ÈǸ¢ÇÑ ÀÛ¾÷ÀÌ ³ª¿À´Â ȯ°æ¿¡ ´ëÇÑ Èï¹ÌÀÖ´Â °æÇè´ãµé, ¾Æ¸®¼ÛÇÏ°í ¿ª¼³ÀûÀÎ, ±× ¾Ë¼ö ¾ø´Â ¾ç»óµé. (¹ø¿ª: À̱¤±Ù)


Knuth, Brooks, ±è¿ë¿Á, Feynman, Eco, Grenier, Hilty, Botton, Hamming, ±î¸£¶ì¿¡, Çï·»ÄÌ·¯, ¾çÇý±Ô, Ç㿵¸¸, Google, ¼­³²Ç¥, ¹öÁö´Ï¾Æ ¿ïÇÁ

Donald E. Knuth


³» Àλý¿¡¼­ Á¦ÀÏ Ã¢ÀÇÀûÀ̾ú´ø ÀϵéÀ» ²ÅÀ¸·Á°í ȸ°íÇØ º¸¸é, ±×°ÍµéÀÌ ¸ðµÎ ¾î´À ÇÑ ½ÃÀý, °¡Àå ¸¹Àº Á¦¾àÁ¶°Ç°ú À⹫·Î Ä¡ÀÌ°í ÀÖ¾ú´ø ½Ã±â¿¡ ÀϾ¾ú´Ù´Â °ÍÀ» ¾Ë°ÔµÈ´Ù. ¿¹¸¦ µé¾î 1967³âÀÌ µÇ°Ú´Âµ¥, ±× ÇØ´Â ³» Àλý¿¡¼­ °¡Àå Á¤½Å¾ø´ø ½ÃÀýÀ̾úÁö¸¸ µ¿½Ã¿¡ ³» ¿¬±¸Áß¿¡¼­ Áß¿äÇÏ´Ù°í Æò°¡¹Þ´Â ¸¹Àº °á°úµéÀÌ »ù¼Ú¾Ò´ø Çà¿îÀÇ ÇØÀ̱⵵ ÇÏ´Ù. ¼Ó¼º ¹®¹ý (attribute grammar), Å©´©½º-º¥µñ½º ¿Ï¼º (Knuth-bendix completion), LL(k)ÆÄ½Ì (LL(k) parsing) µîÀÌ ¸ðµÎ ±× ÇØ¿¡ ³ª¿Â ¾ÆÀ̵ð¾îµéÀÌ´Ù. »ç½Ç ±× ÇØ¿¡ ³ª´Â ¿¬±¸ÇÒ ½Ã°£ÀÌ ¾ø¾ú´Ù. ¾²°íÀÖ´ø Ã¥(The Art of Computer Programming)ÀÌ °ð ÃâÆÇÀ» ÁغñÇÏ°í ÀÖ¾ú°í, ž ¾Ö±â µÑÀ» ¾Æ³»¿Í ÇÔ²² µ¹ºÁ¾ß Çß°í, Àá±ñ ÀÔ¿ø±îÁö Çϱ⵵ Çß¾ú°í, Caltech¿¡¼­ÀÇ °­ÀÇ ÀÌ¿Ü¿¡ ¿Ü±¹ÀÇ ´Ù¼¸ ³ª¶ó¿¡¼­ ´Ù¼¸°¡Áö ´Ù¸¥ ÁÖÁ¦·Î °­¿¬ÇÏ·¯ ´Ù´Ï±âµµ Çß¾ú´Ù. ÇÏÁö¸¸ ±×·¯¸é¼­µµ ³»°¡ ÇÒ ¼ö ÀÖ´Â ÇÑ ÃÖ´ë·Î ¿¬±¸ ½Ã°£À» ÂÉ°³³»·Á°í ³ë·ÂÇß´Ù. ÇѹøÀº, ÇÐȸ¿¡ Âü°¡Çؼ­´Â ´ëºÎºÐÀÇ ³í¹®¹ßÇ¥ ¼¼¼ÇÀ» »©¸Ô°í Çغ¯¿¡ °¡¾É¾Æ¼­ ³» ¿¬±¸¿¡ ¸ôµÎÇϱ⵵ Çß¾ú´Ù. ±× ½ÃÀýÀ» »ý°¢Çϸé Á¾Á¾ Àǹ®ÀÌÀδÙ, ³»°¡ ±× ÇØ¿¡ º¸´Ù ´õ ¾ÈÁ¤ÀûÀ̾ú´Ù¸é ¾î¶®À»±î, ³» ¿¬±¸°¡ °ú¿¬ ´õ »ý»êÀûÀ̾úÀ»±î ´ú »ý»êÀûÀ̾úÀ»±î?

ÀÌ·¯ÇÑ ³» °æÇè¿¡ ºñÃß¾î º¼ ¶§ ¿¬±¸¼Ò¸¦ Á¦ÀÏ Àß ¿î¿µÇÒ ¼ö ÀÖ´Â ¹æ¹ýÀº, ¿¬±¸Áøµé¿¡°Ô ÁÁÀº ¿¬±¸½Ç¸»°í ´Ù¶ô¹æ°°Àº ÇüÆí¾ø´Â °÷¿¡¼­ Áö³»µµ·Ï ÇÏ°í, ½ÉÇÏ°Ô´Â ¿¬±¸¿Í °ü·Ã¾ø´Â Àϵé±îÁö ½ÃÅ°´Â °ÍÀÌ´Ù. ÀÌ»óÇÑ ¹æ½ÄÀ̱ä ÇÏ°ÚÁö¸¸, ±×·¯ÇÑ Á¦¾àÁ¶°ÇÀ» ¸¸µé¾î ³õÀ¸¸é ÃÖ´ëÀÇ Ã¢ÀÇ·ÂÀÌ ¼Ú¾Æ³ª´Â °ÍÀÌ »ç½ÇÀÎ°Í °°´Ù.


