Feeling good versus feeling young

A friend of mine posted to her Facebook page recently criticizing a whole category of ageist comments along the lines of “You’re only as old as you feel.”

It caught my interest in particular because I’d been mentally composing a post about how I just turned 58, but I’m not suffering the aches and pains that supposedly go along with getting old. My friend’s post reminded me that referring to this as “feeling young” is problematic. And yet, I find that I come down on the other side of this issue. Sure, there is a certain irrefutable accuracy to say that your age is the current year minus your birth year, but age is many things besides a mathematical calculation—at a minimum it’s a social construction, and also perhaps a collection of biological circumstances.

It’s true that what I mean—and what perhaps I should say—is I feel good. Better, in fact, than I’ve felt in years. I’m stronger, more flexible, and more agile than I’ve been in longer than I can remember. I move with more ease, more power, and more control. I have more endurance. I’m certainly more comfortable in my own skin.

A lot of this is just good luck, of course—good genes, avoiding serious injuries and serious illnesses so far.

Beyond good luck I credit my movement practice for most of the rest. Taiji. Walking and hiking. Running (merely an adjunct, but one I enjoy in particular). After years of lifting with machines to little noticeable effect I now do almost all my strength training with bodyweight exercises and am having much more success. (The main exception to pure bodyweight exercise is doing kettlebell swings for my high-intensity interval training, which I ought to write about because it seems to be doing some good, and is also quick and fun.) Push hands I wrote about recently. Animal movement ditto. So new I haven’t had a chance to write much about it yet, I did yoga for the first time last week.

But to bring this back full circle, I’m not so sure that it’s wrong to talk about “feeling young.” My friend is right—growing old is a privilege not everyone enjoys. It is indeed better than the alternative: dying young. But just as I can see her objections to denying age (as if refusing to acknowledge it meant something), I object to denying one’s felt experience. If someone says that they “feel young,” does an appeal to mere arithmetic justify correcting them?

Certainly I am not the only person to feel this way. There are always people trying to express health and fitness in terms of age. There are websites that will suggest a guess as to your physiological age vaguely based on your weight and your activity level. Various practitioners of various disciplines will measure specific things ranging from your maximum heart rate to the length of your telomeres and use the results to calculate a biological age.

They’re all pretty dubious, but I find that I do not object in principle to thinking and talking about concepts like health, fitness, and vitality in terms of age. Even though there are many unhealthy young people and many old people who are fit and vital, I think the notion resonates in a useful way.

As for me, I feel good. I also feel younger than I’ve felt in years.

Who has time for all that?

I gave up multitasking a long time ago. I realized that I’m not good at it, and started paying attention so that I could notice when I was doing it and stop.

As an aside, I should mention that there’s now quite a bit of research to show that nobody is good at multitasking, and that the people who think they’re good at it are even worse than the people who know they’re not.

Even though I’m more efficient doing one thing with complete focus and then going on to the next thing, that practice alone doesn’t solve the underlying problem that tempts people into multitasking: How else can I get everything done?

Half of the answer to that is the drearily obvious, “You can’t. What you can do is get a whole lot done, if you quit frittering away your time on trivial, pointless stuff, and apply your time doing the most important stuff.”

I know some people who are pretty good at that, and they are routinely way more productive than me or most other people.

But there’s more to it than that. Katy Bowman has been talking about one useful practice, suggesting that you “stack your life” by accomplishing multiple goals at once—something that sounds suspiciously like multitasking, but really isn’t.

I’ve actually been thinking about this quite a bit, wanting to articulate the difference for my own sake if no one else’s. My take on it, is that it has to do with what the limiting resource is for each activity.

There are a lot of limiting resources. Your hands are one—they can really only do one thing at a time (although my mom used to read, fan herself, and drink lemonade all at the same time, and felt like she was being very efficient). Location is another—something that can only be done in the kitchen can’t be stacked with an activity that can only be done in the garage or the gym or the grocery store. Other people are another—something that requires the presence of another person can’t be done without him or her. (Though it’s not that simple, as sometimes you can stack up the other people and get multiple things done with multiple people.)

In multitasking, the limiting resource is your attention, and what’s unique about attention is that many activities can be done with partial attention. That experience tempts us into thinking that attention is more divisible than it really is.

Washing dishes only takes partial attention, meaning that you can listen to the radio or a podcast and get full benefit out of both activities.

Driving is a more complex example. We know that driving sometimes requires your full attention. This is why talking on the phone is unsafe to do while driving—talking on the phone requires enough of your attention that doing so reduces your competence at driving as much as getting drunk does. (Talking to someone in the car with you is much less unsafe, because that person can see when the road conditions are such that you need your full attention and shut up. Just listening to something—the radio or a podcast—does not seem to cause the same problem, probably for reasons having to do with deep structures in the brain that prioritize social interactions.)

Even though there are plenty of activities that can be done with partial attention, most important activities require full attention to be done well.

