第一篇：TED演講：越有錢越無情(中英對照版)解析

越有錢越無情

It's amazing what a rigged game of Monopoly can reveal.In this entertaining but sobering talk, social psychologist Paul Piff shares his research into how people behave when they feel wealthy.(Hint: badly.)But while the problem of inequality is a complex and daunting challenge, there's good news too.(Filmed at TEDx Marin.)

一個被操縱的大富翁游戲能告訴我們的東西竟然有那么多！在這個有趣且發(fā)人深省的演講中，社會心理學家保羅-皮夫分享了他對于“人感到富有時如何表現(xiàn)”的研究結果（暗示：很壞）。在面對異常復雜、異常嚴峻的不平等問題的同時，我們也聽到了好的消息。（攝于TEDx加州馬林縣）

Paul Piff studies how social hierarchy, inequality and emotion shape relations between individuals and groups.Why you should listen: Paul Piff is an Assistant Professor of Psychology and Social Behavior at the University of California, Irvine.In particular, he studies how wealth(having it or not having it)can affect interpersonal relationships.His surprising studies include running rigged games of Monopoly, tracking how those who drive expensive cars behave versus those driving less expensive vehicles and even determining that rich people are literally more likely to take candy from children than the less well-off.The results often don't paint a pretty picture about the motivating forces of wealth.He writes, “specifically, I have been finding that increased wealth and status in society lead to increased self-focus and, in turn, decreased compassion, altruism, and ethical behavior.” What others say: “When was the last time, as Piff puts it, that you prioritized your own interests above the interests of other people? Was it yesterday, when you barked at the waitress for not delivering your cappuccino with sufficient promptness? Perhaps it was last week, when, late to work, you zoomed past a mom struggling with a stroller on the subway stairs and justified your heedlessness with a ruthless but inarguable arithmetic: Today, the 9 a.m.meeting has got to come first;that lady’s stroller can’t be my problem.Piff is one of a new generation of scientists—psychologists, economists, marketing professors, and neurobiologists—who are exploiting this moment of unprecedented income inequality to explore behaviors like those.” — Lisa Miller, New York Magazine

演講稿正文

I want you to, for a moment, think about playing a game of Monopoly, except in this game, that combination of skill, talent and luck that help earn you success in games, as in life, has been rendered irrelevant, because this game's been rigged, and you've got the upper hand.You've got more money, more opportunities to move around the board, and more access to resources.And as you think about that experience, I want you to ask yourself, how might that experience of being a privileged player in a rigged game change the way that you think about yourself and regard that other player? 我想讓大家花一點時間，想想一下自己正在玩大富翁游戲。只不過在這個游戲里面，那些幫助你贏的游戲的因素，比如技巧、才能和運氣在此無關緊要，就像對于人生一樣，因為這個游戲被操縱了，而你已經(jīng)占了上風，你有更多的錢，有更多在棋盤上移動的機會以及更對獲得資源的機會。在你想象這一經(jīng)歷的過程中，我想讓大家問一下自己，一個被操縱的游戲里面作為優(yōu)勢玩家的經(jīng)歷會如何改變你思考自己和對待對手的方式？

So we ran a study on the U.C.Berkeley campus to look at exactly that question.We brought in more than 100 pairs of strangers into the lab, and with the flip of a coin randomly assigned one of the two to be a rich player in a rigged game.They got two times as much money.When they passed Go, they collected twice the salary, and they got to roll both dice instead of one, so they got to move around the board a lot more.(Laughter)And over the course of 15 minutes, we watched through hidden cameras what happened.And what I want to do today, for the first time, is show you a little bit of what we saw.You're going to have to pardon the sound quality, in some cases, because again, these were hidden cameras.So we've provided subtitles.在加州大學伯克利分校，我們做了一個試驗來研究這個問題。我們招募了100多對陌生人到實驗室，通過投擲硬幣的方式隨機選中一對中的一個作為這個游戲中占上風的玩家。他們拿到了兩倍的錢。當他們途徑起點的時候，他們拿到兩倍的工資，而且他們可以同時擲兩個骰子而不是一個，所以他們可以在棋盤上移動更多。在接下來的15分鐘內，我們通過隱藏的攝像頭觀察了現(xiàn)場情況。今天是第一次我想和大家分享一下我們觀察到的，有的時候音質可能不太好，還請大家原諒，因為畢竟是用隱藏的攝像頭，所以我們加上了字幕。

Rich Player: How many 500s did you have? 富玩家：你有多少張500塊？ Poor Player: Just one.窮玩家：就一張。

Rich Player: Are you serious.富玩家：真的嗎？ Poor Player: Yeah.窮玩家：是的。

Rich Player: I have three.(Laughs)I don't know why they gave me so much.富玩家：我有三張。（笑聲）不知道為什么他們給了我這么多。Paul Piff: Okay, so it was quickly apparent to players that something was up.One person clearly has a lot more money than the other person, and yet, as the game unfolded, we saw very notable differences and dramatic differences begin to emerge between the two players.The rich player started to move around the board louder, literally smacking the board with their piece as he went around.We were more likely to see signs of dominance and nonverbal signs, displays of power and celebration among the rich players.保羅.皮夫：所以，玩家們很快就意識到這個游戲明顯有點奇怪。一個玩家比另一個玩家明顯有更多的錢。隨著游戲慢慢展開，我們觀察到兩個玩家開始有一些明顯不同的表現(xiàn)。富的玩家明顯在棋盤上移動的聲音更大，移動的時候幾乎是在狠狠砸棋盤。我們看到富玩家們“霸主”信號、肢體動作，權力的顯示以及相互慶祝。

We had a bowl of pretzels positioned off to the side.It's on the bottom right corner there.That allowed us to watch participants' consummatory behavior.So we're just tracking how many pretzels participants eat.我們在旁邊放了一碗椒鹽卷餅，就在右下角，這使得我們可以觀察玩家吃椒鹽卷餅的行為。我們就是看看玩家吃了多少椒鹽卷餅。

Rich Player: Are those pretzels a trick? 富玩家：這些椒鹽卷餅有什么貓膩嗎？ Poor Player: I don't know.窮玩家：不知道啊。

Okay, so no surprises, people are onto us.They wonder what that bowl of pretzels is doing there in the first place.One even asks, like you just saw, is that bowl of pretzels there as a trick? And yet, despite that, the power of the situation seems to inevitably dominate, and those rich players start to eat more pretzels.保羅·皮夫：好吧，不出所料，大家覺得有問題。起先他們好奇那一碗椒鹽卷餅為什么會在那里。就像你剛才看到的，其中有一個甚至問：這碗椒鹽卷餅與什么貓膩嗎？但盡管如此，整個現(xiàn)場的主導形勢還是不可避免的。那些富的玩家開始吃更多的椒鹽卷餅。Rich Player: I love pretzels.富玩家：我愛椒鹽卷餅。

(Laughter)（笑聲）

And as the game went on, one of the really interesting and dramatic patterns that we observed begin to emerge was that the rich players actually started to become ruder toward the other person, less and less sensitive to the plight of those poor, poor players, and more and more demonstrative of their material success, more likely to showcase how well they're doing.保羅·皮夫：游戲繼續(xù)進行，我們發(fā)現(xiàn)了一個很明顯的有趣現(xiàn)象，就是富玩家開始對另一個玩家表現(xiàn)得不友好，對那些可憐玩家的貧窮困境越來越不敏感，開始越來越頻繁的炫富，更喜歡展示他們正在做的一切。

Rich Player: I have money for everything.富玩家：我什么都買得起。

Poor Player: How much is that? 窮玩家：你有多少錢？

Rich Player: You owe me 24 dollars.You're going to lose all your money soon.I'll buy it.I have so much money.I have so much money, it takes me forever.富玩家：你還欠我24塊。你很快就要輸光了。我要買它，我太多錢了那么多花都花不完的錢。

Rich Player 2: I'm going to buy out this whole board.富玩家2：我要把整個棋盤都買下來。Rich Player 3：You're going to run out of money soon.I'm pretty much untouchable at this point.富玩家3：你很快就要沒錢了。我已經(jīng)差不多不可戰(zhàn)勝了。Okay, and here's what I think was really, really interesting, is that at the end of the 15 minutes, we asked the players to talk about their experience during the game.And when the rich players talked about why they had inevitably won in this rigged game of Monopoly--(Laughter)— they talked about what they'd done to buy those different properties and earn their success in the game, and they became far less attuned to all those different features of the situation, including that flip of a coin that had randomly gotten them into that privileged position in the first place.And that's a really, really incredible insight into how the mind makes sense of advantage.保羅·皮夫：下面是我覺得一個非常非常有有意思的現(xiàn)象。在15分鐘要結束的時候，我們請玩家談論他們在游戲中的經(jīng)歷。當玩家談論他們在這個被操縱的游戲里面為什么必勝的時候（笑聲）他們提到了自己為了買到不同地產和贏得游戲所作的努力而他們忽略了這個游戲一開始的不同形勢也就是投擲硬幣隨即決定了他們哪一個獲得優(yōu)勢，而這對我們理解大腦如何看待優(yōu)勢提供了非常好的啟發(fā)。Now this game of Monopoly can be used as a metaphor for understanding society and its hierarchical structure, wherein some people have a lot of wealth and a lot of status, and a lot of people don't.They have a lot less wealth and a lot less status and a lot less access to valued resources.And what my colleagues and I for the last seven years have been doing is studying the effects of these kinds of hierarchies.What we've been finding across dozens of studies and thousands of participants across this country is that as a person's levels of wealth increase, their feelings of compassion and empathy go down, and their feelings of entitlement, of deservingness, and their ideology of self-interest increases.In surveys, we found that it's actually wealthier individuals who are more likely to moralize greed being good, and that the pursuit of self-interest is favorable and moral.Now what I want to do today is talk about some of the implications of this ideology self-interest, talk about why we should care about those implications, and end with what might be done.我們可以用這個大富翁的游戲作比喻來理解我們的社會以及社會分層，也就是有的人有大量的社會財富和地位而很多人沒有，他們僅有很少的財富和地位以及很少獲得寶貴資源的機會。我和我的同事在過去的7年里一直在做的就是研究這些不同層次的影響。全國范圍內的大量研究都表明，當一個人的財富增加時，他們的同情心和同理心下降，而他們的優(yōu)越感增加，也更注重個人利益。在調查中，我們發(fā)現(xiàn)，富有的人更可能把貪婪定義為好的，把對個人利益的追求定義為有利的，道德的。今天我想談的就是這種個人利益思維的影響，談談為什么我們應該關注這些影響以及我們能做些什么。