If I look back at my own life and try to pick out the parts that were most creative, I can't help but notice that they occurred when I was forced to work under the toughest constraints. For example, 1967 was surely the most hectic year of my life, but that was the year when I was lucky enough to come up with several ideas that are now considered important, like "attribute grammar" and "Knuth-Bendix completion" and "LL(k) parsing." I actually had no time to do research that year, because The Art of Computer Programming was nearing publication, and my wife and I had two babies to take care of, and I needed to be hospitalized briefly, and I gave lectures in five countries on five different subjects, in addition to the classes I was teaching at Caltech. Yet I stole time to look at new things whenever I could; for example, at one conference I remember that I skipped most of the lectures so that I could sit on the beach and do research. I often wonder whether I would have been more productive or less productive if my life had been more stable that year.

My experiences suggest that the optimum way to run a research think tank would be to take people's nice offices away from them and to make them live in garrets, and even to insist that they do non-researchy things. That's a strange way to run a research center, but it might well be true that the imposition of such constraints would bring out maximum creativity.


Donald E. Knuth, [Things A Computer Scientist Rarely Talks About], CSLI Publications, 2001, pp.82-83.
ÃÖ»ó±ÞÀÇ ÀÎÀçµéÀÌ ¸ðÀÎ ¿¬±¸¼ÒÀÏ ¶§, ¶ó´Â °¡Á¤ÀÌ ÀÖ¾î¾ßÇÏÁö ¾ÊÀ»±î? ±×¸®°í, "Á¦¾àÁ¶°Ç°ú À⹫"¶ó°í ¹ø¿ªÇغ¸¾ÒÁö¸¸, (Å©)´©½º ¼±»ýÀÌ ¾ê±âÇϽô "constraints"¶ó´Â °ÍÀÌ ±Þ¼ö°¡ ²Ï ³ôÀº À⹫°¡ ¾Æ´Ò±î Ȥ½Ã?

Frederick P. Brooks, Jr.


´Ù¸¥ ¿¹¼úÀ̳ª °ø¿¹ ºÐ¾ß¸¦ »ìÆìºÁµµ ¼ö·Ã/ÀýÁ¦/ÅëÁ¦/¼ö¾ç/Çü½Ä À̶ó´Â °ÍÀÌ ÁÁÀº ¿ªÇÒÀ» ÇÏ´Â °æ¿ì°¡ ¸¹´Ù. ÇÑ ¿¹¼ú°¡ÀÇ ÀÏ°¥ÀÌ ÀÖÁö¾Ê´ø°¡, "Çü½ÄÀÌ ÀÚÀ¯¸¦ °¡Á®¿À¸®¶ó." °ÇÃà¿¡¼­ ÃÖ¾ÇÀÇ °Ç¹°µéÀº ±× ÀÌÀ¯°¡ ¸ðµÎ ±× ¸ñÀû¿¡ ¸ÂÁö¾Ê°Ô dz¼ºÇÑ ¿¹»ê¶§¹®À̾ú´Ù. ¹ÙÇÏÀÇ °æ¿ì ¸ÅÁÖ Á¦ÇÑµÈ ¾ç½ÄÀÇ Ä­Å¸Å¸¸¦ ÀÛ°îÇØ¾ß ÇÑ´Ù´Â Á¦¾àÀÌ ±×ÀÇ Ã¢ÀÇÀûÀÎ ÀÛ¾÷À» °¡´ÉÇÏ°Ô ÇßÀ¸¸é ÇßÁö ¾ï´©¸¥ °Í °°Áö´Â ¾Ê´Ù. È®½ÅÇϰǵ¥ IBMÀÇ [Stretch ÄÄÇ»ÅÍ]ÀÇ °æ¿ì Á»´õ Á¦¾àÀÌ ¸¹¾Ò¾ú´Ù¸é ´õ ÈǸ¢ÇÑ Á¦Ç°ÀÌ µÇ¾úÀ» °ÍÀÌ´Ù. ¹Ý´ëÀÇ °æ¿ì·Î, [System/360 Model 75]ÀÇ ÈǸ¢ÇÑ ¸é¸ð´Â [System/360 Model 30]ÀÇ ¿¹»ê¶§¹®¿¡ ¹ß»ýÇÑ Á¦¾àÁ¶°ÇÀÌ ¾ø¾ú´Ù¸é °¡´ÉÇÏÁö ¾Ê¾ÒÀ» °ÍÀ¸·Î ³­ º»´Ù.

