Pilnmēness nogurdinātie

Researchers (Bloom (1985), Bryan & Harter (1899), Hayes (1989), Simmon & Chase (1973)) have shown it takes about ten years to develop expertise in any of a wide variety of areas, including chess playing, music composition, telegraph operation, painting, piano playing, swimming, tennis, and research in neuropsychology and topology.

The key is deliberative practice: not just doing it again and again, but challenging yourself with a task that is just beyond your current ability, trying it, analyzing your performance while and after doing it, and correcting any mistakes. Then repeat. And repeat again.

There appear to be no real shortcuts: even Mozart, who was a musical prodigy at age 4, took 13 more years before he began to produce world-class music. In another genre, the Beatles seemed to burst onto the scene with a string of #1 hits and an appearance on the Ed Sullivan show in 1964. But they had been playing small clubs in Liverpool and Hamburg since 1957, and while they had mass appeal early on, their first great critical success, Sgt. Peppers, was released in 1967.

Malcolm Gladwell reports that a study of students at the Berlin Academy of Music compared the top, middle, and bottom third of the class and asked them how much they had practiced:

Everyone, from all three groups, started playing at roughly the same time - around the age of five. In those first few years, everyone practised roughly the same amount - about two or three hours a week. But around the age of eight real differences started to emerge. The students who would end up as the best in their class began to practise more than everyone else: six hours a week by age nine, eight by age 12, 16 a week by age 14, and up and up, until by the age of 20 they were practising well over 30 hours a week. By the age of 20, the elite performers had all totalled 10,000 hours of practice over the course of their lives. The merely good students had totalled, by contrast, 8,000 hours, and the future music teachers just over 4,000 hours.
// http://www.norvig.com/21-days.html

The eye is not a single frame snapshot camera. It is more like a video stream. The eye moves rapidly in small angular amounts and continually updates the image in one's brain to "paint" the detail. We also have two eyes, and our brains combine the signals to increase the resolution further. We also typically move our eyes around the scene to gather more information. Because of these factors, the eye plus brain assembles a higher resolution image than possible with the number of photoreceptors in the retina. So the megapixel equivalent numbers below refer to the spatial detail in an image that would be required to show what the human eye could see when you view a scene.
[...]
At any one moment, you actually do not perceive that many pixels, but your eye moves around the scene to see all the detail you want. But the human eye really sees a larger field of view, close to 180 degrees. Let's be conservative and use 120 degrees for the field of view. Then we would see 120 x 120 x 60 x 60 / (0.3 x 0.3) = 576 mega­pixels.
The full angle of human vision would require even more megapixels.

//http://clarkvision.com/imagedetail/eye-resolution.html

Electric charges are easily visible to human eyes, even though their motion is not. "Electricity" is not invisible! Never has been. When you look at a metal wire, you can see the charges of electricity which would flow during electric currents. They are silvery/metallic in color. They give metals their mirrorlike shine. Some metals have other colors as well, brass and copper for instance. Yet in all cases, the "metallic"-looking stuff is the metal's electrons. A dense crowd of electrons looks silvery; "electric fluid" is a silver liquid. And if metals weren't full of movable electrons, they wouldn't look metallic.

// http://www.eskimo.com/~billb/miscon/elect.html