Some of the first studies that we ran in this area looked at helping behavior, something social psychologists call pro-social behavior.And we were really interested in who's more likely to offer help to another person, someone who's rich or someone who's poor.In one of the studies, we bring in rich and poor members of the community into the lab and give each of them the equivalent of 10 dollars.We told the participants that they could keep these 10 dollars for themselves, or they could share a portion of it, if they wanted to, with a stranger who is totally anonymous.They'll never meet that stranger and the stranger will never meet them.And we just monitor how much people give.Individuals who made 25,000 sometimes under 15,000 dollars a year, gave 44 percent more of their money to the stranger than did individuals making 150,000 or 200,000 dollars a year.我們在這一領域最初做的一些研究，觀察了助人行為，社會心理學家稱之為親社會行為。我們很想知道什么人更傾向于給其他人提供幫助，富人還是窮人。其中一個研究，我們把一個社區(qū)的富人和窮人都帶到了實驗室，給了每個人十美元。我們告訴他們，他們可以把這十塊錢給自己用，也可以把其中一部分拿出來分享。如果他們愿意的話，跟一個陌生人分享，一個永遠不會再相見的陌生人。我們觀察人們給了多少。那下年收入為25000甚至低于15000美元的人，而那些收入為15萬甚至20萬的人比起來多給了44%。We've had people play games to see who's more or less likely to cheat to increase their chances of winning a prize.In one of the games, we actually rigged a computer so that die rolls over a certain score were impossible.You couldn't get above 12 in this game, and yet, the richer you were, the more likely you were to cheat in this game to earn credits toward a $50 cash prize, sometimes by three to four times as much.我們還讓人們玩游戲，看看什么人更可能為了贏得一個獎品而作弊。其中一個游戲，我們其實操縱了電腦使得某些數(shù)字不可能出現(xiàn)。這個游戲里面你不可能超過12。然而，越富有的人，越有可能在這個游戲中作弊去爭取那個最終能夠贏取50美元現(xiàn)金的分數(shù)，可能性甚至高達3到4倍。

We ran another study where we looked at whether people would be inclined to take candy from a jar of candy that we explicitly identified as being reserved for children--(Laughter)— participating--I'm not kidding.I know it sounds like I'm making a joke.We explicitly told participants this jar of candy's for children participating in a developmental lab nearby.They're in studies.This is for them.And we just monitored how much candy participants took.Participants who felt rich took two times as much candy as participants who felt poor.我們還做了另一個實驗，觀察人們是否會從糖罐里面拿糖。糖罐上清楚地寫著：給小朋友預留......（笑聲）我是認真的，我知道這聽上去像我在講笑話，我們明確的告訴了參與者，這一罐糖是給隔壁發(fā)展中心的小朋友準備的，他們在實驗中，這是給他們的。然后我們觀察這些參與者拿了多少糖果，那些感覺富有的參與者多拿了兩倍的糖果。

We've even studied cars, not just any cars, but whether drivers of different kinds of cars are more or less inclined to break the law.In one of these studies, we looked at whether drivers would stop for a pedestrian that we had posed waiting to cross at a crosswalk.Now in California, as you all know, because I'm sure we all do this, it's the law to stop for a pedestrian who's waiting to cross.So here's an example of how we did it.That's our confederate off to the left posing as a pedestrian.He approaches as the red truck successfully stops.In typical California fashion, it's overtaken by the bus who almost runs our pedestrian over.(Laughter)Now here's an example of a more expensive car, a Prius, driving through, and a BMW doing the same.So we did this for hundreds of vehicles on several days, just tracking who stops and who doesn't.What we found was that as the expensiveness of a car increased, the driver's tendencies to break the law increased as well.None of the cars, none of the cars in our least expensive car category broke the law.Close to 50 percent of the cars in our most expensive vehicle category broke the law.We've run other studies finding that wealthier individuals are more likely to lie in negotiations, to endorse unethical behavior at work like stealing cash from the cash register, taking bribes, lying to customers.我們還研究了汽車，不只是汽車，而是不同類型汽車的司機誰更傾向于做一些違法的事情。其中一個實驗，我們觀察了，司機在碰到行人（我們安排的）過馬路時的停車行為。在加州，大家都知道，因為我相信我們都有這樣做，法律規(guī)定碰到行人要過馬路，我們必須停車。下面我告訴大家我們是怎樣做的，左側是我們的研究人員裝作一個行人，她正要過馬路，這時候紅色的卡車停了下來，當然這是在加州。很快一輛巴士呼嘯而過，差點要撞到我們的行人——（笑聲）——這是一輛比較貴的車，一輛普銳斯開過來，一輛寶馬車也一樣。幾天內，我們測試了幾百輛車記錄誰停了誰沒有停。我們發(fā)現(xiàn)，隨著車價的增加司機違法的傾向也增加了。而在我們的廉價車系里，沒有一輛車作出違法行為。而在我們的昂貴車系里，有接近50%的車都違法了。我們還做了其他研究并發(fā)現(xiàn)，越有錢的人越有可能在談判中說謊，贊同工作中的不道德行為。比如從收銀臺偷現(xiàn)金，受賄，忽悠顧客等。Now I don't mean to suggest that it's only wealthy people who show these patterns of behavior.Not at all.In fact, I think that we all, in our day-to-day, minute-by-minute lives, struggle with these competing motivations of when, or if, to put our own interests above the interests of other people.And that's understandable because the American dream is an idea in which we all have an equal opportunity to succeed and prosper, as long as we apply ourselves and work hard, and a piece of that means that sometimes, you need to put your own interests above the interests and well-being of other people around you.But what we're finding is that, the wealthier you are, the more likely you are to pursue a vision of personal success, of achievement and accomplishment, to the detriment of others around you.Here I've plotted for you the mean household income received by each fifth and top five percent of the population over the last 20 years.In 1993, the differences between the different quintiles of the population, in terms of income, are fairly egregious.It's not difficult to discern that there are differences.But over the last 20 years, that significant difference has become a grand canyon of sorts between those at the top and everyone else.我并不是說只是有錢人會表現(xiàn)出類似的行為，完全不是。事實上，我覺得我們每個人在我們日常的分分秒秒中都要跟這些動機作斗爭。什么時候以及是否把我們的利益置于他人的利益之上。這很容易理解，因為美國夢告訴我們每個人都有同等的機會可以成功，發(fā)達，只要我們足夠努力。而這也意味著有的時候字需要把自己的利益置于你周邊人的利益和幸福之上。但我們發(fā)現(xiàn)的是，你越有錢，則越有可能一種個人的成功。個人的成果和成就，這可能是建立在對旁人的損害之上。這里我為大家畫出了在過去20年里，每個15和最高5%人口的平均家庭收入。1993年，每個15之間的收入差距還是相當大的，我們不難看出其中的差別。但是在過去的20年里面，這種巨大差距最終成為了頂層人群與其他所有人之間的鴻溝。

In fact, the top 20 percent of our population own close to 90 percent of the total wealth in this country.We're at unprecedented levels of economic inequality.What that means is that wealth is not only becoming increasingly concentrated in the hands of a select group of individuals, but the American dream is becoming increasingly unattainable for an increasing majority of us.And if it's the case, as we've been finding, that the wealthier you are, the more entitled you feel to that wealth, and the more likely you are to prioritize your own interests above the interests of other people, and be willing to do things to serve that self-interest, well then there's no reason to think that those patterns will change.In fact, there's every reason to think that they'll only get worse, and that's what it would look like if things just stayed the same, at the same linear rate, over the next 20 years.事實是，頂層20%的人口擁有整個國家接近90%的財富。我們正在經(jīng)歷史無前例的經(jīng)濟上的不平等，而這不僅意味著財富更多的聚集在為數(shù)很少的一群人手里，還意味著美國夢對越來越多的人來說都變得越來越遙遠。如果事實果真如我們發(fā)現(xiàn)的那樣，你越有錢就越發(fā)覺得這些財富是你應得的，越會把自己的利益置于他人的利益之上，越會做那些利己的事情。那里沒有理由可以相信這個現(xiàn)狀會有所改變。事實上，我們有更多的理由認為情況會變得更糟糕。這時在接下來的20年內保持和原來一樣、相同現(xiàn)行速率的情況。

