The form is fuckugly, too. At least it's somewhat consistent, though.

Human eyes have a viewport that's like a mailslot, though. A lot of screens are a compromise between area and a movie screen like wide immersive image.

CRTs might have actually liked being nearly hemispherical because glass and deflection-from-center.

That's the one that always broke something down the line leading to a stream of reverts and retries?

Some smaller doses of friction include not putting icons of entertaining apps on home screen or removing such apps entirely and e.g. using a browser if you need a particular service. Making sure unlock requires entering a (long) code. Making the colour scheme dull, maybe B&W mode. Removing notification permissions as much as possible. Turning off notifications on lock screen.

BP died in 1662 and that's a translation. The phrasing isn't quite timeless or perfect. The central point anyway is the ability to be without entertainment and possibly also focus. Not just people.

I'd say the only way you're not cut out for an instrument is if you tell yourself you're not cut out for an instrument. Any other case will be a hyper rare exception.

This applies to most skills. How hard it's going to be or how far you'll go with sane effort may vary.

You could start with one note. Then add some more.

Theory will make it a million times easier. Figure out the key and changes and you'll have likely chords and if you can do substitutions you'll have some alternatives.

Even if they're not exactly what was played, you'll be able to get to a working version with the right idea.

In any case, theory and experience will narrow the field down a great deal so you're not just stabbing at things in the dark.

Working backwards is a really neat trick. That's something I wished I figured out a long ago.

I'd say both are important.

Stopping and working slow is the only way you'll find and improve hard things. If you just blunder past them each time, you're only learning to blunder. Able to play the easy things but never improving the hard.

But if all you do is stop at every mistake, all you're learning is how to stop at every mistake. Live music doesn't stop, you need to know how to pick up and keep up, no matter what. (This was my mistake for decades.)

There's a lot more to learning a piece of music, but I think both kinds of passes are necessary. Well, unless you're good enough to fly through that piece prima vista with results that you're happy with. Then you get to hone the expression or interpretation or just cash in, I guess.