I am wondering how universally useful these qualities are across disciplines. It might be interesting to consider each of the categories in a totally different field. Take dancing for example. I am very fond of Argentine tango, and will attempt to consider the article in light of it.
## Read the reference
It is very difficult to dance from written instuctions, but I think one hugely underappreciated resource is watching very intently great instructors dance basic movements. I did this in my early days, because it is very enjoyable entertainment when you apreciate this dance, and it was I think a large part of why I progressed rather quickly.
I could go on about this point, but I think there is a similar thing going on with humans and our mirror neurons when we watch others do something, to how we acquire spoken languages, and the recent wave of input-based language learning movements.
Another way to interpret this point might be to know the history of the dance, of Argentina, the broader dance communities and movements across the world, and the culture in general. The main advantage to this I think is to contextualize a lot of what you learn, and that the dancer becomes more immersed in the activity.
## Know your tools really well
Dancing involves some tools external to the dancer, like clothing and shoes, the dance floor of course, perhaps talcum powder to reduce friction, and most importantly the music.
While there is considerable advantage to be gained from wearing an outfit suited for dancing, there's a quick and hard cutoff as to how much knowing more about these things improve your dance. The same applies to the floor surface and so on.
But of these "tools", I think the biggest gain is found in familiarizing oneself with the music. Both gaining intuition about the structure of songs, melodies, and rhythms, but also gaining deeper insight and access to the emotions at play. Dancing is an opportunity to interpret all of these aspects of the song, and being familiar with the music, the medium that connects one with ones partner and also the thing you are trying to represent through movement, goes hand in hand with being able to execute the movements of the dance at all.
All of the points of the article apply here: the history of the music inform you of what the tango is all about, and of the different sounds and movements that are available to us today; the present, in the sense of what music is currently popular, and played live; limitations, in the sense of what different styles of tango music work with what sorts of movements and feelings; finally, the ecosystem is like a summary of all of the above, and something that people discuss at length in every milonga, like which orchestra they prefer, or which contemporary groups they like.
However, one thing that I think qualifies as a tool, although somewhat subtly, is the dancer's own body. I have not pursued this avenue very far yet, and am thrilled to realize that this is something I really ought to do. I know only a little bit about human anatomy, after strength training years ago. And as for my own body specifically, perhaps something like yoga, pilates, or calisthenics would be valuable.
## Read the error message / Break down problems
While there are no error messages in dancing, you definitiely feel when something isn't quite working out. If you're in a class and are trying to learn a step, it is crucial to be able to be critical of your own performance, and look for faults or inconsistencies.
Maybe a step feels a little off, like there's something awkward going on between you and your partner.
One thing I have noticed is that, if you are trying to go over a sequence of steps A-B-C-D, and something isn't quite working out at point C of the sequence, the soure of the error is usually actually somewhere in either point B, or perhaps already at point A.
This might remind some of looking at a stack trace of an error, and trying to figure out at which turn things went sideways. The problem is frequently not located exactly at the point where the error was actually raised.
## Don't be afraid to get your hands dirty
One of the dangers for any learner is calcifying into bad habits that were adopted at an early stage of learning. In order to break out of these, you have to be willing to abandon old guardrails, be uncomfortable over again, and to learn something over. This might be analogous to refactoring some kind of broken legacy code.
Growth is also possible through experimentation, abandoning old patterns in search of something new and potentially interesting. This also requires courage, and feels a lot like getting ones hands dirty, and applies to both programming and dancing and probably many other things alike.
## Always help others / Write / Status doesn't matter / Build a reputation
Since dancing is a communal activity, it is not so vital to be writing in order to be heard. But I still think that communication in this space is hugely valuable.
From what I have seen, any healthy dance community has great communication between the more experienced dancers and the less experienced ones. Unhealthy ones are often referred to as snobbish, The alternative, where there is a strong divide and exclusion from the top downward, are often referred to as snobbish, and I would characterize that as unhealthy. That sort of a scene will gradually wane from the high barrier of entry, and will wither and die if not already sufficiently large.
## Never stop learning / Have patience
Any tango dancer will tell you, no matter how experienced or accomplished they may be, that one never stops learning this dance. Even decades into ones journey, it is extremely common to hear dancers say that they're still working on their walk - which also happens to be more or less the very first thing you learn in your very first class.
## Never blame the computer
In a dance that famously requires two people, it is very easy for a lot of people to blame one's partner when something goes wrong. I think it is much more valuable to take the opposite approach, and always look to what you can improve in your own dancing, whether you are a leader or a follower, long before attempting to throwing accusations and corrections at your partner.
There may of course eventually come a breaking point, at which you want to raise some questions and explore together for a solution. But to immediately correct your partner, before they've even had a chance to correct themselves, is never a good approach in my opinion.
## Don't guess
I think this one is hard to stick to rigidly when learning how to dance. If you want to be completely sure of a movement before you try it out, you'll forever remain paralyzed. We all have to do some guessing in the beginning, trusting that our muscles move us through space in about the right way as the dance is supposed to be performed.
However, these guesses that we make are frequently wrong, and result in incorrect technique and bad habits which must be weeded out and corrected before they calcify too much.
So while I think not guessing at all is impossible, I think we really should not underestimate the value of any means available to us for correcting incorrect guesses that we have made and accumulated. These include someone more experienced than us that we trust, or private lessons from tutors who know what they're talking about.
## Keep it simple
It is funny, but this exact piece of advice is also so very frequently heard in tango classes. As you progress and learn and acquire vocabulary in tango, speaking now mainly about leaders, it is very easy to want to use it all and throw every shiny new step and sequence you know at the poor follower that you've convinced to join you on the floor.
Many also are nervous and afraid of the silence that comes with not moving all the time, and keep leading step on every beat in order to never make it seem like they're running out of ideas.
But in actual fact, it can be wildly better to relax, and do simple steps well, with tasteful pauses aligned with the music, than to hurriedly toss around every step that you know.
## My own final thoughts
Despite the fact that code is run on computers, and dance is performed by humans, I think this analogy holds really well. If you think about it, dancers are just meat robots performing fuzzy instructions written to their brain by themselves and dance instructors, or whatever they've acquired by watching others dance. You could summarize as follows the mapping in this analogy:
Spec The goal that the dance-student is aiming for
Code Steps that have been acquired by a dancer (maybe imperfect)
Runtime A night out on the dance floor
Error Improper technique
Programming Learning and improving as a dancer
Programmer Learner/teacher
I think an interesting insight here is that both the learner and the teacher play a role as the "programmer". A learner that is totally passive and lacking in introspective ability will perhaps not learn as quickly. So, the points of the article are applicable to both of these parties.
For any autodidacts out there, that last part is good motivation to reflect some more on the points of this blog post.