Writing a blog post can be done with partial attention, but when I try to do it while simultaneously listening to a podcast, checking my twitter and facebook feeds, chatting with a friend on-line and another in-person, and answering the occasional email message, I don’t do it as well.

As I’ve worked to apply this lesson—noticing when I’m multitasking and then refocusing on the main thing I’m doing—I’ve learned something else: Many activities that don’t require full attention turn out better when I give it to them anyway.

Beyond that, I feel better when I give my full attention to whatever I’m doing.

It was the meditation practice that I adopted as part of my taiji practice that taught me this. First, it taught me the skill of paying attention, then it taught me that paying attention to what I was doing right now paid dividends, even when all I was doing was sitting or standing.

I’ve noticed it particularly with exercise. I used to distract myself from exercise with music or podcasts or games like Zombies, Run!, because I found exercise to be unpleasant drudgery that I only engaged in to the extent necessary to build and maintain a basic level of fitness. I don’t do that any more. It’s much better when I fully embody my exercise: I enjoy it more, I’m less prone to injury, and the exercise is more effective.

The more I do this—give my full attention to whatever it is I’m doing, whether it seems worthy of full attention or not—the more I find it worthwhile.

Downside: I’m falling behind on my podcast listening, because there are so few things were I feel like partial attention is all they deserve. Maybe I’ll find more, but at the moment I’m just about down to riding on the bus.

So, yes: Stack your life. If you can do one thing with your brain, one thing with your hands, and one thing with your feet all at the same time, go for it. But think twice before dividing your attention. If something is worth doing, it may well be worth your full attention, no matter how hard that makes it to get everything done.

Prairie Spiderweb

Play versus practice for diverse natural movement

In looking for ways to fill my day with diverse natural movement, one tactic I keep seeing suggested is play. It’s a compelling idea. More play will likely boost both the diversity of movement (because play is like that) and the quantity of movement (because play is fun).

I’ve been hesitating, because I already struggle to balance my desire for diversity with the worry that maximizing diversity will make it hard to improve any of the many things I want to improve at. I worry that play will put a heavy thumb on that balance, toward diversity and away from focus.

It’s a big deal, because we know how to get good at something: deliberate practice, as described by Anders Ericsson in a 1993 paper that I’ve talked about before. (For reference: Deliberate practice is a cycle of performing your skill, monitoring your performance, evaluating your success, and then figuring out how to do it better.)

One of the points that Ericsson makes in that paper is that deliberate practice is very different from other activities like work and play:

Work includes public performance, competitions, services rendered for pay, and other activities directly motivated by external rewards. Play includes activities that have no explicit goal and that are inherently enjoyable. Deliberate practice includes activities that have been specially designed to improve the current level of performance.

I will grant Ericsson his point in the case of work: If you’re getting paid, you’re probably not going to be creating opportunities to focus on the areas of your performance that are most in need of improvement; rather, you’ll try to maximize your use of skills and abilities you’ve mastered, so you can produce your best work as quickly as possible.

In the case of play, however, I beg to differ. Or rather, I observe that when Ericsson provides examples of “play” in the paper, he’s mostly talking about competitive and especially team-oriented play. Just like with work, the conditions—trying to win, trying not to let your team down—similarly incentivize arranging things to maximize your use of skills and abilities you’ve already mastered.

Serious competitive play is only one kind of play, though. There’s a lot of play that is only notionally competitive, as well as play that’s explicitly cooperative. These other sorts of play are at least as common as serious competitive play.

In my experience, these other sorts of play are full of deliberate practice.

I once saw a kid trying to jump a skateboard onto a low wall. In the time it took me to walk past (a minute or two), the kid repeatedly rolled his skateboard in a big loop tangent to the wall, attempted to make the jump, failed, and set up to try again. I don’t know how long he was going at it before I arrived or after I left, but I’ve rarely seen a more perfect example of deliberate practice: He was performing his skill, monitoring his performance, trying to figure out how to do it better, and then trying again.

In my experience, play involving a group people of various skills levels very often includes specific instruction and specific encouragement for the less-skilled players to learn and then practice a new skill. “You don’t know how to do a vault? Well, here’s one way. Try it a few times.”

So, I think I’m going to quit hesitating to emphasize “play” as a way to fit more, and more various, natural movement into my day. Like that kid on the skateboard, I’ll try to include some deliberate practice in my play. Of course, I still have my essential quandary: How do I thread the needle between focusing on one or a few things without losing the diversity? But that’s a problem for another day. My play can include as much focus as I choose to include.

Practice

Years ago, my dad pointed me to the seminal article by K. Anders Ericsson The Role of Deliberate Practice in the Acquisition of Expert Performance. From 1993, it’s the ur-text for all the later popularizers of the idea that it takes 10,000 hours of practice to get really good at something.