Now, inequality, economic inequality, is something we should all be concerned about, and not just because of those at the bottom of the social hierarchy, but because individuals and groups with lots of economic inequality do worse, not just the people at the bottom, everyone.There's a lot of really compelling research coming out from top labs all over the world showcasing the range of things that are undermined as economic inequality gets worse.Social mobility, things we really care about, physical health, social trust, all go down as inequality goes up.Similarly, negative things in social collectives and societies, things like obesity, and violence, imprisonment, and punishment, are exacerbated as economic inequality increases.Again, these are outcomes not just experienced by a few, but that resound across all strata of society.Even people at the top experience these outcomes.不平等，經(jīng)濟上的不平等，是我們每個人都要關心的問題，不僅是因為社會底層的人，而是因為經(jīng)濟不平等會讓個人和集體都變得糟糕。不僅僅是底層的人，是每一個人。有很多來自世界各地的頂級實驗室的非常有說服力的研究，展示了日益增加的經(jīng)濟不平等造成的影響范圍。社會流動性，那些我們非常關心的東西，如身體健康、社會信任，都會隨著不平等的增加而削弱。同樣的，社會中消極的東西，比如肥胖、暴力、徒刑和懲罰都會隨著經(jīng)濟不平等的增加而加劇。而這些后果，不是少數(shù)人所經(jīng)歷的而是會影響社會的各個階層。即使是在頂層的人也要遭受這些后果。So what do we do? This cascade of self-perpetuating, pernicious, negative effects could seem like something that's spun out of control, and there's nothing we can do about it, certainly nothing we as individuals could do.But in fact, we've been finding in our own laboratory research that small psychological interventions, small changes to people's values, small nudges in certain directions, can restore levels of egalitarianism and empathy.For instance, reminding people of the benefits of cooperation, or the advantages of community, cause wealthier individuals to be just as egalitarian as poor people.In one study, we had people watch a brief video, just 46 seconds long, about childhood poverty that served as a reminder of the needs of others in the world around them, and after watching that, we looked at how willing people were to offer up their own time to a stranger presented to them in the lab who was in distress.After watching this video, an hour later, rich people became just as generous of their own time to help out this other person, a stranger, as someone who's poor, suggesting that these differences are not innate or categorical, but are so malleable to slight changes in people's values, and little nudges of compassion and bumps of empathy.那我們該怎么辦呢？這些帶有延續(xù)性的，有害的消極影響看上去是什么東西失控了，而我們無能為力特別是作為個人更是無能為力。但是事實上，我們發(fā)現(xiàn)在我們自己的實驗室研究中，小小的心理干預，價值觀的小小改變，某些特定的微小暗示就可以將平等和同理心恢復。比如，提醒人們合作的好處或者社區(qū)的優(yōu)點，就能夠讓富人和窮人一樣關注平等。其中一個實驗中，我們讓參與者看一短片，46秒，關于兒童貧困，以此提醒大家周圍人的需要?？催^這個視頻后，我們觀察了他們?yōu)閷嶒炛幸粋€壓抑的陌生人提供幫助的積極性?？赐赀@個視頻一個小時后，富人變得和窮人一樣大方，他們愿意花時間幫助別人，幫助那些陌生人。這意味著這些差別不是與生俱來或者一成不變的。它們很容易改變，只是需要價值觀的微小變化。同情心的一點點推動，和同理心的輕微觸碰。

And beyond the walls of our lab, we're even beginning to see signs of change in society.Bill Gates, one of our nation's wealthiest individuals, in his Harvard commencement speech, talked about the problem facing society of inequality as being the most daunting challenge, and talked about what must be done to combat it, saying, “Humanity's greatest advances are not in its discoveries, but in how those discoveries are applied to reduce inequity.” And there's the Giving Pledge, in which more than 100 of our nation's wealthiest individuals are pledging half of their fortunes to charity.And there's the emergence of dozens of grassroots movements, like We are the One Percent, the Resource Generation, or Wealth for Common Good, in which the most privileged members of the population, members of the one percent and elsewhere, people who are wealthy, are using their own economic resources, adults and youth alike, that's what's most striking to me, leveraging their own privilege, their own economic resources, to combat inequality by advocating for social policies, changes in social values, and changes in people's behavior, that work against their own economic interests but that may ultimately restore the American dream.在實驗室之外，我們也開始看到社會上的改變。比爾-蓋茨，我們國家的富豪之一，在哈佛的開學典禮演講中說到這個社會所面臨的問題，他說不平等是我們目前面臨的嚴峻挑戰(zhàn)，他談論了我們應該如何戰(zhàn)勝它。他說：“人類最偉大的進步不在于它的各種發(fā)現(xiàn)，而在于如何將這些發(fā)現(xiàn)用于削弱不平等?！斑€有捐贈承諾，我們國家100多個最富有的人正在承諾將他們一半的財產捐贈給慈善事業(yè)，還有許多草根運動的出現(xiàn)。比如”我們是那百分之一“、”資源一代“、”共同的財富“等。在這些組織中，那些最有優(yōu)勢的成員，那些1%的人和其他有錢的人，其中有成人有青少年，這是最讓我震驚的。他們正在利用自己的優(yōu)勢，利用自己的經(jīng)濟資源與不平等抗爭，通過倡導社會政策、社會價值的改變、人類行為的改變，這有悖于他們自身的經(jīng)濟利益，但卻會最終重建美國夢！

Thank you.謝謝！

第二篇：越有錢越焦慮美文

每個人生活在這世界上，都背負著一堆紙枷鎖。我上大學的時候讀過一篇很有意思的文章，談到男人的使命：第一男人要是一個開拓者或冒險家，充滿膽識和魄力；第二是士兵，很強壯的人，保護弱者，主持公道；第三是技術專家，小到換燈泡，大到修汽車，卷起袖子就能干；第四是提供面包的人，能掙錢養(yǎng)家；第五還得是上帝，幫助他人脫離苦海。

其實，女同胞也有紙枷鎖：從小玩著芭比娃娃長大，要求自己胸多大、臀多寬、腰多細，如果不符合標準，照鏡子就不能接受自己。

和外國人相比，中國人的枷鎖又甚之。在我認識的中國人中，紙枷鎖相對少的人不多，張朝陽是其中一個，他從小喜歡挑戰(zhàn)現(xiàn)有制度。在卡拉OK包房，我們唱歌，他在一旁跳著自創(chuàng)的舞，極其投入，不在乎別人怎么看，自己高興就行。

也許有人會說，如果他不是“成功人士”，還能如此隨性嗎？也許不能。不過換個角度看，究竟是因為成功才隨性，還是因為隨性才成功，這是一個值得探究的問題。

在北京，我的一些很富有的朋友，希望跟我一起去紐約，看看那里的“成功人士”如何生活。我給他們講起美國富商格蘭的故事，他曾請我去他家度周末，那是位于紐約郊區(qū)的一座從洛克·菲勒后人手中買下的莊園，有山川、湖泊、網(wǎng)球場，養(yǎng)著馬、百年老龜和大塊頭的火雞，一派寧靜素樸的田園牧歌，他們追求自然，注重環(huán)保，不穿PRADA，也不戴勞力士。興致好的時候，他們會買幾頭牛，從阿根廷運過來，讓它們在莊園里閑散地走一走，然后打電話呼朋引伴：“我們家的牛到了！”大家都來欣賞這道“移動的風景”。

可惜我所接觸的大部分新富起來的中國人，都還停留在對奢侈品頂禮膜拜的階段，財富為他們帶來了體面，同時為他們套上了枷鎖。我有一位老大哥是很有錢的商人，長期焦慮失眠，看見床就恐懼，后來只好去印度一家瑜伽學院學睡覺。英文中用“嬰兒般的睡眠”形容一個人睡得香，折騰了半生，反而不如嬰兒時期睡得好，這是人生的悖論。

年輕姑娘們也早早給自己套上了枷鎖，目標是嫁給有錢人。譬如港臺地區(qū)那些“德藝雙馨的女藝術家”，不嫁入豪門便沒法向公眾交代，更沒法向自己交代，實在進不了豪門，就嫁給外國人。對外國人的評價要納入另一套體系——城市戶口還是農村戶口，處級干部還是科級干部，住的是別墅還是公寓，做的是上市公司還是小本買賣，好像都不再那么重要，因此不失為一條很體面的退路。

我見過這個世界上最有錢的人，他們用錢買不到快樂。有一個經(jīng)濟學術語叫做“邊際效應”，通俗地解釋，就是吃第一塊紅燒肉感覺特別香，第二塊、第三塊感覺還行，吃到第五塊就膩了，物質帶給人的“邊際效應”是極其有限的，快感迅速遞減，相當靠不住，層次越高，能夠實現(xiàn)的滿足感越小。今天開拖拉機，明天開寶馬，感覺太好了。連開一個月就審美疲勞，最后只有開飛機了，但是開多了也就那么回事。

第三篇：為啥越花錢的人越有錢

為啥越花錢的人越有錢，越舍不得花錢的人越貧窮……

“認真看看你周圍的人，那些從小就大手大腳地請朋友吃飯或者花錢的人，到現(xiàn)在依然有條件大手大腳地花錢，而那些每次一到了付錢的時候就自行車鎖不上或者就是沒有帶錢包的人多少年之后，依然過著拮據(jù)的生活！”

在大半年前一次在聽國學大師翟洪生講國學的課上，聽到這話對我觸動很深，認認真真地從小時候的童年到現(xiàn)今的朋友中發(fā)現(xiàn)，確實如此，似乎越花錢的人越有錢，越舍不得花錢的朋友卻越窮！

這讓我不想不要緊，一想真的是嚇一大跳。怎么可能？我們自古以來都是在教育著：只有節(jié)約才能省下來，越節(jié)儉才能越攢的下錢；不管賺多少，只有省下來的才是自己賺的等等的理念難道都是錯誤的嗎？

這個疑問開始困擾著我，迫使著我開始認認真真地體察這個結論，也開始看大量的關于財富的秘密、猶太人金錢觀等等關于錢得書籍，來考核這一結論————越能花錢的人越有錢，越舍不得花錢的人越貧窮是否正確，最近終于得到了解答，現(xiàn)分享出來。