ºñ½ÁÇÑ °æ¿ì·Î ³»°¡ °Þ±â¿¡, ÄÄÇ»ÅͽýºÅÛÀ» ±¸ÇöÇÏ´Â ÆÀÀÇ Ã¢ÀǼºÀÌ ¿ÀÈ÷·Á Áõ´ëµÇ´Â °æ¿ì´Â, µðÀÚÀÎÆÀ°ú ±¸ÇöÆÀÀÌ ¸íÈ®È÷ ±¸ºÐµÇ¾î À־ ±¸ÇöÆÀÀº µðÀÚÀÎÆÀ¿¡°Ô¼­ºÎÅÍ µðÀÚÀÎÀ» Àü´Þ¹Þ´Â Á¶Á÷±¸Á¶¿¡¼­ ³ªÅ¸³µ´Ù. ÀÌ·¸°ÔµÇ¸é ±¸ÇöÆÀÀº ´©±¸µµ ¸Â´Ú¶ß¸®Áö ¾Ê¾Ò´ø ¹®Á¦µé¿¡ °ð¹Ù·Î ÁýÁßÇÒ ¼ö ÀÖ°í, ±×·¯¸é¼­ âÀÇÀûÀÎ ¹ß¸íµéÀÌ ¹°È帣µí Èê·¯³ª¿À°ÔµÈ´Ù. ±×·±µ¥, ±¸ÇöÆÀÀÌ ÀÚÀ¯·Ó°Ô µðÀÚÀαîÁöµµ ÇÏ´Â Á¶Á÷ÀÌ µÇ¹ö¸®¸é, ´ëºÎºÐÀÇ ±Ã¸®¿Í ³íÀïÀº ½Ã½ºÅÛÀÇ µðÀÚÀÎ »çÇ׵鿡 ´ëÇØ ½ñ°ÔµÇ°í ¸·»ó ±¸Çö ÀÚü´Â ¼ÒȦÈ÷ ¾Æ¹«·¸°Ô³ª Ãë±ÞµÇ°ÔµÈ´Ù.


There are many examples from other arts and crafts that lead one to believe that discipline is good for art. Indeed, an artist's aphorism asserts, "Form is liberating." The worst buildings are those whose budget was too great for the purposes to be served. Bach's creative output hardly seems to have been squelched by the necessity of producing a limited-form cantata each week. I am sure that the Stretch computer would have had a better architecture had it been more tightly constrained; the constraints imposed by the System/360 Model 30's budeget were in my opinion entirely beneficial for the Model 75's architecture.

Similarly, I observe that the external provision of an architecture enhances, not cramps, the creative style of an implementing group. They focus at once on the part of the problem no one has addressed, and inventions begin to flow. In an unconstrained implementing group, most thought and debate goes into architectural decisions, and implementation proper gets short shrift.


Frederick P. Brooks, Jr. [ The Mythical Man-Month: Essays on Software Engineering, anniversary edition], Addison Wesley, 1995, "Chapter 4: Aristocracy, Democracy, and System Design," pp.46-47.

±è ¿ë¿Á


õÇÏ¿¡ ÂѱâÁö ¾Ê°í ³ª¿À´Â ¸í¹®(Ù£Ùþ)À̶ó°í´Â ¾ø´Ù.

Richard P. Feynman


³»°¡ 1940³â´ë¿¡ ÇÁ¸°½ºÅÏ´ëÇп¡ ´Ù´Ò¶§ ÇÁ¸°½ºÅÏ °íµî¿¬±¸¿ø(Institute of Advanced Study)¿¡ ÀÖ´ø ´ë´ÜÇÑ µÎ³úµé¿¡°Ô ÀϾ ÀÏÀ» °üÂûÇÒ ¼ö ÀÖ¾ú´Ù. °íµî°úÇпøÀÇ °úÇÐÀÚµéÀº ¾öû³­ µÎ³ú ¶§¹®¿¡ Ưº°È÷ ½ºÄ«¿ôµÇ¾î ÃÖ´ëÇÑ ÀÚÀ¯·Ó°Ô ¿¬±¸ÇÏ°í »ý°¢ÇÒ ¼ö Àִ ȯ°æÀÌ ÁÖ¾îÁ³´Ù: ½£¼ÓÀÇ ¸ÚÁø Áý¿¡ »ì¸é¼­ ¿ÀÁ÷ »ý°¢ÇÏ°í ¿¬±¸¸¸Çصµ µÇ´Â ²Þ°°Àº ȯ°æ, °­ÀÇÀÇ Àǹ«µµ ¾øÀÌ, ¾î¶°ÇÑ Àǹ«Á¶Ç×µµ ¾Æ¹«°ÍÀÌ ¾ø´Â. ÀÌ µüÇÑ ¶Ç¶óÀ̵éÀÌ ¾É¾Æ¼­ ¸í·áÇÑ ÀÌÄ¡µéÀ» ¸ðµÎ ±×µé ½º½º·Î ÀÚÀ¯·Ó°Ô »ý°¢ÇÒ ¼ö Àִ ȯ°æÀ̾ú´Ü ¸»ÀÌ´Ù. ±×·¯´Ùº¸´Ï ÀÌ»óÇÏ°Ôµµ ±×µé¿¡°Ô¼± Çѵ¿¾È ¾Æ¹« ¾ÆÀ̵ð¾îµµ ³ª¿ÀÁö ¾Ê¾Ò´Ù: ¹º°¡¸¦ ÇÒ ¼ö ÀÖ´Â ¸ðµç ±âȸ°¡ ÁÖ¾îÁ³´Âµ¥ ¾î¶² ¿¬±¸¾ÆÀ̵ð¾îµµ ³ª¿ÀÁö ¾Ê¾Ò´Ü ¸»ÀÌ´Ù. ³»°¡ ¹Ï±â¿¡ ÀÌ·¯ÇÑ »óȲ¿¡¼­´Â ¸ðÁ¾ÀÇ ÁËÀÇ½Ä È¤Àº ¿ì¿ï°¨ÀÌ ½º¸Ö½º¸Ö ¸¾¼Ó¿¡ ÀϾ°Ô µÇ°í, Ȥ½Ã ¿¬±¸¼º°ú°¡ ¾øÀ¸¸é ¾î¶»°ÔÇϳª °ÆÁ¤ÇÏ°Ô µÇ ÀÖ´Ù. ±×¸®°í, ¾Æ¹«Àϵµ ÀϾÁö ¾Ê´Â´Ù. ¾ÆÁ÷µµ ¾Æ¹« ¾ÆÀ̵ð¾îµµ ³ª¿ÀÁö ¾Ê°íÀÖ´Ù.

