第一篇：ted演講稿

At 7:45 a.m., I open the doors to a building dedicated to building, yet only breaks me down.I march down hallways cleaned up after me every day by regular janitors, but I never have the decency to honor their names.Lockers left open like teenage boys' mouths when teenage girls wear clothes that covers their insecurities but exposes everything else.Masculinity mimicked by men who grew up with no fathers, camouflage worn by bullies who are dangerously armed but need hugs.Teachers paid less than what it costs them to be here.Oceans of adolescents come here to receive lessons but never learn to swim, part like the Red Sea when the bell rings.1:06This is a training ground.My high school is Chicago, diverse and segregated on purpose.Social lines are barbed wire.Labels like “Regulars” and “Honors” resonate.I am an Honors but go home with Regular students who are soldiers in territory that owns them.This is a training ground to sort out the Regulars from the Honors, a reoccurring cycle built to recycle the trash of this system.1:40Trained at a young age to capitalize, letters taught now that capitalism raises you but you have to step on someone else to get there.This is a training ground where one group is taught to lead and the other is made to follow.No wonder so many of my people spit bars, because the truth is hard to swallow.The need for degrees has left so many people frozen.2:05Homework is stressful, but when you go home every day and your home is work, you don't want to pick up any assignments.Reading textbooks is stressful, but reading does not matter when you feel your story is already written, either dead or getting booked.Taking tests is stressful, but bubbling in a Scantron does not stop bullets from bursting.2:27I hear education systems are failing, but I believe they're succeeding at what they're built to do--to train you, to keep you on track, to track down an American dream that has failed so many of us all.2:44(Applause)清晨7點(diǎn)45分，我打開那扇門，那扇通往建筑樓的門，即便它只能讓我失望。我走過(guò)門廊，清潔工每日在我的身后打掃，但我從未高尚地記住他們的名字。儲(chǔ)物柜敞開著，就像青春期的男生們看到女生們穿著暴露的衣服——那種除了掩飾她們的不安全感，其實(shí)什么都沒(méi)有遮住的衣服時(shí)，他們張大的嘴一樣。處處彰顯著自己的男子氣概的，是成長(zhǎng)在沒(méi)有父親的家庭中的男人； 恃強(qiáng)凌弱、橫行霸道的，是需要擁抱的持槍者。老師們拿著不足以維持生計(jì)的薪水，孩子們?nèi)绯彼话阌縼?lái)聆聽教誨，卻從未學(xué)會(huì)游泳。下課鈴一響，孩子們便像紅海分開一樣，彼此說(shuō)再會(huì)。

1:06這就是我們的訓(xùn)練場(chǎng)。我的高中，芝加哥，在那里，學(xué)生被蓄意分隔成不同類別。像有一張鐵絲網(wǎng)橫在我們中間一樣。“普通學(xué)生”和“優(yōu)等生”的標(biāo)簽不絕于耳。我是一個(gè)優(yōu)等生，卻混雜在普通學(xué)生中一道回家。那些普通學(xué)生，就像戰(zhàn)士站在統(tǒng)治他們的領(lǐng)地上一樣。這就是我們的訓(xùn)練場(chǎng)： 永無(wú)止境地從優(yōu)等生中尋找平庸者，只是為了回收體系的垃圾。1:40從小接受的資本化訓(xùn)練告訴你，雖然資本主義養(yǎng)育了你，但你還必須踩在別人的肩膀上才能實(shí)現(xiàn)自己的目標(biāo)。這就是我們的訓(xùn)練場(chǎng)： 在這里，一部分人被訓(xùn)練成領(lǐng)導(dǎo)者，另一部分人被訓(xùn)練如何去服從。為什么我們中很多人去饒舌，因?yàn)檎嫦嗪茈y下咽。對(duì)學(xué)位的需求讓許多人感到害怕。

2:05家庭作業(yè)讓人抓狂，每當(dāng)你回到家中，你的家就是作業(yè)，你根本不想拿起作業(yè)本。讀課本也讓人抓狂，但有時(shí)，讀書也沒(méi)有用：那就是當(dāng)你覺(jué)得 你的命運(yùn)已被決定—— 不是死亡，就是被征用的時(shí)候?？荚嚫屓俗タ瘢窃诖痤}卡上填涂得再多，也無(wú)法阻止槍聲響起，子彈爆炸。

2:27我聽到我們的教育正在走向失敗，但我以為，我們的教育正是成功實(shí)現(xiàn)了它的預(yù)期目標(biāo)—— 訓(xùn)練你在已有的軌道上前行，去追尋一個(gè)對(duì)于我們很多人來(lái)說(shuō) 已經(jīng)失敗的美國(guó)夢(mèng)。2:44（掌聲）

This is a guy named Bob McKim.He was a creativity researcher in the '60s and '70s, and also led the Stanford Design Program.And in fact, my friend and IDEO founder, David Kelley, who’s out there somewhere, studied under him at Stanford.And he liked to do an exercise with his studentswhere he got them to take a piece of paper and draw the person who sat next to them, their neighbor, very quickly, just as quickly as they could.0:48And in fact, we’re going to do that exercise right now.You all have a piece of cardboard and a piece of paper.It’s actually got a bunch of circles on it.I need you to turn that piece of paper over;you should find that it’s blank on the other side.And there should be a pencil.And I want you to pick somebody that’s seated next to you, and when I say, go, you’ve got 30 seconds to draw your neighbor, OK? So, everybody ready? OK.Off you go.You’ve got 30 seconds, you’d better be fast.Come on: those masterpieces...OK? Stop.All right, now.1:38(Laughter)1:40Yes, lot’s of laughter.Yeah, exactly.Lots of laughter, quite a bit of embarrassment.1:46(Laughter)1:47Am I hearing a few “sorry’s”? I think I’m hearing a few sorry’s.Yup, yup, I think I probably am.And that’s exactly what happens every time, every time you do this with adults.McKim found this every time he did it with his students.He got exactly the same response: lots and lots of sorry’s.2:07(Laughter)2:08And he would point this out as