一個朋友給我講了這樣一個困惑他的故事：

他以前有一個同事，極其的節(jié)儉，節(jié)儉到了什么地步呢？早晨幾乎從來不買早點，能從同事那蹭到就蹭，蹭不到就不吃，是一個抽煙者，幾乎從來都不會帶煙的，就是看怎么能從同事那里抽到，借錢呢，又不還，照這個樣子，應該是典型的“節(jié)約型”的過生活致富的人吧，照一貫的理，節(jié)約可以走向富裕的道路的，也就是說他應該能致富，生活可以積攢很多錢的啊，然而，幾年之后，他的兒子得了病，自此，他所有積攢的沒有舍得花的錢，全部花完，朋友親戚們能借的幾乎借遍了，猶豫以前的作風，愿意借給他錢的也只有親戚們，朋友們自然沒有幾個愿意借的，最遺憾的是，欠了一屁股的債不說，最后兒子依然還是去世了。

而他的生活呢？從此也依然更加的需要節(jié)儉，而且內心承受更大的負擔壓力。真的是，什么樣的心境，什么樣的花錢風格就吸引了什么樣的外在環(huán)境來與之相匹配，似乎真的是越舍不得花錢的越窮。

在北京，由于一些關系，可以經(jīng)常的出入一些聚會，自然也結識了很多的身家都至少上億的朋友，自然也經(jīng)常的一起吃飯，當然由于我剛起步，所以幾乎都是朋友們請客。在北京的這近一年的時間里，北京高檔的消費場所可以說去了不少。比如說，北京飯店、深圳大廈之類的，韓式、日式各個特色店的，朋友們郊外自己的豪華山莊等等，喝的酒也是就說茅臺、五糧液，從大眾、頂級的、珍藏版的、限量發(fā)行的太多太多的動輒一瓶都是大幾百，上千幾千的甚至很多都是沒法買到的內部酒，每一次消費都是大幾千，大幾萬的，奢侈嗎？當然，有人會說？這也叫奢侈？你還沒有見過更奢侈的呢？是，我承認，當然，哪些更奢侈的，是我日后一定回去享受的生活。我舉次些例子也不是為了敘家常事，只是為了說明一些事情，有一點我相信大家都認同，就是這些生活至少比一般的節(jié)儉型、安穩(wěn)過日子的人在外面吃一頓也就是一二百元的花費要鋪張很多很多倍吧?

按理說，他們這樣的花錢，應該是越花越少才對啊，但是事實是，從他們都身家上億元，甚至有上百億元的，他們的錢卻是越花越多的，似乎，這又印證了：越花錢的人越有錢的結論。

講到此，相信，肯定會有朋友心里想：廢話，我要是身家有個上億資產，不要說上億就是上千萬我也會那么的消費的。因為我曾經(jīng)的學生時代確實也是這么想的，將來有錢了之后怎么怎么樣？有私人游艇，有個人上千平米的豪華別墅，有凱迪拉克，有奔馳。。然而，現(xiàn)實，究竟是先有鋪張的花錢的習慣，思維之后才變得有錢，還是有了錢之后才能適合鋪張請客呢？？

如果是后者，那么節(jié)儉可以致富就是正確的了，因為，我們也只有靠自己的大力節(jié)儉來才能攢下更多的錢，我們也應該更加的少花錢，那樣，我們也才能早日的富裕；但是如果結論是前者的話，那么，我們是不是就說一貫的節(jié)儉就是錯誤的呢？或者有其他的奧秘在里面呢？接下來我們就來深入的思考下。

如果是后者，我們社會上節(jié)儉的人太多太多，80%以上的人，都是在不斷的節(jié)儉著，把能省的都省下，能少開支就少開支，能存銀行就存銀行，存銀行的錢，可以說占到了自己財富的80%以上，（當然由于這兩年股市的火爆，有些激進的想在股票上改變命運的朋友也許已經(jīng)把所有積蓄都炒股而虧損完或者套住，而我要告訴你的是，不管你的錢是在證券所還是銀行，其實有些本質都是相似的，想請你就假設你的錢都是存在銀行里的，因為今天我們的課題不是來說明為什么他們的本質是一樣的，至少兩年以前你沒有炒股以前存款是占到80%以上的）而對于富人呢？我今天要告訴你的是，富人們幾乎銀行里的存款也可能就是幾十萬左右，（這里的富人是指身家上億的，占到自己的財富1%都不到），而這些錢也就是為了自己近一段時間鋪張花費的開銷，其他的錢，絕對不會放在銀行里，不但不會放在銀行里，反而會想方設法的從銀行里貸款出去周轉，銀行是什么？“銀行就是一個把不喜歡花錢的人的錢聚集起來，給那些喜歡花錢的朋友花的地方?！?，這是我一個銀行副總裁朋友給我分享的，然而現(xiàn)實也是如此，所有80%主張節(jié)儉，少花錢的人的錢，都是被哪些“大手大腳”喜歡“大手大腳花錢”的人所花著，而最可惡的是，這些人卻越花還越多？

呵呵，看到了吧？如果，你不喜歡花錢，那么，結果就只有一個，那就是你的錢讓別人來幫你花。而為什么：越花錢的人越有錢，而越不喜歡花錢的人越貧窮呢? 本質就是思維的角度不同：節(jié)儉的人的思維模式，永遠都是：買東西的時候總是想，能便宜就便宜，攢下錢還有其他的用呢，等以后錢攢多了再買。如：買衣服的時候，看到一件幾千元的衣服，感慨：哇，這么好的衣服，這么漂亮，質量還這么好，轉念一想，算了，等我以后有錢的時候再買吧，想買鞋的時候亦如此，想買一輛車的時候，算了，我的錢不夠，買了之后小孩上學就有麻煩了，等等。?？傊?，想的都是等有錢了以后怎么怎么樣。

而那富人怎么樣想呢？他們對他們喜歡的東西，永遠考慮的都是，我如何做才能夠買到它呢？我如何才能賺到那么多的錢呢？大家發(fā)現(xiàn)了嗎？由于他們想的是如何才能賺到錢，而不是想：“有錢了之后才怎么怎么樣？”就這一個差距，使得富人的賺錢的點子，路子，方法越來越多，而這種路子方法都是伴隨著自己的欲望，伴隨著自己的野心而成長著，今天賺的錢開上了桑塔納，明天喜歡上了別克，就開始想著現(xiàn)在轉的錢太少了，怎么才能賺更多的錢呢？迅速調整自己的工作，調整自己的事業(yè)，進而來把自己喜歡的東西買到，進而過著別人不可思議的生活。

另外，我們從宇宙的能量的角度來考慮，我們發(fā)現(xiàn)，我們內心長久的向往什么，能量就會來實現(xiàn)什么，正如有些人所感覺的：為什么我剛前段時間的念頭，今天就變成現(xiàn)實了呢？這就是宇宙的吸引力法則。心想事成！認真的反思自己的生活，真的是你以前一致所思考的樣子，所思考的結果，我們的今天是我們過去思考的結果，那么，明天的結果，也必然是今天思考的結果！現(xiàn)在就請認真的來再回味下：越花錢的人越有錢，越舍不得花錢的人越貧窮的結論吧。

讓我們再來總結一下為什么會這樣?早在好萊塢巨頭之

一、同樣白手起家的劉易斯賽爾茨尼克告誡其子大衛(wèi)（電影《飄》的制片人）：過奢侈的生活！大手大腳的花錢！始終記住，不要按照你的收入來過日子，這樣能使你自信！

想象如果你現(xiàn)在穿著你喜歡的衣服，喜歡的鞋子，挎著自己喜歡的包包，是什么感覺？至少肯定比現(xiàn)在自信很多倍！而自信帶來的價值呢？是你的能力成很多倍的增加，因為自信的力量是最大的，人一旦有了自信，就會干成別人認為不能做的事情，人一旦有了自信就會干成自己不自信的時候認為做不成的事情。自信，可以讓一個人更樂于與人交往，更樂于表現(xiàn)自己，進而有更好的心態(tài)，有更好的外在積極的環(huán)境，進而就會有更多人的朋友愿意與你交往，愿意拿好項目，好的賺錢事情與你分享，進而就會有更好的收入，如此的進入到良心循環(huán)當中。

人突破習慣是很難的，尤其是突破幾十年根深蒂固的思維，但是我相信，如果你已經(jīng)把此篇文章看到這里了，那么說明你絕對是一個向往高品質的收入向往改變自己的生活的朋友，那么，我要告訴你的是，改變吧，立刻改掉以前舍不得花錢的習慣，現(xiàn)在就以如何做才能賺到錢實現(xiàn)你的欲望的思維來思考問題，去商場買下，你一直想買的服裝，配件等，但是以前都舍不得買（當然這里讓你買的是你可以承受的了的東西），就向我的一個朋友穿的鞋三千元左右，但是卻已經(jīng)穿了三年了，二三年里，如果你回憶下，估計買的鞋子也已經(jīng)不止 這個數(shù)字了的，更何況的是，他穿了三年多的鞋子絲毫沒有變型，就像剛穿了一個月左右的鞋子，什么感覺呢？買好東西，高質量，耐用的不僅享受，而且卻也是最好的節(jié)約方式，記得，我是一再的倡導花錢，敢于突破自己來一步步的過上富足美滿，自己所向往的生活，而沒有倡導大家去浪費錢，賺錢是為了花的，而不是用來浪費的，而花錢也是有藝術的，至于應該怎么花？富人們就這個理念：錢只要不浪費，所有花的都是合理的，舉個例子：為了一個項目吃一頓飯五萬元，打個麻將輸個幾十上百萬心情很愉悅，去歐洲、埃及旅游一次消費個幾十萬也很逍遙。但是，就像上面，買高品質的鞋子一旦舒服，就會穿上幾年也不換，當然買之前出發(fā)點相信除了可以提升自己內心的自信和社會地位之外也是為了耐用，因為這是一種投資觀念；我有一個喜歡書法的朋友，坐著近二百萬的車子，和他一起出去的時候，我們兩個住最豪華的套房。然而每次練習書法時，一張不到一毛錢的練習紙可以成幾十遍的反復利用，為什么，不浪費！把握，感悟透了這一點，對于越花錢越有錢，越舍不得花錢越?jīng)]錢的理念，相信會有透徹的認識的。

