Feedback Funny Quotes

Some say Twitter is overrated. Some love it, others hate it. I guess it depends on what you've got, If you have guts to write a funny plot!

Maybe I should get a dog.” She looks to me for feedback. “I think you should do exactly what you want to do,” I tell her. “Let’s rob a bank,” she says. “I think you should get a dog.

Here’s another example. One of the central observations of myopia theory is that drunkenness has its greatest effect in situations of “high conflict”—where there are two sets of considerations, one near and one far, that are in opposition. So, suppose that you are a successful professional comedian. The world thinks you are very funny. You think you are very funny. If you get drunk, you don’t think of yourself as even funnier. There’s no conflict over your hilariousness that alcohol can resolve. But suppose you think you are very funny and the world generally doesn’t. In fact, whenever you try to entertain a group with a funny story, a friend pulls you aside the next morning and gently discourages you from ever doing it again. Under normal circumstances, the thought of that awkward conversation with your friend keeps you in check. But when you’re drunk? The alcohol makes the conflict go away. You no longer think about the future corrective feedback regarding your bad jokes. Now it is possible for you to believe that you are actually funny. When you are drunk, your understanding of your true self changes.

But if the same man is in a quiet corner of a bar, drinking alone, he will get more depressed. Now there’s nothing to distract him. Drinking puts you at the mercy of your environment. It crowds out everything except the most immediate experiences.2 Here’s another example. One of the central observations of myopia theory is that drunkenness has its greatest effect in situations of “high conflict”—where there are two sets of considerations, one near and one far, that are in opposition. So, suppose that you are a successful professional comedian. The world thinks you are very funny. You think you are very funny. If you get drunk, you don’t think of yourself as even funnier. There’s no conflict over your hilariousness that alcohol can resolve. But suppose you think you are very funny and the world generally doesn’t. In fact, whenever you try to entertain a group with a funny story, a friend pulls you aside the next morning and gently discourages you from ever doing it again. Under normal circumstances, the thought of that awkward conversation with your friend keeps you in check. But when you’re drunk? The alcohol makes the conflict go away. You no longer think about the future corrective feedback regarding your bad jokes. Now it is possible for you to believe that you are actually funny. When you are drunk, your understanding of your true self changes. This is the crucial implication of drunkenness as myopia. The old disinhibition idea implied that what was revealed when someone got drunk was a kind of stripped-down, distilled version of their sober self—without any of the muddying effects of social nicety and propriety. You got the real you. As the ancient saying goes, In vino veritas: “In wine there is truth.” But that’s backward. The kinds of conflicts that normally keep our impulses in check are a crucial part of how we form our character. All of us construct our personality by managing the conflict between immediate, near considerations and more complicated, longer-term considerations. That is what it means to be ethical or productive or responsible. The good parent is someone who is willing to temper their own immediate selfish needs (to be left alone, to be allowed to sleep) with longer-term goals (to raise a good child). When alcohol peels away those longer-term constraints on our behavior, it obliterates our true self. So who were the Camba, in reality? Heath says their society was marked by a singular lack of “communal expression.” They were itinerant farmworkers. Kinship ties were weak. Their daily labor tended to be solitary, the hours long.

THE SECOND CITY MANAGES to accomplish three things to accelerate its performers’ growth: (1) it gives them rapid feedback; (2) it depersonalizes the feedback; and (3) it lowers the stakes and pressure, so students take risks that force them to improve. For the first year, Leonard explains, The Second City’s goal is to get students used to anticipating negative feedback and to get them out of their own heads. This is about building confidence and creating a “safe” environment in which it’s OK to screw up. Then, second-year classes ratchet up the feedback, putting actors in a succession of situations where they will fail small in front of live crowds. It’s one thing for your coactor or director to tell you a joke is funny, but it’s entirely another to hear the pins drop when a live audience disagrees. Or conversely to hear wild cackling from the crowd at something that may have seemed like a bad idea on paper. Every laugh or lack thereof becomes a data point that the actors can use to better themselves. By embracing all these tiny failures, there is no actual failure.* In contrast, a typical acting class might spend an entire semester building up to a single performance. Students practice together in class, but they don’t know if the audience will like their show until the final day. And if the audience hates it, there’s nothing students can do.

longer think about the future corrective feedback regarding your bad jokes. Now it is possible for you to believe that you are actually funny. When you are drunk, your understanding of your true self changes. This is the crucial implication of drunkenness as myopia. The old disinhibition idea implied that what was revealed when someone got drunk was a kind of stripped-down, distilled version of their sober self—without any of the muddying effects of social nicety and propriety. You got the real you. As the ancient saying goes, In vino veritas: “In wine there is truth.

