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, noted the following statistics: an estimated 80% of papers that are published in academic journals were never cited more than once. (In addition, self-citation accounted for up to 20% of all citations. It may not be a stretch to think that some of those solo citations came from the eponymous author[s].) On top of that, 10% of the academic journals probably got 90% of the citations.

Let me re-state this: 80 percent of studies that are peer-reviewed and published are (or were), it seems, so utterly useless that no one ever cites them more than once. ( In a follow-up study , estimates revealed that in the field of medicine, the percentage of papers without a single citation was about 46%; in the field of arts and humanities, an estimated 98% of papers go uncited.)

OK, so let’s pause for a moment and regroup. First, when I read/hear “thought leaders” (who shall remain nameless) claim to read all of the literature out there, I have to call BS. It’s simply not possible. Second, why would you want to? The above observations lead to the inevitable conclusion that most (by volume) of the published work on PubMed is barely fit to line the bottom of a bird cage.

(For the reader who nike roshe run 2015 price philippines smartphone
hearing that most published research is nonsense, it might be helpful to read nike free 5 sneaker news 2018
on the chicanery in the modern scientific publishing world.)

It’s not lost on us that a heavily cited paper can be worse than useless and a thinly-cited one can be invaluable. A keen eye and good mental models can only get one so far. With more and more papers published by the minute, just how much noise is generated in the current landscape? Our conservative calculations show that, “ these go to eleven .” To be sure, there’s still a formidable amount of information and knowledge waiting to be plucked from the literature. And a limited amount of time.

In 2015 I came to the realization that I was slipping. My “work” obligations, even with the huge reduction I deliberately made in exercise time, made it too difficult for me to keep up. The list of “To read” papers on my desktop was becoming an eyesore. I actually contemplated spending even more time on airplanes since that seemed to be best time for me to read. Yes, elective flights around the world just to read at 40,000 feet. The solution was obvious. I needed more brains. Literally more brains. So I hired them. Today, my practice employs a team of research analysts who are not just exceptionally bright and voracious consumers of literature, but also people who are so naturally curious (arguably the one skill I can’t really teach) that when you give them a problem, it’s just a matter of time until our collective knowledge on the topic will be increased.

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In pictures: Long-lost art unveiled

The Nazis claimed that degenerate art was the product of Jews and Bolsheviks, although only six of the 112 artists featured in the exhibition were actually Jewish.

The art was divided into different rooms by category - art that was blasphemous, art by Jewish or communist artists, art that criticised German soldiers, art that offended the honour of German women.

One room featured entirely abstract paintings, and was labelled "the insanity room".

"In the paintings and drawings of this chamber of horrors there is no telling what was in the sick brains of those who wielded the brush or the pencil," reads the entry in the exhibition handbook.

The idea of the exhibition was not just to mock modern art, but to encourage the viewers to see it as a symptom of an evil plot against the German people.

The curators went to some lengths to get the message across, hiring actors to mingle with the crowds and criticise the exhibits.

The Degenerate Art Exhibition in Munich attracted more than a million visitors - three times more than the officially sanctioned Great German Art Exhibition.

Some realised it could be their last chance to see this kind of art in Germany, while others endorsed Hitler's views. Many people also came because of the air of scandal around the show - and it wasn't just Nazi sympathisers who found the art off-putting.

Fritz Lustig was a young Jewish apprentice who went along to see the works of art. He says "they didn't seem to mean very much - if they were portraits they seemed to distort the faces... if they were things, they seemed to be quite different from what the things really looked like - I mean the word degenerate seemed to me to apply".

The exhibition went on tour all over Germany, where it was seen by a million more people.

Some of the art was later burned by the Nazis, and for many of the artists this was only the beginning of very hard times ahead.

But Petropoulos says that for some, being banned by the Nazis turned out to have a positive side.

"This artwork became more attractive abroad, or certainly in anti-Nazi circles it gained values because the Nazis opposed it, and I think that over the longer run it was good for modern art to be viewed as something that the Nazis detested and hated."

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