再接下來，想象自己都有哪些可以給自己帶來驚喜的朋友，很長時間沒有吃飯了，大大方方痛痛快快的請他們吃頓飯吧。

小故事大道理，記得，無數(shù)你身邊 的事實已經(jīng)證明：越舍不得花錢的人越貧窮，即吝嗇導致貧窮，所以千萬不要吝嗇，該花錢的時候一定要大氣的來花錢，如果連大方的對待他人的心胸都沒有，如何能賺到大錢呢？一個人的格局、心胸是靠修出來的，也許以前沒有注意上好這堂課，那么現(xiàn)在就做一個全新的自己吧，相信會賺錢的你從此刻開始已經(jīng)走上更加五彩富饒的生活的道路上了。

最后以一個小故事來結束今天的課題：

一天美國一個數(shù)學家在逛一家人滿為患的大超市時，在咖啡廳休息的時候，看到附近坐著一個抽雪茄的人，由于看此雪茄獨特，再加上自己對數(shù)字敏感，于是順口就問了下那個人，你抽的雪茄多少錢呢？那人回答道：：“一只80美元”。

此人迅速坐姿筆挺：“什么？一只80美元？哪你一天抽幾根呢？”

“看情況的，平均每天至少也要五只吧。”

“ 那你這樣的雪茄一共抽了多少年了呢？”

“抽了三十年了吧?！?/p>

聽完這些后，此數(shù)學家本能的開始計算了，片刻之后，此數(shù)學家看似感慨的對此抽雪茄的人說道：“我初步計算了下，如果你這三十年沒有抽這種雪茄的話，就把抽雪茄的錢省下來，足以可以買下這個大型超市了，哎！”

這位數(shù)學家甚是感慨，但是只見這位抽雪茄的人卻微微的發(fā)出了一絲笑容，并看著這位數(shù)學家，說道：“正是因為我抽了這樣的雪茄，所以現(xiàn)在這家大型的超市才是我自己開得?！?/p>

第四篇：鄒越演講

在生活當中,經(jīng)常會忽略了輕重,在前年的蘇州,有一位小姑娘 跟自己的母親吵架,媽媽告訴她:“孩子,你都上高中了,媽媽每天 給人打工,媽媽下崗給人做清潔工,一個月才 800 塊錢,你考試考 這么少的成績,你媽媽多難過!”女兒說:“媽媽,我不是故意的,我 馬虎了嗎!”“孩子!如果媽媽馬虎了,人家一分錢都不給呀!”可她這 個女兒把門一摔,離家出走了!多么小的一件事情,十幾年的養(yǎng)育之恩哪,就這么輕輕一摔就 可以放棄.媽媽發(fā)動所有的人去找,找不到這孩子,晚上八九點鐘, 小姑娘一個人在街頭,走在江邊,她又冷又餓,流著眼淚恨著自己的 媽媽,當走到一個大排檔的前面,看著人家吃東西,眼淚汪汪的站在 那里,酒店的老板,端著一碗面條,遞到了小姑娘的手里:“孩子, 是不是跟家里吵架了,把這碗面條吃了,是不是餓了,趕快吃掉回家 吧!”小姑娘接過面條,狼吞虎咽的吃下去,突然撲通一下給那老板 跪下了:“老板啊,你是我的恩人,我要感謝你,你比我媽媽好多了!” 老板聽過以后說:“孩子,就憑你這句話,這碗面我都不該給你吃呀, 我們倆素不相識,你連我姓什么叫什么都不知道,我就給了你一碗面 條你就這樣的感謝我,你媽媽把你從小養(yǎng)這么大,吃了那么多的辛 苦,你怎么不感謝你的母親啊!”孩子恍然大悟的跑回家里,看到媽 媽暈倒在床上,正所謂兒行千里母擔憂,母行萬里兒不愁啊!同學 們,你們要好好對待父母親,不要讓別人說,可憐天下父母心啊!就在這次汶川大地震中,當我們的救援隊員來到北川,大家驚 訝的發(fā)現(xiàn),這里最嚴重的地方不是汶川而是北川,戰(zhàn)士們在這里巡 回,突然聽到在廢墟里發(fā)出微弱的聲音:“救我!誰來救我!”救援人 員把那廢墟搬開,用千斤頂把預制板掀開,發(fā)現(xiàn)里面有一個不到 3 歲 的小女孩,她們已經(jīng)被壓了一天一夜,天就要亮了,戰(zhàn)士們把那孩子 拉了出來,小姑娘奄奄一息:“叔叔,快去救我的爸爸媽媽,解放軍 叔叔來了!”戰(zhàn)士們聽到以后,把預制板再撬起后發(fā)現(xiàn),下面躺著的 是孩子的父親,母親,而那一目讓所有的戰(zhàn)士流淚,孩子的父母已經(jīng) 離開了人世,媽媽面朝上,支撐那塊預制板,父親背朝下,像俯臥撐 一樣,背上壓著一塊預制板,就在父親母親手臂交叉的中間,那個小 小的空隙里,那位小姑娘幸存了,那是父母親對女兒最后的呵護!現(xiàn)場的同學們:請您拉著家長的手,家長也把手伸出來給他 們,沒有不好意思,同學們,聽我給你算筆賬,你現(xiàn)在是高中生呀, 再過三年,你考上大學,你現(xiàn)在能和父母在一起,吃吃飯,有的同學 住校,只能周末回去一次,等你考上大學了,每年只有兩次假期,才 能回家看到父母親,將來工作,就剩下春節(jié)了,所以你和父母在一起 的時間,沒有多長啊,好好的珍惜今天下午在這里,不要等

到有一天, 父母離去的時候,你才恍然大悟,喊著說爸爸媽媽對不起,那已經(jīng)來 不及了,媽媽為你辛苦,為你付出,為的是你有一個美好的明天!同學們:在接下來的時刻里,我讓每一位同學,完成人生一個 偉大的作業(yè),而這個作業(yè),在國外,連小孩都做過,我們中國人有多 少人沒有做過!請現(xiàn)場的家長,坐在那里不要動,請身邊有家長的同 學站起來,每位同學面朝自己的家長站好,站直了,請我告訴你,在

這個世界上,有多少不孝敬父母的人,一輩子都沒有正眼看過自己的 爹媽,所以第一件事,請你把頭低下來,看一看你的父母親,看一看 父母親的頭上增添了多少白發(fā)!再看一看穿的衣服,看一看這些為你 而操勞的媽媽,一個年輕美麗的母親呀,只打你來到這個世界之后, 你媽媽就放棄了她所有的愛好,媽媽沒有再去唱過歌,也沒有再去跳 過舞,媽媽上班的路上想著你,下班的路上也想著你,孩子:你小時 候生病上醫(yī)院,你媽媽抱著你給醫(yī)生都跪下了,為了你,你媽媽從來 沒要過面子,可是你怎么做的?媽媽在冬天用冷水洗菜,手凍的通 紅,你都沒有說一聲,媽!你辛苦了!這么多年,媽媽為你做了那么 多,你從來沒有在你媽最難的時候說一聲:媽!我愛你!因為你不好 意思.看一看你的父親,一個剛強的男人,爸爸像一座山,支撐著這 個家,愛著你和媽媽,沒有爸爸的辛苦,就沒有家里的幸福,可是你 怎么做的,你經(jīng)常抱怨你的父親,你為什么不是老板,你為什么不是 當官的,為什么我的爸爸沒有別人的爸爸強,孩子們,當你這樣說話 的時候,我告訴你,我們當爸爸的,還希望我們的孩子,比別人的孩 子強呢!你做到了嗎?孩子,爸爸很不容易,爸爸太辛苦了,爸爸在 家里呀,非常的難,他在家里給你的笑,那是最真誠的笑,現(xiàn)在的男 人在市場競爭的環(huán)境里,經(jīng)受著多大的壓力?他們要去忍受掙錢的壓 力,工作的壓力,但是無論多大的壓力,在孩子面前,從來都表現(xiàn)出 那種快樂和自豪,你還沒有在你爸爸最難的時候說過一聲,爸!你辛 苦了!你還沒有在你爸最累的時候,問候一聲,爸爸!我愛你!在座的還有白發(fā)蒼蒼的爺爺奶奶,外公外婆,有多少同學我要 批評你,你們在家里對老人是什么態(tài)度?你們現(xiàn)在使用不花錢的傭 人,你給我做飯,你給我拿書包,你給我洗衣服,孩子們,那是你爸 爸媽媽的爸爸和媽媽,可在他們年輕的時候,吃沒吃到什么,穿沒穿 到什么,好不容易把孩子養(yǎng)大了,今天替孩子看孩子,可是那孩子, 連個禮貌都沒有,給你做吃的,連聲謝謝都沒有,全是應該的!所以 我說同學們!今天學會愛的表達,學會真正的長大,每個同學把頭抬 起來,仰視天空,沒有羞澀,沒有不好意思,做一個優(yōu)秀的人,大聲 的跟著我喊出來,用最大的音量喊出來:媽媽!你辛苦了!媽媽