Best processor chip invented by human brain is the one that always keep on receiving Feedback, analysing it and then improve itself accordingly. Funny thing, lots of people using their brain they don't accept feedback, take it as criticism and in most cases do the opposite. Does that mean that our inventions are better than ourselves(in a sense that it correct our mistakes)!!!?

Roles are defined by their relationship to other roles. You’re not an older sibling until you have a younger sibling; you aren’t a mentor until you’ve got someone to “ment.” Although there are personality-driven aspects to roles—I’m the funny one, you’re the responsible one—roles have an effect on behavior that is independent of character. A role is like an ice cube tray into which you pour your personality. What you pour in matters, but so does the shape of the tray.

A student at a management school came up to a pretty girl and hugged her without any warning. The surprised girl said, “What was that?” The guy smiled at her, “Direct marketing!” The girl slapped him soundly. “What was that?!” said the boy, holding his cheek. “Customer feedback.

Critical feedback is the breakfast of champions. Defensiveness is the dinner of losers. Dharmesh Shah

Even the most basic CEO building blocks will feel unnatural at first. If your buddy tells you a funny story, it would feel quite weird to evaluate her performance. It would be totally unnatural to say, “Gee, I thought that story really sucked. It had potential, but you were underwhelming on the buildup and then you totally flubbed the punch line. I suggest that you go back, rework it, and present it to me again tomorrow.” Doing so would be quite bizarre, but evaluating people’s performances and constantly giving feedback is precisely what a CEO must do. If she doesn’t, the more complex motions such as writing reviews, taking away territory, handling politics, setting compensation, and firing people will be either impossible or handled rather poorly.

Megan was over at the Morgan brothers’ house, having a casual dinner with Drew and his brother, Alan. It was casual in the sense that there were only three courses and no ice sculpture. When Alan left the room to get dessert, Megan said, “If you don’t give me whatever’s in your pocket, I’m going to reach in there and grab it myself.” He got a devilish grin and threw his hands in the air. “Help yourself!” She reached in and found a ring. Not an engagement ring but a ring with a large stone in the middle. A cheap-looking stone. Megan frowned. “Is this plastic?” “It’s a mood ring,” he said. “I bought it at a carnival when I was a kid. I wore it to school once because I thought it was cool. I got my first black eye that day.” “You got bullied?” “Not exactly. The guy who punched me once got two right back.” She handed the ring back. “You can wear it now, if you want. You’re an adult. Nobody’s going to beat you up.” She made a fist and punched her palm. “Not if they don’t want me to tag in and finish the match.” He put the ring back in his pocket. “Never mind,” he said. She put her hand in his pocket and grabbed the ring back. “Don’t tell me to never mind. Why do you have this? Were you going to give it to me?” “I thought it would be funny,” he said. “You’re reading all those books Feather recommended, and you’re doing that thing where you name your emotions. I thought it would be funny if you had a mood ring to help you with that.” She tried on the ring. The only finger it fit was her ring finger, so she left it there. “I like it,” she said. “It’s not very funny, though. It’s actually kind of…” She was at a loss for words. It had been happening a lot lately. Coming up with words to describe feelings was much harder than being crass or sarcastic. “Romantic,” Drew said. “Yeah. I guess you’re right. It’s romantic.” She leaned over and gave him a kiss on the cheek. “Plus, now I know your ring size,” he said. They both looked down at her hand. She looked away. “For the future,” he said. “Relax. I don’t mean right now.” She looked at the ring again. It was changing colors. “It’s working,” she said. “It’s a heat-sensitive compound,” he said. “It doesn’t really tell you someone’s mood, just how warm their fingers are.” “But finger temperature means a lot,” she said. “I’ve been reading about the nervous system, and how everything works together in all these different feedback loops. When someone’s stressed, their hands get cold. Or when their hands get cold for some other reason, they might feel stressed and make up a story about why they feel that way. People make up a lot of stories to explain how they feel because it’s so confusing to not know, and sometimes we’d rather think it’s because of something bad than not know at all.” He looked down at the ring, which was still changing colors. “I had no idea.” “I’ll have to come into your clinic and give you some tips for putting your patients more at ease.” “You can’t do that,” he said. “It would really cut down on the screaming, which I have grown to love.” He gave her his mad scientist cackle. “You are so weird.” She kissed him again.