¾Æ¹«Àϵµ ÀϾÁö ¾Ê´Â ÀÌÀ¯´Â ÁøÂ¥ ÀÏ°ú ÁøÂ¥ µµÀüÀÌ ÃæºÐÈ÷ ¾ø±â ¶§¹®ÀÌ´Ù: Á¤¸»·Î ÀÏÀ» ÇÏ´Â »ç¶÷°ú Á¢ÃËÇÏ´Â Àϵµ ¾ø°í, ÇлýµéÀÇ Áú¹®¿¡ ¾î¶»°Ô ´äÇØ¾ß ÇÏ´ÂÁö¿¡ ´ëÇؼ­ ±Ã¸®ÇÒ ÇÊ¿äµµ ¾ø¾ú´Ù. ¾Æ¹«°Íµµ ¾ø¾ú´Ù!


When I was at Princeton in the 1940s I could see what happened to those great minds at the Institute for Advanced Study, who had been specially selected for their tremendous brains and were now given this opportunity to sit in this lovely house by the woods there, with no classes to teach, with no obligations whatsoever. These poor bastards could now sit and think clearly all by themseleves, OK? So they don't get an idea for a while: They have every opportunity to do something, and they're not getting any ideas. I believe that in a situation like this a kind of guilt or deprerssion worms inside of you, and you begin to worry about not getting any ideas. And nothing happens. Still no ideas come.

Nothing happens because there's not enough real activity and challenge: You're not in contact with the experimental guys. You don't have to think how to answer questions from the students. Nothing!


Richard P. Feynman, [Surely You're Joking, Mr. Feynman!], 1985, "Part 4: From Cornell to Caltech, with a touch of Brazil. The Dignified Professor," pp.165.

Umberto Eco


¼¼°è âÁ¶ÀÇ ÀÛ¾÷À» ÀÚÀ¯·Ó°Ô Çϱâ À§Çؼ­´Â Á¦¾à Á¶°ÇÀ» ¸¸µé¾î ½É¾î µÑ ÇÊ¿ä°¡ ÀÖ´Ù. ½Ã¿¡¼­ ÀÌ·¯ÇÑ Á¦¾à Á¶°ÇÀº À½·ü, °¢¿î, À²µ¿ÀÇ ÇüÅ·Π½Ã ¼Ó¿¡ ÀÚ¸®¸¦ Àâ´Â´Ù. ÀÌ°ÍÀÌ À̸¥¹Ù "µè´Â ±Í¸¦ À§ÇÑ ¿î¹®(verse according to ears)"À̶ó´Â °ÍÀÌ´Ù.
¿òº£¸£Åä ¿¡ÄÚ, ['Àå¹ÌÀÇ À̸§' âÀÛ ³ëÆ®], ÀÌÀ±±â ¿Å±è, ¿­¸°Ã¥µé, 2003³â, pp.44.

Jean Grenier


»çȸ ±¸Á¶ ±× ÀÚü, Ä«½ºÆ®ÀÇ ±¸ºÐ, º¹ÀâÇÑ Àǽĵé, »çȸ¿¡ ÀÇÇÏ¿© °³ÀÎÀ», Á¾±³¿¡ ÀÇÇÏ¿© Àΰ£À» Áþ´©¸£´Â ¸ðµç °Í, [Áß·«] ±× ¸ðµç °Íµµ Á¤½ÅÀ¸·Î ÇÏ¿©±Ý ±×ÀÇ °¡Àå ±ÍÁßÇÑ Àוּé·ÎºÎÅÍ ÇعæµÇ°Ô ÇÏ°í, Á¤½ÅÀÌ À̼ºÀÇ ¹ÛÀ¸·Î µµ¾àÇϵµ·Ï µµ¿ÍÁÖ´Â µ¥ ¹Ýµå½Ã ÇÊ¿äÇÑ ÇϳªÀÇ <ÀåÄ¡>¶ó´Â »ý°¢À» ÇÏ¸é ¸¶À½¼Ó¿¡ ¿­±¤ÀûÀÎ °ø°¨ÀÌ ¼Ú¾Æ¿À¸¥´Ù. [Áß·«]

´Ïü´Â ¸»ÇÑ´Ù. <¼è»ç½½À» Â÷°í ÃãÀ» Ãßµµ´Ù.> ÀÌÅä·Ï °­·ÂÇÑ ±¸¼ÓÀº µ¿½Ã¿¡ ±×¿¡ ¹ö±Ý°¡´Â ÇعæÀ» ³º´Â´Ù´Â °ÍÀÌ ¹Ù·Î ±× ±¸¼ÓÀÇ Àǹ̰¡ ¾Æ´Ï°Ú´Â°¡?