evidence that we fear the judgment of our peers, and that we’re embarrassed about showing our ideas to people we think of as our peers, to those around us.And this fear is what causes us to be conservative in our thinking.So we might have a wild idea,but we’re afraid to share it with anybody else.2:35OK, so if you try the same exercise with kids, they have no embarrassment at all.They just quite happily show their masterpiece to whoever wants to look at it.But as they learn to become adults, they become much more sensitive to the opinions of others, and they lose that freedom and they do start to become embarrassed.And in studies of kids playing, it’s been shown time after time that kids who feel secure, who are in a kind of trusted environment--they’re the ones that feel most free to play.3:15And if you’re starting a design firm, let’s say, then you probably also want to create a place where people have the same kind of security.Where they have the same kind of security to take risks.Maybe have the same kind of security to play.3:32Before founding IDEO, David said that what he wanted to do was to form a company where all the employees are my best friends.Now, that wasn’t just self-indulgence.He knew that friendship is a short cut to play.And he knew that it gives us a sense of trust, and it allows us then to take the kind of creative risks that we need to take as designers.And so, that decision to work with his friends--now he has 550 of them--was what got IDEO started.4:14And our studios, like, I think, many creative workplaces today, are designed to help people feel relaxed: familiar with their surroundings, comfortable with the people that they’re working with.It takes more than decor, but I think we’ve all seen that creative companies do often have symbols in the workplace that remind people to be playful, and that it’s a permissive environment.So, whether it’s this microbus meeting room that we have in one our buildings at IDEO;or at Pixar, where the animators work in wooden huts and decorated caves;or at the Googleplex, where it’s famous for its [beach] volleyball courts, and even this massive dinosaur skeleton with pink flamingos on it.Don’t know the reason for the pink flamingos, but anyway, they’re there in the garden.Or even in the Swiss office of Google, which perhaps has the most wacky ideas of all.And my theory is, that’s so the Swiss can prove to their Californian colleagues that they’re not boring.So they have the slide, and they even have a fireman’s pole.Don’t know what they do with that, but they have one.5:16So all of these places have these symbols.Now, our big symbol at IDEO is actually not so much the place, it’s a thing.And it’s actually something that we invented a few years ago, or created a few years ago.It’s a toy;it’s called a “finger blaster.” And I forgot to bring one up with me.So if somebody can reach under the chair that’s next to them, you’ll find something taped underneath it.That’s great.If you could pass it up.Thanks, David, I appreciate it.5:41So this is a finger blaster, and you will find that every one of you has got one taped under your chair.And I’m going to run a little experiment.Another little experiment.But before we start, I need just to put these on.Thank you.All right.Now, what I’m going to do is, I’m going to see how--I can’t see out of these, OK.I’m going to see how many of you at the back of the room can actually get those things onto the stage.So the way they work is, you know, you just put your finger in the thing, pull them back, and off you go.So, don’t look backwards.That’s my only recommendation here.I want to see how many of you can get these things on the stage.So come on!There we go, there we go.Thank you.Thank you.Oh.I have another idea.I wanted to--there we go.6:26(Laughter)6:30There we go.6:31(Laughter)6:35Thank you, thank you, thank you.Not bad, not bad.No serious injuries so far.6:40(Laughter)6:44Well, they’re still coming in from the back there;they’re still coming in.Some of you haven’t fired them yet.Can you not figure out how to do it, or something? It’s not that hard.Most of your kids figure out how to do this in the first 10 seconds, when they pick it up.All right.This is pretty good;this is pretty good.Okay, all right.Let’s--I suppose we'd better...I'd better clear these up out of the way;otherwise, I’m going to trip over them.All right.So the rest of you can save them for when I say something particularly boring, and then you can fire at me.7:16(Laughter)7:18All right.I think I’m going