1 . If at first you don’t succeed, as the old saying goes, try, try again. Good advice, up to a point. But let me offer a _________: even when you do succeed, try, try again. Tempting as it is to declare victory and move on, in many endeavors there is much to be said for rethinking an apparently satisfactory formula.

Consider the advice for job interviews in Talent, a new book by economist Tyler Cowen and venture capitalist Daniel Gross. They suggest asking a(n) _________ question, such as “give me an example of when you resolved a difficult challenge at work.” Then ask for another example. And another. The pat answers will be _________ quickly, and the candidate will have to start improvising, digging deep — or perhaps admit to being stumped.

Indeed, one way to describe this tactic is that the interviewer is asking for answers in _________ rather than for answers in series. Instead of stringing together a logical sequence of 17 questions, the interviewer is asking for 17 different answers to the same question.

While that approach is _________ in job interviews, it is common practice among designers. They often produce several _________ attempts to meet a given brief, rather than immediately focusing on what seems to be the best idea. In doing so, the designers force themselves to _________ the full range of possibilities, to avoid the risk of committing too early to a concept that seems attractive but may _________ be a dead end.

A striking example of parallel design is the creation of the Windows 95 startup sound. Microsoft was looking for an opportunity to _________ the audio capabilities of the computers of the day, so it is commissioned the famed music producer Brian Eno to do so.

Eno recalls receiving a brief, asking for music that was “inspirational, sexy, driving, provocative, nostalgic... there were about 150 __________. And then at the bottom it said, ‘and not more than 3.8 seconds long’”.

Eno describes himself as being “completely bereft of ideas” at the time. He found the brief both hilarious and inspiring. In the end he __________ more than 80 tiny pieces of music. The final result was a musical signature that has stood the test of time and was one that helped to creatively liberate Eno. “It really __________ a logjam in my own work,” he told The San Francisco Chronicle.

Bill Burnett and Dave Evans, in their delightful book Designing Your Life, suggest an exercise in which you sketch out a vision for the next five years of your life. What will you be doing? Where will you live and with whom? Are you hoping to run a marathon? Start a business? Write a novel?

This is often a straightforward act of __________, but what makes the exercise excruciating is what comes next: Burnett and Evans ask you to do it again, only this time, you’re to write an entirely different projection — the idea at the heart of the plan is one that is completely forbidden: Forcing yourself to go back to the __________ board, not only a second, but a third time.

I’ve tried this myself and seen others try it. People squirm. They protest. Sometimes they cry. And then, sooner or later, the ideas start pouring out.

We all contain __________. But we don’t always let them see the light of day. Perhaps we should try producing answers in parallel more often. Even when you do succeed, try, try again.

Modern media is awash in advertising clutter(杂乱), and who’s to blame? Modern audiences that hate conventional full-length and full-size ads.

Today’s consumers don’t like to pay for content, which ought to create a rich environment for advertisers. Yet these same consumers are prone to click or turn away when a conventional ad appears. The result is ad clutter.

YouTube     1    a combination of full-length ads, skippable ads, lower-screen banners and display ads on the page alongside each video. Newspapers that once considered the front page important now     2    run ads there.

Advertisers integrate plugs(推销) into content to frustrate digital video recorders, which allow viewers to watch programs on a delay and skip regular commercials. If you watch regional telecasts of baseball games, the commercial clutter is so     3    . Ads are visible on the stadium wall behind the home-plate umpire(裁判). On-screen graphics include sponsor logos. And everything is a paid plug--“This call to the coach’s zone is brought to you by Verizon.”

According to the showbiz paper Variety, several streaming services are about to introduce a new twist: commercials that start running whenever a viewer pauses a program. Hulu intends to launch such ads this year. AT&T’s DirecTV and U-verse units will     4    use similar technology to trigger full-motion commercials whenever a viewer tries to take a break.

There’s a lot at stake. According to Variety, National Football League(NFL) TV broadcasts generate an estimated $4.35 billion in ad revenue during the 17-week regular season. NFL     5    are now loaded with mini commercials that pop up when there is a brief pause in the action, often in “double boxes” that show a view of the field in one frame and a(n)    6    in the other.

Interestingly, with no “screen” to work with, radio is one medium that has tried for some time to buck the trend. Many commercial stations trade clutter for clusters--that is, a solid block of commercials running five minutes or more, followed by lengthy commercial-free     7    of time.

But wherever a screen is involved, or a printed page, ad clutter is     8    everywhere. Programmers and advertisers can’t really be expected to limit this; it’s a fact of business. Consumers, on the other hand, can opt for commercial-free content--if they’re willing to pay for it.

But getting limitless content without paying while also being     9    heavy advertising intrusions is impossible. As media environment is permanently cluttered, audiences should be     10    with what they wish for.

7 . A study of teenage girls’ selfie-taking (自拍) behaviors found that taking and sharing selfies on social media is not linked to poor body image or appearance concerns. However, when adolescent girls spend too much time struggling over which photo of themselves to post, or rely heavily on editing apps to alter their images, there may be cause for concern.

The study, by researchers at the University of Arizona, found that selfie editing and time invested in creating and selecting the perfect selfie were both related to self-objectification, which led to body shame, appearance anxiety and more negative appearance evaluations in teen girls. “Self-objectification is the idea that you come to think of yourself as an external object to be viewed by other people,” said senior study author Jennifer Aubrey, an associate professor at the UA.

Based on a study of 278 teenage girls, “Our main finding was that we really shouldn’t be too worried about kids who take selfies and share them; that’s not where the negative effects come from. It’s the investment and the editing that yielded negative effects,” Aubrey said. “Selfie editing and selfie investment predicted self-objectification, and girls who self-objectify were more likely to feel shameful about their bodies or anxious about their appearance.”

“Self-objectification is the pathway to so many things in adolescence that we want to prevent,” Aubrey said. “So, interventions really should focus on how we can encourage girls to develop an awareness of themselves that doesn’t only depend on what they look like to other people.” The researchers said parents and caregivers of adolescent girls should be aware that if a teen seems to be obsessed (痴迷的), it might be time for a talk.

The researchers also note that there can be different motivations for sharing selfies. “Selfies are a part of the media landscape, but you should post them for reasons other than trying to get people to admire your appearance or your body.” Aubrey said. With an estimated 93 million selfies taken each day, they aren’t going away anytime soon, nor should they. The important thing to remember is: Selfies aren’t bad. Just don’t obsess.