媽我愛 你!爸爸!你辛苦了!爸爸!我愛你!爺爺奶奶辛苦了!外公外婆 辛苦了!我愛你們!親愛的同學們,在接下來的時間里,你把剛才學過的話,輕輕 的告訴你的家長,你可以用你喜歡的方式,帶著中華兒女的習慣,給 父母跪下都沒什么丟人的,你可以去擁抱,你可以跪給你的家長,把 剛才的話告訴他,至少三分鐘,“媽媽你辛苦了……,”“爸爸你辛苦 了……,”“我愛你們……!” 在這個話題結束之前,每一位有父母親的同學,把我們最心底 的愛化作最熱烈的掌聲,送給全天下,最辛勞的父親!母親!請同學們坐直,擦干你的眼淚,人生不能光溜溜的來,再光溜 溜的走,人的一生總要做點什么,才會實現(xiàn)人生的最大價值,應該在 生活中學會不拋棄,不放棄,做有意義的事,今天有很多大學生,拿

著文憑找不到工作,今天有很多人在進入社會以后,遇到很多的困 難,在這里,老師告訴你,什么叫愛自己,一個人應該有目標有規(guī)劃, 創(chuàng)造人生最大的價值,那才叫愛自己,讓你周圍的人因為你的存在而 感到自豪,以你為榮那才叫愛自己,如果你沒有規(guī)劃,虛度年華,那 叫糟蹋自己,一個真正愛自己的人,應該愛周圍所有的人,當你需要 別人幫助的時候,先學會幫助他人,那才是最優(yōu)秀的!你們還有很長 一段學習時間,一定要練好自己的文筆,不嬌氣,不怕困難,學會抗 壓的能力,在困難到來的時候,能闖過關口.要好好想一想,自己將 來做什么?最喜歡做什么?應該給自己一個未來的計劃,努力學習, 考上最適合自己的大學,不要只為了文憑,做自己不喜歡的事情.要 好好珍惜時間,珍惜自己的愛,愛自己的父母,愛自己的老師,愛自 己的家,愛自己的祖國.祝愿所有的家長,望子成龍,望女成鳳,祝愿所有的同學,好 好學習,天天向上,成為最優(yōu)秀的人!

第五篇：TED演講中英對照3

My job is to design, build and study robots that communicate with people.But this story doesn't start with robotics at all, it starts with animation.When I first saw Pixar's “Luxo Jr.,” I was amazed by how much emotion they could put into something as trivial as a desk lamp.I mean, look at them--at the end of this movie, you actually feel something for two pieces of furniture.(Laughter)And I said, I have to learn how to do this.So I made a really bad career decision.And that's what my mom was like when I did it.(Laughter)I left a very cozy tech job in Israel at a nice software company and I moved to New York to study animation.And there I lived in a collapsing apartment building in Harlem with roommates.I'm not using this phrase metaphorically, the ceiling actually collapsed one day in our living room.Whenever they did those news stories about building violations in New York, they would put the report in front of our building.As kind of like a backdrop to show how bad things are.我的工作是設計、構造和研究 那些能夠與人交流的機器人。不過這個故事不是從機器人說起，而是要從動畫說起。當我第一次看到皮克斯的《頑皮跳跳燈》電影時，我驚呆了，一個如此微不足道的臺燈 竟能表現(xiàn)如此多的感情。你看他們??！電影結尾的時候，你真的開始喜歡上這兩件小小的家具了。（笑聲）我對自己說，我要學會做這樣的東西。所以我做了一個很壞的職業(yè)決策，我做出這個決定的時候，我媽媽就是這樣的。（笑聲）我辭去了在以色列一個軟件公司的 一份非常舒服的技術工作，我搬到了紐約 去學習動畫。在那，我和我的室友住在 哈萊姆一棟即將坍塌的公寓樓里。我沒有夸張，有一天天花板真的塌下來了 就塌在了我們的客廳里。每次報到紐約的違章建筑時，他們都會跑到們的大樓下進行采訪。就好像讓你看看現(xiàn)場有多糟糕一樣。

Anyway, during the day I went to school and at night I would sit and draw frame by frame of pencil animation.And I learned two surprising lessons--one of them was that when you want to arouse emotions, it doesn't matter so much how something looks, it's all in the motion--it's in the timing of how the thing moves.And the second, was something one of our teachers told us.He actually did the weasel in Ice Age.And he said: “As an animator you are not a director, you're an actor.” So, if you want to find the right motion for a character, don't think about it, go use your body to find it--stand in front of a mirror, act it out in front of a camera--whatever you need.And then put it back in your character.言歸正傳，我上學的日日夜夜，我不停地一幅又一幅地用鉛筆畫著畫。我學到了兩個讓我驚訝的東西—— 其中一個是： 當你想要喚起某些情感時，外觀并不算太重要，關鍵是動作——物體運動時，對時間的把握。關鍵是動作——物體運動時，對時間的把握。第二個是我們的一個老師告訴我們的。他正是電影《冰河世紀》的黃鼠狼。他說： ”作為一個動畫制作者，你不是一個導演，而是一個演員。“ 所以如果你要為一個角色找到正確的肢體語言，不要想，用你的身體找到它，站在鏡子面前，攝像機前，演出來，無論你需要做什么。然后再把這個動作放在你的角色上。

A year later I found myself at MIT in the robotic life group, it was one of the first groups researching the relationships between humans and robots.And I still had this dream to make an actual, physical Luxo Jr.lamp.But I found that robots didn't move at all in this engaging way that I was used to for my animation studies.Instead, they were all--how should I put it, they were all kind of robotic.(Laughter)And I thought, what if I took whatever I learned in animation school, and used that to design my robotic desk lamp.So I went and designed frame by frame to try to make this robot as graceful and engaging as possible.And here when you see the robot interacting with me on a desktop.And I'm actually redesigning the robot so, unbeknownst to itself, it's kind of digging its own grave by helping me.(Laughter)I wanted it to be less of a mechanical structure giving me light, and more of a helpful, kind of quiet apprentice that's always there when you need it and doesn't really interfere.And when, for example, I'm looking for a battery that I can't find, in a subtle way, it will show me where the battery is.So you can see my confusion here.I'm not an actor.And I want you to notice how the same mechanical structure can at one point, just by the way it moves seem gentle and caring--and in the other case, seem violent and confrontational.And it's the same structure, just the motion is different.Actor: “You want to know something? Well, you want to know something? He was already dead!Just laying there, eyes glazed over!”(Laughter)But, moving in graceful ways is just one building block of this whole structure called human-robot interaction.I was at the time doing my Ph.D., I was working on human robot teamwork;teams of humans and robots working together.I was studying the engineering, the psychology, the philosophy of teamwork.And at the same time I found myself in my own kind of teamwork situation with a good friend of mine who is actually here.And in that situation we can easily imagine robots in the near future being there with us.It was after a Passover seder.We were folding up a lot of folding chairs, and I was amazed at how quickly we found our own rhythm.Everybody did their own part.We didn't have to divide our tasks.We didn't have to communicate verbally about this.It all just happened.And I thought, humans and robots don't look at all like this.When humans and robots interact, it's much more like a chess game.The human does a thing, the robot analyzes whatever the human did, then the robot decides what to do next, plans it and does it.And then the human waits, until it's their turn again.So, it's much more like a chess game and that makes sense because chess is great for mathematicians and computer scientists.It's all about information analysis, decision making and planning.一年以后，我去了麻省理工大學（MIT）的 機器人生命小組，這是最早 開始研究人類和機器人關系的小組之一。我依然懷揣著要造一個 真正的、可觸碰的頑皮跳跳燈的夢想。但是我發(fā)現(xiàn)機器人完全不是 按照我的動畫課程中的那種 引人入勝的方式移動。相反的，他們都—— 該怎么說呢？他們都有點兒機械化。（笑聲）我就想，如果我可以把我在動畫學校學到的東西 應用于設計我的機器人臺燈會怎樣？ 因此我設計了一幅又一幅，試圖讓這個機器人 盡量優(yōu)雅、有吸引力。這里你可以看到這個桌子上的機器人 在跟我互動，我其實是在重新設計這個機器人，而這個機器人完全不知道，它幫我，其實是在自掘墳墓呢。（笑聲）比起把他它做成一個照明的機械，比起把他它做成一個照明的機械，我更想要一個能幫忙的、安靜的學徒，隨時滿足你的需求卻不打擾你。比如，當我要找一個我怎么也 找不到的電池時，它可以巧妙地提醒我電池在哪里。你看到我的困惑了嗎？ 我不是一個演員。我希望你們注意到，同一個機械如何 在前一刻非常溫柔、充滿關懷，在前一刻非常溫柔、充滿關懷，下一刻又顯得非常暴力，有進攻性。一模一樣的結構，改變的僅僅是動作。演員：”你想知道嗎？你真的想知道嗎？ 他已經(jīng)死了！他就躺在那里，目光呆滯！“（笑聲）但是，以一種優(yōu)雅的方式移動只是這整個 人類機器人互動結構的一塊基石。那時候我正在攻讀我的博士學位，我正在研究人類與機器人的團隊合作，也就是人類和機器人一起合作。我在學習團隊合作的工程學，心理學和哲學。同時，我意識到自己 和我的一個好朋友（他今天也在這里），也碰到了一個團隊合作的情境。在那個情境中，我們很容易想象 不久的將來機器人會和我們在一起。那是在一個逾越節(jié)家宴結束后，我們要收起大量的折疊椅，我驚訝于我們迅速找到了各自的節(jié)奏。每個人都做了自己的那部分，無需分工，無需特意口頭溝通。就這樣發(fā)生了。于是我想，人類和機器人的互動卻完全不是這樣。當人類和機器人互動的時候，就好像他們在下象棋。人類走一步，機器人對此分析一下，然后機器人決定接下來怎么做，計劃好，走下一步。這時候人類就等著，直到輪到他們玩為止。所以，人類和機器人的互動更像下象棋，這很好理解，因為 對數(shù)學家和計算機科學家來說，象棋很好，它們都是關于信息分析、決策制定和計劃。