to take these off now, because I can’t see a damn thing when I’ve--all right, OK.So, ah, that was fun.7:27(Laughter)7:29All right, good.7:31(Applause)7:33So, OK, so why? So we have the finger blasters.Other people have dinosaurs, you know.Why do we have them? Well, as I said, we have them because we think maybe playfulness is important.But why is it important? We use it in a pretty pragmatic way, to be honest.We think playfulness helps us get to better creative solutions.Helps us do our jobs better, and helps us feel better when we do them.7:58Now, an adult encountering a new situation--when we encounter a new situation we have a tendency to want to categorize it just as quickly as we can, you know.And there’s a reason for that: we want to settle on an answer.Life’s complicated;we want to figure out what’s going on around us very quickly.I suspect, actually, that the evolutionary biologists probably have lots of reasons [for] why we want to categorize new things very, very quickly.One of them might be, you know, when we see this funny stripy thing: is that a tiger just about to jump out and kill us? Or is it just some weird shadows on the tree? We need to figure that out pretty fast.Well, at least, we did once.Most of us don’t need to anymore, I suppose.8:37This is some aluminum foil, right? You use it in the kitchen.That’s what it is, isn’t it? Of course it is, of course it is.Well, not necessarily.8:44(Laughter)8:46Kids are more engaged with open possibilities.Now, they’ll certainly--when they come across something new, they’ll certainly ask, “What is it?” Of course they will.But they’ll also ask, “What can I do with it?” And you know, the more creative of them might get to a really interesting example.And this openness is the beginning of exploratory play.Any parents of young kids in the audience? There must be some.Yeah, thought so.So we’ve all seen it, haven’t we?

9:12We’ve all told stories about how, on Christmas morning, our kids end up playing with the boxesfar more than they play with the toys that are inside them.And you know, from an exploration perspective, this behavior makes complete sense.Because you can do a lot more with boxes than you can do with a toy.Even one like, say, Tickle Me Elmo--which, despite its ingenuity, really only does one thing, whereas boxes offer an infinite number of choices.So again, this is another one of those playful activities that, as we get older, we tend to forget and we have to relearn.9:12我們都說(shuō)過(guò)在圣誕節(jié)早上的故事，孩子們竟然在玩紙箱，而不玩包在里面的玩具。你知道的，從探索的角度看，這種行為是有道理的。因?yàn)橄渥涌梢酝娴姆绞奖韧婢叨嗟枚?。舉例而言：像?搔癢娃娃?，它雖有原創(chuàng)性，卻只有一個(gè)用途，而箱子卻有無(wú)限的選擇。再一次，這又是一個(gè)好玩的活動(dòng)，當(dāng)我們長(zhǎng)大后，我們傾向忘記，而要重新學(xué)習(xí)。9:49So another one of Bob McKim’s favorite exercises is called the “30 Circles Test.” So we’re back to work.You guys are going to get back to work again.Turn that piece of paper that you did the sketch on back over, and you’ll find those 30 circles printed on the piece of paper.So it should look like this.You should be looking at something like this.So what I’m going to do is, I’m going to give you minute, and I want you to adapt as many of those circles as you can into objects of some form.So for example, you could turn one into a football, or another one into a sun.All I’m interested in is quantity.I want you to do as many of them as you can, in the minute that I’m just about to give you.So, everybody ready? OK? Off you go.10:41Okay.Put down your pencils, as they say.So, who got more than five circles figured out?Hopefully everybody? More than 10? Keep your hands up if you did 10.15? 20? Anybody get all 30? No? Oh!Somebody did.Fantastic.Did anybody to a variation on a theme? Like a smiley face? Happy face? Sad face? Sleepy face? Anybody do that? Anybody use my examples? The sun and the football? Great.Cool.So I was really interested in quantity.I wasn’t actually very interested in whether they were all different.I just wanted you to fill in as many circles as possible.And one of the things we tend to do as adults, again, is we edit things.We stop ourselves from doing things.We self-edit as we’re having ideas.11:30And in some cases, our desire to be original is actually a form of editing.And that actually isn’t necessarily really playful.So that ability just to go for it and explore lots of things, even if they don’t seem that different from each other, is actually something that kids do well, and it is a form of play.So now, Bob McKim did another version of this test in a rather famous experiment that was done