Àå ±×¸£´Ï¿¡, [¼¶], ±èÈ­¿µ ¿Å±è, ¹ÎÀ½»ç, 1997³â, pp.141-142.

Carl Hilty


¶Ç ¾î¶² »ç¶÷Àº ¾î¶² °¨ÈïÀÌ ¼Ú¾Æ³ª´Â °ÍÀ» ±â´Ù¸®´Âµ¥, ±×·¯³ª °¨ÈïÀ̶ó´Â °ÍÀº ÇÑâ ÀÏÇÒ ¶§ °¡Àå Àß ÀϾ´Â °ÍÀÌ´Ù. ÀÏÀ̶ó´Â °ÍÀº ±× ÀÏÀ» ÇÏ´Ù º¸¸é ÃÖÃÊ¿¡ ±¸»óÇß´ø °Í°ú´Â ´Þ¶óÁö´Â °Ô º¸ÅëÀ̸ç, ¶Ç ÈÞ½ÄÀ» ÃëÇÏ°í ÀÖÀ» ¶§´Â Á¤½Å¾øÀÌ ÀÏÇÏ°í ÀÖÀ» ¶§¿Í °°Àº ÃæÁ·µÈ, ¶§·Î´Â Á¾·ù°¡ ´Ù¸¥ Âø»óÀ» ¾ò±â¶õ ¾î·Á¿î ÀÏÀÌ´Ù. ÀÌ°ÍÀº ³ª¿¡°Ô À־´Â ÇϳªÀÇ °æÇèÀû »ç½ÇÀÌ´Ù.
Ä® ÈúƼ, [ÀÏÇÏ´Â ±â¼ú] (¿ÍŸ³ªº£ ¼îÀÌÄ¡, [ÁöÀû»ýÈ°ÀÇ ¹æ¹ý], ±è¿í ¿Å±è, ¼¼°æºÏ½º, 2000³â, pp.174-175. ¿¡¼­ ÀοëµÊ)

Alain de Botton


Á¤½ÅÀº ÀÚ½ÅÀÌ ÇØ¾ß ÇÒ ÀÏÀÌ ¿ÀÁ÷ »ý°¢»ÓÀÏ ¶§´Â Á¦´ë·Î ±× ÀÏÀ» Çس»Áö ¸øÇÏ´Â °Í °°´Ù. ¸¶Ä¡ ³²ÀÇ ¿ä±¸¿¡ ÀÇÇØ ³ó´ãÀ» Çϰųª ´Ù¸¥ »ç¶÷ÀÇ ¸»Åõ¸¦ Èä³» ³»¾ß ÇÒ ¶§Ã³·³ ±»¾î¹ö¸°´Ù. ±×·¯³ª Á¤½ÅÀÇ ÀϺΰ¡ ´Ù¸¥ ÀÏÀ» ÇÏ°í ÀÖÀ» ¶§´Â ¿Ü·Á »ý°¢µµ ½¬¿öÁø´Ù. ¿¹¸¦ µé¾î À½¾ÇÀ» µè°í ÀÖÀ» ¶§³ª, ÁÙÁö¾î ´Ã¾î¼± ³ª¹«µéÀ» ´«À¸·Î ÁÀÀ» ¶§. ¿ì¸® Á¤½Å¿¡´Â ½Å°æÁõÀûÀÌ°í, °Ë¿­°ü °°°í, ´çÀåÀÇ À̵濡 ÈÛ¾µ¸®´Â ºÎºÐÀÌ Àִµ¥, ÀÌ ºÎºÐÀº ÀǽĿ¡ ¹º°¡ ¾î·Á¿î °ÍÀÌ ¶°¿À¸¦ ¶§¸é »ý°¢À» Â÷´ÜÇØ ¹ö¸®°ï ÇÑ´Ù. ÀÌ °Ë¿­°üÀº ±â¾ïÀ̳ª °¥¸ÁÀ̳ª ³»¼ºÀûÀÌ°í µ¶Ã¢ÀûÀÎ °ü³äµéÀº µÎ·Á¿öÇϸ鼭 ÇàÁ¤ÀûÀÌ°í ºñÀΰÝÀûÀÎ °ÍµéÀ» ÁÁ¾ÆÇÏ´Â °æÇâÀÌ ÀÖ´Ù. À½¾ÇÀ̳ª dz°æÀº ÀÌ·± Á¤½ÅÀÇ °Ë¿­°üÀÌ Àá½Ã ÇÑ´«À» ÆÈ°Ô ÇÏ´Â °Í °°´Ù.
¾Ë·© µå º¸Åë, [¿©ÇàÀÇ ±â¼ú] p.83. "¿©ÇàÀ» À§ÇÑ Àå¼Òµé¿¡ ´ëÇÏ¿©" + [µ¿¹°¿ø¿¡ °¡±â] p.19. "½½ÇÄÀÌ ÁÖ´Â ±â»Ý".