Of course, if you read the actual article, that’s not what it says at all. What it says is that it takes 10,000 hours of “deliberate practice” to acquire expert performance.

A friend of mine once objected strenuously to Ericsson’s term “deliberate practice,” on the grounds that we already have a perfectly good term for this set of activities: practice. If you weren’t doing what Ericsson called deliberate practice—if you weren’t monitoring your performance, evaluating your success, and trying to figure out how to do it better—then you weren’t practicing, you were just dicking around.

That being the case, you will not be surprised to learn that there was nothing new for me in Debunking the Myth of the 10,000-Hours Rule: What It Actually Takes to Reach Genius-Level Excellence. If, on the other hand, you have fallen into the popularizer’s trap, and started to imagine that spending 10,000 hours dicking around with something would make you an expert, there may be quite a bit for you to learn.

Having dug up my copy of the original paper and looked through it again was I was writing this post, I’m glad I did. It’s a great paper, and it’s good to be reminded of what practice really is.

I often figure that the time I spend writing is practice for getting better at writing—and sometimes it is. Sometimes I do monitor my performance, evaluate my success, and try to write a sentence or paragraph better. But, of course, that’s not the fun part. The fun part of writing is when you get immersed in the world of the story and the words just flow effortlessly—and any thought of monitoring, evaluating, and improving is deferred to some future editing phase.

And, unsurprisingly, Ericsson was there ahead of me:

Recent analyses of inherent enjoyment in adults reveal an enjoyable state of “flow,” in which individuals are completely immersed in an activity (Csikszentmihalyi, 1990). Similarly, analyses of reported “peak experiences” in sports reveal an enjoyable state of effortless mastery and execution of an activity (Ravizza, 1984). This state of diffused attention is almost antithetical to focused attention required by deliberate practice to maximize feedback and information about corrective action.

In contrast to play, deliberate practice is a highly structured activity, the explicit goal of which is to improve performance. Specific tasks are invented to overcome weaknesses, and performance is carefully monitored to provide cues for ways to improve it further. We claim that deliberate practice requires effort and is not inherently enjoyable. Individuals are motivated to practice because practice improves performance.

Yeah. Exactly.

And yet, there can be a certain kind of enjoyment in practice.

When I’m writing and I’m not in flow state, but rather am struggling—trying over and over again to get something right—that’s practice. And, granted, that’s not much fun—except that pretty often I do manage to get something just right. (Or at least, get something that’s better than I can do on an average day.) That’s fun.

It is perhaps even more obvious in my taiji practice, especially the qigong practice, where we do simpler moves than the movements of the taiji form, and where we do the same move over and over again. Those exercises are (or at least can be) practice. Doing the same movement a dozen times, watching how the instructor does it, trying to match his form—that’s practice. Creating a small variation with a goal of improving some specific aspect—that’s practice. And yet, it can be fun, too, if approached with a playful attitude. (Today I tried to do some of my single-leg standing practice with my eyes closed. I picked the easiest of the various single-leg standing exercises that we do, and still wasn’t very successful—I almost toppled over a couple of times. But it was amusing in a way—and in the course of just a few minutes, I became perceptibly better at standing on one leg with my eyes closed. That was fun.)

Practice. It’s not just for getting to Carnegie Hall.

Doing Taiji backwards

The Taiji form that we’re learning is handed. That is, many of the moves are not symmetrical left versus right. That seemed odd to me. In Aikido, each move has a left version and a right version and we always learned them both ways. My instructor says that some schools of Taiji do learn all asymmetrical moves as both left- and right- handed, but that most, including the version he’d learned, do not.

He told us a while ago that he’d added some mirror-image work to his own practice, and we even did a little bit in class. Many of the students resisted this, and we only did it a couple of times. Still, doing a mirror-image of the form seems like an obvious win to me, so I’ve just recently started to do so in my own practice.

What’s most interesting to me so far is the way doing mirror-image work makes me a beginner again. Not that my study of Taiji is at all advanced, but I had progressed beyond beginner—until this.

It’s a very different sort of being a beginner. When I was learning this form the first time, the hard part was simply learning how the moves went. In the time it took to learn what I was supposed to do, I worked through my coordination issues for executing the move. Doing the moves backwards, my experience is quite otherwise. I know how the move is supposed to go, but executing it backwards requires developing a whole new set of muscle memories. The practice exposes a part of the learning experience that was largely masked before—hidden by not knowing quite what I was supposed to do.

The whole thing is interesting enough that I’m sure I’m going to want to repeat this exercise on the long form, once I’ve gotten reasonably good at doing our short (9-movement) form backwards. I’m also going to have to think about other variations that might let me rediscover being a beginner in other ways.

The obvious varient would be to reverse the form in time—do it from the end back to the beginning. I’m not quite sure what the reverse of the kicks and stomps would be, but for the rest of it, working each form backwards would be straightforward enough. It’d certainly make me a beginner again.