But I wanted my robot to be less of a chess player, and more like a doer that just clicks and works together.So I made my second horrible career choice: I decided to study acting for a semester.I took off from a Ph.D.I went to acting classes.I actually participated in a play, I hope theres no video of that around still.And I got every book I could find about acting, including one from the 19th century that I got from the library.And I was really amazed because my name was the second name on the list--the previous name was in 1889.(Laughter)And this book was kind of waiting for 100 years to be rediscovered for robotics.And this book shows actors how to move every muscle in the body to match every kind of emotion that they want to express.但比起象棋玩家，我更希望我的機器人是一個行動者，但比起象棋玩家，我更希望我的機器人是一個行動者，可以和人類有默契地一起工作。于是我做了我人生中的第二個糟糕的職業(yè)決策： 我決定學習一學期的表演課程。我放下了我的博士課程，去上了表演課。我還參與了一個戲劇，希望現(xiàn)在已經(jīng)找不到那個視頻了。我找到了每一本關于表演的書，其中包括一本從圖書館里借來的 19世紀的書。我震驚地發(fā)現(xiàn)我的名字是借閱者名單上的第二個，之前的一個名字是1889年。（笑聲）這本書已經(jīng)躺了100年了，只為了借機器人之名被重新發(fā)現(xiàn)。這本書教演員 如何調動他們身體上的每塊肌肉 來表達他們想要表達的情感。

But the real revelation was when I learned about method acting.It became very popular in the 20th century.And method acting said, you don't have to plan every muscle in your body.Instead you have to use your body to find the right movement.You have to use your sense memory to reconstruct the emotions and kind of think with your body to find the right expression.Improvise, play off yor scene partner.And this came at the same time as I was reading about this trend in cognitive psychology called embodied cognition.Which also talks about the same ideas--We use our bodies to think, we don't just think with our brains and use our bodies to move.but our bodies feed back into our brain to generate the way that we behave.And it was like a lightning bolt.I went back to my office.I wrote this paper--which I never really published called “Acting Lessons for Artificial Intelligence.” And I even took another month to do what was then the first theater play with a human and a robot acting together.That's what you saw before with the actors.And I thought: How can we make an artificial intelligence model--computer, computational model--that will model some of these ideas of improvisation, of taking risks, of taking chances, even of making mistakes.Maybe it can make for better robotic teammates.So I worked for quite a long time on these models and I implemented them on a number of robots.Here you can see a very early example with the robots trying to use this embodied artificial intelligence, to try to match my movements as closely as possible, sort of like a game.Let's look at it.You can see when I psych it out, it gets fooled.And it's a little bit like what you might see actors do when they try to mirror each other to find the right synchrony between them.And then, I did another experiment, and I got people off the street to use the robotic desk lamp, and try out this idea of embodied artificial intelligence.So, I actually used two kinds of brains for the same robot.The robot is the same lamp that you saw, and I put in it two brains.For one half of the people, I put in a brain that's kind of the traditional, calculated robotic brain.It waits for its turn, it analyzes everything, it plans.Let's call it the calculated brain.The other got more the stage actor, risk taker brain.Let's call it the adventurous brain.It sometimes acts without knowing everything it has to know.It sometimes makes mistakes and corrects them.And I had them do this very tedious task that took almost 20 minutes and they had to work together.Somehow simulating like a factory job of repetitively doing the same thing.And what I found was that people actually loved the adventurous robot.And they thought it was more intelligent, more committed, a better member of the team, contributed to the success of the team more.They even called it 'he' and 'she,' whereas people with the calculated brain called it 'it.' And nobody ever called it 'he' or 'she'.When they talked about it after the task with the adventurous brain, they said, “By the end, we were good friends and high-fived mentally.” Whatever that means.(Laughter)Sounds painful.Whereas the people with the calculated brain said it was just like a lazy apprentice.It only did what it was supposed to do and nothing more.Which is almost what people expect robots to do, so I was surprised that people had higher expectations of robots, than what anybody in robotics thought robots should be doing.And in a way, I thought, maybe it's time--just like method acting changed the way people thought about acting in the 19th century, from going from the very calculated, planned way of behaving, to a more intuitive, risk-taking, embodied way of behaving.Maybe it's time for robots to have the same kind of revolution.真正讓我受到啟示的是 方法演技。它在20世紀的時候非常流行。方法演技指出，你不需要安排你的每一塊肌肉，相反，你可以用你的身體找到對的動作。你應該運用你的感覺記憶，去重新建構情感，用你的身體找到對的表情。即興發(fā)揮，根據(jù)你的場景搭檔即興表演。這個時候我也正讀到 認知心理學關于具身認知的東西，這也談到同樣的觀點—— 即我們用我們的身體思考，我們并不是用大腦思考用身體表現(xiàn)，而是我們的身體反饋給大腦 并做出相應的動作，這對我好像一道閃電。我馬上回了我的辦公室。我寫了這篇論文，從來也沒發(fā)表過，叫做《人工智能的表演課》。我甚至花了一個月的時間 去做當時第一部由人類和機器人 一起主演的戲劇。你之前看到的演員和機器人的表演就是這部戲劇。當時我就想： 我們怎樣可以做出這樣的人工智能模型—— 計算機、計算機模型等等，它們會即興發(fā)揮、會冒險、甚至會犯錯。它可能會是更好的機器人隊友。因此我花了很多時間去研究這些模型，我還在幾個機器人身上做了試驗。這里你可以看到一個早期的例子，這個機器人試圖運用具身人工智能 來盡量模仿我的動作，就好像一個游戲。我們來看一下。你可以看到我可以糊弄它。有點像你可能看到的演員們 互相模仿對方 只為了找到他們之間的默契。然后，我又做了另外一個實驗，我從大街上拉人來使用這個機器人臺燈，試驗具身人工智能。其實，同樣的機器人我用了兩個大腦，機器人就是你看到的這個臺燈，我給了它兩個大腦。對一半的人，我放入了一個傳統(tǒng)的、機械計算的大腦。它會等，會分析，會計劃，我們暫且稱它為“會計算的大腦”。給另一半人則是那個舞臺演員、愛冒險的大腦，我們暫且稱它為“愛冒險的大腦”，有的時候它在并不知道所有事情的時候行動，有的時候它會犯錯然后去糾正。我讓他們完成一項無比乏味的任務，這個任務要花近20分鐘，他們必須一起合作完成，有點類似在工廠工作，機械地重復一件事情。我發(fā)現(xiàn)人們非常喜歡 那個“愛冒險的機器人”。他們覺得它非常聰明，非常忠心，是一個很好的團隊成員，一起幫助團隊成功。他們甚至稱它為“他”和“她”，而另外那些人稱那個“會計算的機器人”為“它”，沒有人稱它為“他”或“她”。任務完成后，那些與“會冒險的大腦”互動的人說： “最后，我們成了好朋友，還在腦內舉手擊掌了?！?不管那是啥意思……（笑聲）聽上去很…（口齒不清）然而，那些與“會計算的大腦”互動的人 則說“它就像一個懶徒弟，只做最基本的?！?這基本上和同人對機器人期待一樣，所以我有些驚訝，比起那些機器人研究專家，人們居然對機器人有更高的期望。但從另一個角度，我又想，也許就像方法演技改變了 19世紀人們思考表演的方式一樣，是時間改變這種通過精確計算的 行為方式，而轉向一種更直覺的、冒險的、用身體表現(xiàn)的行為方式。也許類似的 機器人革命時間到了。A few years later, I was at my next research job at Georgia Tech in Atlanta, and I was working in a group dealing with robotic musicians.And I thought, music, that's the perfect place to look at teamwork, coordination, timing, improvisation--and we just got this robot playing marimba.Marimba, for everybody who was like me, it was this huge, wooden xylophone.And, when I was looking at this, I looked at other works in human-robot improvisation--yes, there are other works in human-robot improvisation--and they were also a little bit like a chess game.The human would play, the robot would analyze what was played, would improvise their own part.So, this is what musicians called a call and response interaction, and it also fits very well, robots and artificial intelligence.But I thought, if I use the same ideas I used in the theater play and in the teamwork studies, maybe I can make the robots jam together like a band.Everybody's riffing off each other, nobody is stopping it for a moment.And so, I tried to do the same things, this time with music, where the robot doesn't really know what it's about to play.It just sort of moves its body and uses opportunities to play, And does what my jazz teacher when I was 17 taught me.She said, when you improvise, sometimes you don't know what you're doing and you're still doing it.And so I tried to make a robot that doesn't actually know what it's doing, but it's still doing it.So let's look at a few seconds from this performance.Where the robot listens to the human musician and improvises.And then, look at how the human musician also responds to what the robot is doing, and picking up from its behavior.And at some point can even be surprised by what the robot came up with.(Music)(Applause)幾年后，我在亞特蘭大的喬治理工大學做研究，我在一個研究機器人音樂家的 小組工作。我想，音樂是可以很好的 研究團隊合作、配合、時間分配和即興表演的領域，我們有這個玩馬林巴的機器人。和我一樣對樂器不在行的朋友，馬林巴是 一個巨大的木琴。我看著這個，又看了那些其它的人類和機器人的即興互動，——沒錯，還有其它人和機器人即興互動的項目—— 都差不多也是一個個象棋游戲式的互動。人類走一步，機器人對此分析，然后決定下一步。音樂家們稱其為 呼叫和應答互動，作為機器人和人工智能，這很合適。但是我想，如果我可以運用 戲劇表演和團隊合作中的研究發(fā)現(xiàn)，也許我可以讓這些機器人 組成一個樂隊，每個人都在即興發(fā)揮，沒有人需要停下來。于是這次我嘗試用音樂做試驗，機器人并不知道 它會演奏什么，它就這樣移動它的身體，找機會演奏，做著我17歲時候的爵士老師教我的事情。她說，當你即興表演的時候，有的時候，你并不知道你在做什么，但是你還是繼續(xù)做。于是我嘗試做一個不知道自己在做什么 卻仍然繼續(xù)做的機器人。讓我們來看一下這個表演的一個小片段。機器人聽人類音樂家演奏 然后即興發(fā)揮。接著，看人類音樂家如何 回應機器人的行為，回應機器人的行為，有時甚至被機器人的表現(xiàn)驚訝。（音樂）（掌聲）