Richard Hamming


´ëºÎºÐÀÇ »ç¶÷µéÀÌ »ý°¢ÇÏ´Â ÃÖ°íÀÇ ¿¬±¸È¯°æÀº ÃÖ°íÀÇ ¿¬±¸È¯°æÀÌ ¾Æ´Õ´Ï´Ù. ºÐ¸íÈ÷ ¾Æ´Ï¿¹¿ä. ¿Ö³ÄÇϸé, ÀÚÁÖ ÀÖ´Â ÀÏÀε¥, »ç¶÷µéÀÌ ¿¬±¸ ¼º°ú°¡ Á¦ÀÏ ÁÁÀº ¶§´Â ÁÖ·Î ¿¬±¸È¯°æÀÌ ¾ÆÁÖ ³ª»¦À» ¶§¶ø´Ï´Ù. Ä·ºê¸®Áö ¹°¸®ÇÐ ¿¬±¸½Ç(Cambridge Physical Laboratories)ÀÌ ÁÁ¾Ò´ø ½ÃÀý Áß Çϳª´Â ¿¬±¸½ÇµéÀÌ ±×¾ß¸»·Î ÆÇÀÚÁýÀ̾úÀ» ¶§ ¿´½À´Ï´Ù. ±× ¶§ ±×µéÀº Áö±Ý±îÁö Áß ÃÖ°íÀÇ ¼º°ú¸¦ Àϱ¸¾î³ÂÁö¿ä.

³» °³ÀÎÀûÀÎ À̾߱⸦ ÇÏÁö¿ä. óÀ½ºÎÅÍ ³»°Ô´Â ºÐ¸íÇß¾î¿ä, º§ ¿¬±¸¼Ò(Bell Labs)°¡ ³»°³ ÇÁ·Î±×·¡¸ÓµéÀ» ºÙ¿©ÁÖÁö ¾ÊÀ» °Å¶ó´Â°Ô. ÀÌÁø¼ö·Î¸¸ ÄÄÇ»ÅÍ ÇÁ·Î±×·¥À» ÇÏ´ø ´ç½Ã·Î¼­´Â ±×·± ÇÁ·Î±×·¡¸ÓµéÀÌ Ç×»ó ÀÖ¾îÁà¾ß ÀÏÀ» ÁøÇàÇÒ ¼ö ÀÖ¾ú½À´Ï´Ù. ±Ùµ¥, ´ç½Ã º§ ¿¬±¸¼Ò¿¡¼­´Â ³»°Ô ±×·± ÆíÀǸ¦ ÁÖÁö ¾ÊÀ» °Å¶ó´Â °É ¾Ë¾ÒÁö¿ä. ±×·±µ¥ ±×°Ô ¸ðµç ¿¬±¸¿øµéÀÌ ÇÏ´Â ¹æ½ÄÀ̾ú¾î¿ä. ±×·± Áö¿øÀÌ °®ÃçÁø ¼­ºÎ·Î Á÷ÀåÀ» ¿Å°Ü°¡¼­ ºñÇà±âȸ»ç¿¡ ÃëÁ÷ÇÏ´Â °Í? ¹®Á¦¾ø¾úÁÒ. ÇÏÁö¸¸, º§ ¿¬±¸¼Ò¿¡´Â ÈïºÐµÇ´Â µ¿·áµéÀÌ ÀÖ°í ºñÇà±â ȸ»ç¿¡´Â ¾ø¾ú¾î¿ä. ÇÑÂü »ý°¢Çß¾î¿ä, ``³»°¡ ¿øÇÏ´Â °ÍÀÌ °¡´Â°Å³Ä ¸¶´Â°Å³Ä.'' ±×¸®°í´Â ³»°¡ µÎ ¼¼°èÀÇ ÃÖ°í ÁÁÀºÁ¡¸¸À» ¸ðµÎ °¡Áú ¼ö ÀÖ´Â ¹æ¾ÈÀÌ ¹ºÁö¸¦ »ý°¢ÇϰԵǾúÁö¿ä. ±×¸®°í´Â ¸¶Ä§³» ½º½º·Î¿¡°Ô ¸»Çß½À´Ï´Ù, ``ÇعÖ, ³× »ý°¢¿¡ ÄÄÇ»ÅÍ´Â ¸ðµç Áö ÇÒ ¼ö ÀÖ´Ù°í º»´Ù. ±×·³ ÄÄÇ»ÅÍ°¡ ¹Ù·Î ÇÁ·Î±×·¥À» Â¥µµ·Ï ¸¸µé ¼ö ¾ø°Ú³Ä?'' óÀ½¿¡´Â ´ÜÁ¡À¸·Î º¸ÀÌ´ø °ÍÀÌ ³ª·Î ÇÏ¿©±Ý ÀÚµ¿ ÇÁ·Î±×·¡¹ÖÀ» ÀÏÂġ ±Ã¸®ÇØ º¸µµ·Ï ¸¸µé¾ú´ø°Ì´Ï´Ù. ¸ÍÁ¡À¸·Î º¸ÀÌ´ø °ÍµéÀº ´ë°Ô °üÁ¡À» ¹Ù²Ù¸é ¿ì¸®°¡ °¡Áø ÃÖ°íÀÇ ÀÚ»êÁß Çϳª°¡ µÇ´Â °æ¿ì°¡ ¸¹½À´Ï´Ù. ±×·¯³ª óÀ½ ¸º´Ú¶ß¸®¸é ±×·¸°Ô »ý°¢ÇÏÁö ¾Ê°Ô µÇ°í ´ë°Ô ÇÏ´Â ¸»À̶õ°Ô, ``ÀÌ·±, ÃæºÐÇÑ ÇÁ·Î±×·¡¸Ó´Â ³» °ç¿¡ ¾øÀ» °Å°í, ÀÌ »óȲ¿¡¼­ ³»°¡ ÈǸ¢ÇÑ ÇÁ·Î±×·¥À» §´Ù´Â °ÍÀÌ ¾î¶»°Ô °¡´ÉÀ̳ª ÇϳƸ»¾ß.''

