他腦子裡的歌曲。因為他知道那首歌的歌名,比如說“祝你生日快樂”,於是他的腦海裡一直在迴圈著這首歌——不可能避免在腦中聽到曲調。但是對聽眾來說,他的腦袋裡沒有“歌名”這個信息,他不知道這首歌具體是什麼,也就聽不到這個曲調——他們所能聽到的僅是:嗒,嗒嗒,嗒嗒嗒。

  做一個敲擊者很難。問題在於敲擊者已擁有的知識(歌曲題目)讓他們想像不到缺乏這種知識會是什麼情形。當他們敲擊的時候,他們不能想像聽眾聽到的是那些度裡的敲擊聲而不是一首曲子。這就是“知識的詛咒”。

知識詛咒的相關場景
  物理學家兼哈佛大學教育學家埃裡克.馬祖爾認為,對某事瞭解得越多,把它教授給其他人的難度就越大。

  《復仇者聯盟3》中滅霸曾對鋼鐵俠說,你不是唯一一個被知識所詛咒的人!

  從心理學上來說,知識詛咒是因為我們認為這個很容易,地球人都知道。為什麼會這樣的呢?因為我們對我自己已經掌握、已經熟悉、已經理解的東西會在價值觀假設上,會做出錯誤的估計。

  家長教孩子寫作業:
  沒有一個陪孩子寫作業的媽媽不得心梗的。

  老員工指導新下屬:
  比如說工作中佈置工作任務,你講了一百遍,下屬還是沒聽懂,交上來的結果總是讓人不滿意。

  教師傳授學問:
  教師通常會受知識詛咒錯覺的影響——認為微積分非常容易的教師,在面對剛接觸這一科目或是學不好這一科目的學生時,就不能從學生的角度考慮問題/“知識詛咒”。


知識詛咒的原因
  1.心智模型發生變化。心智模型改變了知識的記憶背景。

  當你在某些領域成為專業人士或專家後,你的心智模型就會發展得更為複雜,而組成心智模型的步驟也會淡化成記憶背景(知識詛咒)。

  以一個物理學家為例,她可以創造一個由物理規律構成的心智模型庫(或認知系統),解決在工作中遇到的各種問題,比如運用牛頓運動定律。她會傾向於用這些基本的規律來解決問題,而新手則靠問題錶面特點的相似性將其分門別類,例如問題中涉及的裝置(滑輪、斜面等)。某一天,當物理學教授要講物理學入門知識的時候,她會講怎樣用牛頓力學中的知識來解決特定問題,而忘了她的學生還沒有熟練掌握自己早已形成心智模型的基本步驟。教授假設她的學生會輕鬆地聽懂複雜的課程,因為在她看來,這些都是極其基礎的。

  2.認知錯誤。

  教授假設她的學生會輕鬆地聽懂複雜的課程,因為在她看來,這些都是極其基礎的——這就是元認知錯誤,是對她知道的東西和她學生知道的東西之間匹配程度的誤判。

  馬祖爾說,最瞭解學生們在接受新概念上有什麼困難的不是教授,而是其他學生。這是為什麼呢?因為他們心智模型相同、認知相近。


如何打破知識詛咒
  方法一

  1、明確學習對象:學習的接收者是他而不是你。

  2、換位思考問題:不要只從個人的角度,而要從學習者從他人的角度來看問題。

  3、尋找溝通方法:從學習者的角度構思溝通方法。

  這個方法實際上不僅僅適用於知識的傳授,概念的講解、也適用信息的傳遞、經驗的傳承、觀念的溝通、認知的交互等。

  實際上,上面的步驟可以理解為:改變心智模型,消除認知偏差,獲得同頻同理。

  方法二

  1. 搭臺階

  善於借用對方已知的信息來減少這個知識和信息斷層。

  這種通過類比等方式,借用對方已知的信息來減少這個斷層方法我們並不陌生。在認知心理學中,我們稱為用基模(基模由我們記憶中預先存儲的海量信息組成),基模可以提供深度的簡單。

  當然如果你發現你們雙方的認知不僅是斷層,而是一個深坑,你除了用類別的方法外,還可以採用拆分這種搭臺階的方式,化複雜為簡單。這有點像我們小時候搭積木的過程,比如我們在課程設計中就經常採用這種方法,或按邏輯線拆分,或按要素線拆分,有效篩選出關鍵信息,逐步給予對方相關的信息知識,這樣對方既容易理解,也不會因為一開始太難而失去興趣。

  當然,有人在使用這個方法時會糾結於是準確優先,還是易懂優先;我個人判斷的標準是一定要回歸到溝通的對象和目的。否則準確而無用的觀點,終究還是無用的。

  2. 接地氣

  A:善於用大白話提煉分享複雜信息

  這裡指的大白話不是沒有養分的口水話,而是能把你的核心思想用大家易懂易記的方式表達出來,即我們把問題說得深入淺出。   B:善於用具體作為抽象的基礎

  我們很小時候都有這樣學算術的經驗,10-3=?你學起來可能不那麼快;但如果給你設個場景,比如我給你10個蘋果,你吃了3個,還剩幾個?這樣更容易學習。

  研究人員把這類提問方法稱為“語境算術”,用具體作為抽象的基礎,不僅適用於數學教學,而且是人類理解的基本原理。溝通當中我們碰到抽象不好懂的概念和問題時,用理論解釋理論,從抽象到抽象往往會讓大家更糊塗,但你這時舉個具體的例子,講個故事,跨專業的人就很容易理解。

  還有很多時候,你還可以充分借用語言之外的方式增加理解,比如實物的模型或使用的場景;比如高新技術介紹時,你光說自己的技術如何先進讓人無感,但如果你能展示一個個具體使用的場景,甚至加上互動和體驗更容易讓用戶瞭解、記憶和決策。

  3. 善觀察

  有了“搭臺階,接地氣”這些招式策略,那咱啥時候用呢?

  A:提前預判準備

  很多溝通者在準備和分享自己的專業領域知識時容易過度沉浸在自己的世界中,但往往忽視了溝通交流是一個跳雙人舞的過程,無論對象是誰,都是一個套路,確實容易陷入“不看對象,對牛彈琴”的困境中。

  B:現場觀察調整鍛鍊自己溝通中的雙核處理能力。

  在專註於自己溝通目的和內容的同時,還要關註聽眾的反應,特別是聽眾中的關鍵人物。他們的一些微小身體語言的變化,比如皺眉、註意力轉移、提出讓你再解釋一下等都在給你早期或中期信號。