Being a musician is not just about making notes, otherwise nobody would ever go see a live show.Musicians also communicate with their bodies, with other band members, with the audience, they use their bodies to express the music.And I thought, we already have a robot musician on stage, why not make it be a full-fledged musician.And I started designing a socially expressive head for the robot.The head does't actually touch the marimba, it just expresses what the music is like.These are some napkin sketches from a bar in Atlanta, that was dangerously located exactly halfway between my lab and my home.(Laughter)So I spent, I would say on average, three to four hours a day there.I think.(Laughter)And I went back to my animation tools and tried to figure out not just what a robotic musician would look like, but especially what a robotic musician would move like.To sort of show that it doesn't like what the other person is playing--and maybe show whatever beat it's feeling at the moment.作為一個音樂家不僅僅是編寫音符，否則沒有人會去看現(xiàn)場表演了。音樂家也用他們的身體交流，和他們的樂隊成員，和觀眾，他們用他們的身體來表現(xiàn)音樂。于是我想，我們已經(jīng)有一個在舞臺上的機器人音樂家，為什么不把它打造成一個真正的音樂家呢？ 于是我開始為機器人設計一個 可以表現(xiàn)情感的頭部。頭部并不會碰到馬林巴，它只是用來表現(xiàn)音樂是什么樣的。這草圖的紙巾來自亞特蘭大某處一個酒吧，而且酒吧就正好在實驗室和我家的正中間。（笑聲）而且酒吧就正好在實驗室和我家的正中間。（笑聲）我大概平均 每天有3到4個小時的時間在那里，“大概”…（笑聲）我重新拾起了我的動畫工具，試圖想象 不僅僅一個機器人音樂家的樣子，特別是一個機器人音樂家會如何移動它的身體，來告訴人們它不喜歡其他人的演奏，還有它自己當下感覺到的節(jié)奏。還有它自己當下感覺到的節(jié)奏。

So we ended up actually getting the money to build this robot, which was nice.I'm going to show you now the same kind of performance, this time with a socially expressive head.And notice one thing--how the robot is really showing us the beat it's picking up from the human.We're also giving the human a sense that the robot knows what it's doing.And also how it changes the way it moves as soon as it starts its own solo.(Music)Now it's looking at me to make sure I'm listening.(Music)And now look at the final chord of the piece again, and this time the robot communicates with its body when it's busy doing its own thing.And when it's ready to coordinate the final chord with me.(Music)(Applause)幸運的是，我們最終還獲得了一筆 造這樣一個機器人的資金。接下來我給大家看一下同樣的表演 換成一個情感表現(xiàn)頭的效果。注意一點： 請觀察這個機器人如何 根據(jù)人類的演奏即興發(fā)揮，也讓人類知道，這個機器人知道它在做什么。還有獨奏開始時，它是如何做出回應的。還有獨奏開始時，它是如何做出回應的。（音樂）這會兒它正看著我確保我在聽。（音樂）我們再看一下這段的最后一部分，現(xiàn)在機器人正在用它的身體進行溝通，當它正忙于做它自己的事情時，忙于準備 跟我一起演奏最后的旋律。（音樂）（掌聲）

Thanks.I hope you see how much this totally not--how much this part of the body that doesn't touch the instrument actually helps with the musical performance.And at some point, we are in Atlanta, so obviously some rapper will come into our lab at some point.And we had this rapper come in and do a little jam with the robot.And here you can see the robot basically responding to the beat and--notice two things.One, how irresistible it is to join the robot while it's moving its head.and you kind of want to move your own head when it does it.And second, even though the rapper is really focused on his iPhone, as soon as the robot turns to him, he turns back.So even though it's just in the periphery of his vision--it's just in the corner of his eye--it's very powerful.And the reason is that we can't ignore physical things moving in our environment.We are wired for that.So, if you have a problem with maybe your partners looking at the iPhone too much or their smartphone too much, you might want to have a robot there to get their attention.(Laughter)(Music)(Applause)謝謝。我希望你能看到 它的頭部不碰到樂器 其實有助于音樂表演！既然我們在亞特蘭大，就不會沒有說唱歌手參與到我們的試驗中來。既然我們在亞特蘭大，就不會沒有說唱歌手參與到我們的試驗中來。這個說唱歌手來了之后，我們讓他和這個機器人一起表演。這里你可以看到這個機器人 對節(jié)奏的回應，請注意兩點。第一，當這個機器人在搖頭晃腦的時候，你是不是也很想加入其中，和它一起晃動你的頭部？ 第二，雖然這個說唱歌手非常專注于它的蘋果手機，當機器人轉向它的時候，他也馬上轉回來。雖然僅僅是在他的視線邊緣—— 他的眼角的余光里，它仍然非常強大。這就是為什么我們不能忽視 我們周邊物體的移動。我們天生會這樣做。所以，如果你的搭檔 很喜歡看它的蘋果手機或智能手機，也許你需要一個機器人 來獲得他們的注意力。（笑聲）（音樂）（掌聲）

Just to introduce the last robot that we've worked on, that came out of something kind of surprising that we found: At some point people didn't care anymore about the robot being so intelligent, and can improvise and listen, and do all these embodied intelligence things that I spent years on developing.They really liked that the robot was enjoying the music.(Laughter)And they didn't say that the robot was moving to the music, they said that the robot was enjoying the music.And we thought, why don't we take this idea, and I designed a new piece of furniture.This time it wasn't a desk lamp;it was a speaker dock.It was one of those things you plug your smartphone in.And I thought, what would happen if your speaker dock didn't just play the music for you, but it would actually enjoy it too.(Laughter)And so again, here are some animation tests from an early stage.(Laughter)And this is what the final product looked like.(“Drop It Like It's Hot”)So, a lot of bobbing head.(Applause)A lot of bobbing heads in the audience, so we can still see robots influence people.And it's not just fun and games.最后再為大家介紹一下 我們最近在打造的一個機器人。說來也奇怪，我們發(fā)現(xiàn) 到了某個階段，人們不再對那些聰明的、會即興表演、會聆聽、會做那些我花了多年研究的身體智能表演的 機器人感興趣了。他們真的很喜歡那個會享受音樂的機器人。（笑聲）他們沒有說這個機器人是隨著音樂扭動身體，而是說這個機器人在享受音樂。于是我們想，為什么不借用這個想法呢，因此我設計了一件新的小家具。這次不是一個臺燈，而是一個揚聲器底座，就是你可以把你的智能手機放上去的那種。于是我想，如果這個揚聲器底座 不僅可以為你放音樂，還可以享受音樂，會怎樣？（笑聲）這是早期的一些動畫嘗試。這是早期的一些動畫嘗試。這是最終的成品的樣子。饒舌音樂 不停的點頭……（掌聲）觀眾那里也有很多人在不停點頭，因此我們可以看到機器人可以影響人。當然這一切不僅僅只是娛樂和游戲。

I think one of the reasons I care so much about robots that use their body to communicate and use their body to move--and I'm going to let you in on a little secret we roboticists are hiding--is that every one of you is going to be living with a robot at some point in their life.Somewhere in your future there's going to be a robot in your life.And if not in yours, then in your children's lives.And I want these robots to be--to be more fluent, more engaging, more graceful than currently they seem to be.And for that I think that maybe robots need to be less like chess players and more like stage actors and more like musicians.Maybe they should be able to take chances and improvise.And maybe they should be able to anticipate what you're about to do.And maybe they need to be able to make mistakes and correct them, because in the end we are human.And maybe as humans, robots that are a little less than perfect are just perfect for us.Thank you.(Applause)我覺得自己非常熱衷研究 那些可以用身體溝通、用身體移動的機器人的一個原因是—— 我告訴你一個只有我們機器人專家知道的秘密—— 我們每一個人在生命的某個階段 都會需要機器人，你未來的某個階段會有個機器人。如果不是你的未來，那么你的孩子的未來。我希望這些機器人 比現(xiàn)在 可以更流暢、更吸引人、更優(yōu)雅。比現(xiàn)在 可以更流暢、更吸引人、更優(yōu)雅。因此，我覺得機器人 不應該是像一個象棋玩家，而應該更像一個舞臺演員或者音樂家。它們應該可以冒險，會即興表演，甚至會預料到你接下來會做什么。它們也應該可以犯錯 并且改正，因為到頭來，我們只是人類。也許對人類而言，不完美的機器人 才是完美的。謝謝！