°°Àº Á¾·ùÀÇ À̾߱â´Â ¸¹ÀÌ ÀÖ½À´Ï´Ù. ±×·¹À̽º È£ÆÛ(Grace Hopper)ÀÇ °æ¿ìµµ ºñ½ÁÇÕ´Ï´Ù. ÁÖÀÇ±í¿¡ »ìÆ캸¸é ¾Ë°Ô µÉ°Ì´Ï´Ù. ÀÚÁÖ ÈǸ¢ÇÑ °úÇÐÀÚµéÀº ¹®Á¦¸¦ ¾à°£ µ¹·Á³õ°í º½À¸·Î½á ´ÜÁ¡À» ÀåÁ¡À¸·Î ¹Ù²ã¹ö¸³´Ï´Ù. ¿¹¸¦ µé¾î, ¸¹Àº °úÇÐÀÚµéÀº ¾î¶² ¹®Á¦¸¦ Ç® ¼ö ¾ø´Ù´Â °ÍÀ» ¾Ë°Ô µÇ¸é ¿Ö ±×·±Áö¸¦ »ìÆ캸°Ô µË´Ï´Ù. ±×¸®°í´Â ±× ¹®Á¦¸¦ ´Ù¸¥ ¹æ½ÄÀ¸·Î µ¹·Áº¸°í, ``ÇÏÁö¸¸ ¸»¾ß ¹°·Ð, ÀÌ°Ô ¹Ù·Î ±×°Ô ±×·±°ÅÁö'' ±×¸®°í´Â Áß¿äÇÑ ¼º°ú¸¦ ÀϱųÀ´Ï´Ù. ÀÌ»óÀûÀÎ ¿¬±¸ ȯ°æÀ̶ó´Â °ÍÀº Âü ¹¦ÇÕ´Ï´Ù. ¿ì¸®°¡ ¹Ù¶ó´Â ¿¬±¸È¯°æÀº ¿ì¸®¿¡°Ô Ç×»ó ÃÖ°íÀÇ ¿¬±¸È¯°æÀÎ °Ç ¾Æ´Õ´Ï´Ù.


What most people think are the best working conditions, are not. Very clearly they are not because people are often most productive when working conditions are bad. One of the better times of the Cambridge Physical Laboratories was when they had practically shacks ¡© they did some of the best physics ever.

I give you a story from my own private life. Early on it became evident to me that Bell Laboratories was not going to give me the conventional acre of programming people to program computing machines in absolute binary. It was clear they weren't going to. But that was the way everybody did it. I could go to the West Coast and get a job with the airplane companies without any trouble, but the exciting people were at Bell Labs and the fellows out there in the airplane companies were not. I thought for a long while about, "Did I want to go or not?" and I wondered how I could get the best of two possible worlds. I finally said to myself, "Hamming, you think the machines can do practically everything. Why can't you make them write programs?" What appeared at first to me as a defect forced me into automatic programming very early. What appears to be a fault, often, by a change of viewpoint, turns out to be one of the greatest assets you can have. But you are not likely to think that when you first look the thing and say, "Gee, I'm never going to get enough programmers, so how can I ever do any great programming?"

And there are many other stories of the same kind; Grace Hopper has similar ones. I think that if you look carefully you will see that often the great scientists, by turning the problem around a bit, changed a defect to an asset. For example, many scientists when they found they couldn't do a problem finally began to study why not. They then turned it around the other way and said, "But of course, this is what it is" and got an important result. So ideal working conditions are very strange. The ones you want aren't always the best ones for you.


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Google has long been the envy of blue-sky thinkers and innovators who admire its world-class and nonbureaucratic approach to innovation. But even Google needs limits. The company has announced it would begin using formal process to ensure that senior leaders give resources and attention to the right ideas. Don't assume that processes and constraints will inhibit innovation; they often accelerate it by focusing creativity and ensuring that funding finds projects with the highest returns. ... Just be sure that the process doesn't become a burden and squash innovative ideas with unnecessary bureaucracy.
"Put Constraints on Innovation", [Management Tips], Harvard Business Review, 2011

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[Çѱ¹ ±³À°¿¡ ³²±â´Â ¸¶Áö¸· Ãæ¾ð], p.30, 21¼¼±âºÏ½º, 2013

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âÀǼºÀ» À§Çؼ­´Â ÀûÀ»¼ö·Ï ÁÁ´Ù´Â »ç½ÇÀ» ±â¾ïÇÏÀÚ.
ÇÊ¿äÇÑ ¿¹»êÀ̳ª ÀÚ¿øÀÌ Àý¹Ý »ÓÀ̰ųª ¸¶°¨ ±âÇÑÀÌ °©Àڱ⠹ÝÀ¸·Î ÁÙ¾ú´Ù°í »ó»óÇغ¸¶ó. ¾î¶² Çõ½ÅÀûÀÎ °èȹÀ» ¼¼¿ì°Ú´Â°¡?

[Moonshot: What Landing a Man on the Moon Teaches Us About Collaboration, Creativity, and the Mind-set for Success], Richard Wiseman, 2019.

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¿À´Ã³¯ ±²ÀåÈ÷ ¸¹Àº °í¹é·Ï°ú ÀÚ±âºÐ¼®¼­µé¿¡¼­ ¿ì¸®°¡ ¾Ë°ÔµÇ´Â »ç½ÇÀÌ ÀÖ´Ù. õÀçÀûÀÎ ÀÛÇ°µéÀº °ÅÀÇ Ç×»ó ¹«Áö¹«ÁöÇÑ ¾î·Á¿òÀ» ±Øº¹ÇÑ °á°ú¶ó´Â °ÍÀÌ´Ù. ÀÛ°¡°¡ È¥½ÅÀ» ´ÙÇØ ¸¸µé¾î³»·Á´Â µ¥ ¸ðµç °ÍÀÌ °É¸²µ¹·Î ÀÛµ¿ÇÑ´Ù´Â »ç½ÇÀÌ´Ù. ´ë°³ ¹°ÁúÀûÀÎ °ÍµéÀÌ ±×·¸´Ù. °³´Â ¢°í, »ç¶÷Àº ºÒ¾¦ ³¢¾îµé°í, µ·Àº ÇÊ¿äÇÏ°í, °Ç°­Àº ¹«³ÊÁö°í. ´õ±º´Ù³ª, ÀÌ ¸ðµç °ÍÀ» ´õ Èûµé°Ô ÇÏ´Â °ÍÀº ¾Ç¸í³ôÀº ¼¼»óÀÇ ¹«°ü½ÉÀÌ´Ù. ¼¼»óÀº ½Ã/¼Ò¼³/¿ª»ç¸¦ ½á´Þ¶ó°í ºÎŹÇÏÁö ¾Ê´Â´Ù. ÇÊ¿äÇØÇÏÁö ¾Ê´Â´Ù. ¼¼»óÀº °ü½É¾ø´Ù. Ç÷κ£¸£°¡ ¾²°íÀÚÇÏ´Â ¾È¼º¸¶ÃãÀÇ ´Ü¾î¸¦ ã¾Ò´ÂÁö, Ä«¾Ë¶óÀÏÀÌ ÀÌ·± Àú·± »ç½Çüũ¸¦ Á¦´ë·Î Çß´ÂÁö °ü½É¾ø´Ù. ´ç¿¬È÷ ¼¼»óÀº °ü½É¾ø´Â °Í¿¡ µ·À» ¾²Áö ¾ÊÀ¸·Á°í ÇÑ´Ù. ÀÌ·¯´Ï ÀÛ°¡ Å°ÀÌÃ÷, Ç÷κ£¸£, Ä«¾Ë¶óÀÏÀº ƯÈ÷ ÇÑÂü ÀÛ¾÷ÀÌ ¿Õ¼ºÇÏ´ø ÀþÀº ½ÃÀý ¿Â°® ¾î·Á¿ò°ú Èѹ濡 ³«½ÉÇß°í ±«·Î¿öÇß´Ù. °íÅëÀÇ ÀúÁÖ¿Í ¿ïºÎ¢À½, ÀÌ·± °ÍÀÌ ±×µéÀÇ °í¹é·Ï°ú ÀÚ±âºÐ¼®¼­µé¿¡ µå·¯³ªÀÖ´Ù. 'ºñÂüÇÑ Á×À½¿¡ óÇÑ °­ÀÎÇÑ ½ÃÀÎ' -- ÀÌ°ÍÀÌ ±×µéÀÌ Áû¾îÁö´ø ³ë·¡´Ù.
And one gathers from this enormous modern literature of confession and self-analysis that to write a work of genius is almost always a feat of prodigious difficulty. Everything is against the likelihood that it will come from the writer's mind whole and entire. Generally material circumstances are against it. Dogs will bark; people will interrupt; money must be made; health will break down. Further, accentuating all these difficulties and making them harder to bear is the world's notorious indifference. It does not ask people to write poems and novels and histories; it does not need them. It does not care whether Flaubert finds the right word or whether Carlyle scrupulously verifies this or that fact. Naturally, it will not pay for what it does not want. And so the writer, Keats, Flaubert, Carlyle, suffers, especially in the creative years of youth, every form of distraction and discouragement. A curse, a cry of agony, rises from those books of analysis and confession. 'Mighty poets in their misery dead' -- that is the burden of their song.
From the essay "A Room of One's Own" in [Liberty], Virgina Woolf, Vintage Minis Series, Penguin Random House.

ReWork


"Á¦°¡ ½Ã°£/µ·/»ç¶÷/°æÇèµéÀÌ ÃæºÐÇÏÁö°¡ ¾Ê³×¿ä." ±×¸¸ ¡¡´ë¶ó. ÀûÀº°Ç ÁÁÀº°Å´Ù. Á¦¾àÀº ¿ì¸®¿¡°Ô À¯¸®ÇÏ´Ù. º¯ÀåÇÑ À¯¸®ÇÔÀÌ´Ù. ÇÑÁ¤µÈ ÀÚ¿ø¶§¹®¿¡ ¾î¶»°Ôµç ±×°Í¸¸À¸·Î ÀÏÇÒ ¼ö ¹Û¿¡ ¾ø´Ù. ³¶ºñÇÒ ¿©Áö°¡ ¾ø´Ù. ÀÌ°Ô ¿ì¸®¸¦ âÀÇÀûÀÌ µÇµµ·Ï ¸¸µç´Ù.
"I don't have enough time/money/people/experience." Stop Whinning. Less is a good thing. Constraints are advantages in disguise. Limited resrouces force you to make do with what you've got. There's no room for waste. And that forces you to be creative.
From "Embrace constraints"(p.67) in [REWORK: Change the Way You Work Forever], Jason Fried and David Heinemeier Hansson, Random House, 2010.