in the 1960s.Anybody know what this is? It’s the peyote cactus.It’s the plant from which you can create mescaline, one of the psychedelic drugs.For those of you around in the '60s, you probably know it well.12:10McKim published a paper in 1966, describing an experiment that he and his colleagues conducted to test the effects of psychedelic drugs on creativity.So he picked 27 professionals--they were engineers, physicists, mathematicians, architects, furniture designers even, artists--and he asked them to come along one evening, and to bring a problem with them that they were working on.He gave each of them some mescaline, and had them listen to some nice, relaxing music for a while.And then he did what’s called the Purdue Creativity Test.You might know it as, “How many uses can you find for a paper clip?” It’s basically the same thing as the 30 circles thing that I just had you do.13:02Now, actually, he gave the test before the drugs and after the drugs, to see what the difference was in people’s facility and speed with coming up with ideas.And then he asked them to go awayand work on those problems that they’d brought.And they’d come up with a bunch of interesting solutions--and actually, quite valid solutions--to the things that they’d been working on.And so, some of the things that they figured out, some of these individuals figured out;in one case, a new commercial building and designs for houses that were accepted by clients;a design of a solar space probe experiment;a redesign of the linear electron accelerator;an engineering improvement to a magnetic tape recorder--you can tell this is a while ago;the completion of a line of furniture;and even a new conceptual model of the photon.So it was a pretty successful evening.13:53In fact, maybe this experiment was the reason that Silicon Valley got off to its great start with innovation.We don’t know, but it may be.We need to ask some of the CEOs whether they were involved in this mescaline experiment.But really, it wasn’t the drugs that were important;it was this idea that what the drugs did would help shock people out of their normal way of thinking, and getting them to forget the adult behaviors that were getting in the way of their ideas.But it’s hard to break our habits, our adult habits.14:23At IDEO we have brainstorming rules written on the walls.Edicts like, “Defer judgment,” or “Go for quantity.” And somehow that seems wrong.I mean, can you have rules about creativity? Well, it sort of turns out that we need rules to help us break the old rules and norms that otherwise we might bring to the creative process.And we’ve certainly learnt that over time, you get much better brainstorming, much more creative outcomes when everybody does play by the rules.Now, of course, many designers, many individual designers, achieve this is in a much more organic way.14:57I think the Eameses are wonderful examples of experimentation.And they experimented with plywood for many years without necessarily having one single goal in mind.They were exploring following what was interesting to them.They went from designing splints for wounded soldierscoming out of World War II and the Korean War, I think, and from this experiment they moved on to chairs.15:19Through constant experimentation with materials, they developed a wide range of iconic solutionsthat we know today, eventually resulting in, of course, the legendary lounge chair.Now, if the Eameses had stopped with that first great solution, then we wouldn’t be the beneficiaries of so many wonderful designs today.And of course, they used experimentation in all aspects of their work, from films to buildings, from games to graphics.So, they’re great examples, I think, of exploration and experimentation in design.15:53Now, while the Eameses were exploring those possibilities, they were also exploring physical objects.And they were doing that through building prototypes.And building is the next of the behaviors that I thought I’d talk about.So the average Western first-grader spends as much as 50 percent of their play time taking part in what’s called “construction play.” Construction play--it’s playful, obviously, but also a powerful way to learn.When play is about building a tower out of blocks, the kid begins to learn a lot about towers.And as they repeatedly knock it down and start again, learning is happening as a sort of by-product of play.It’s classically learning by doing.16:37Now, David Kelley calls this behavior, when it’s carried out by designers, “thinking with your hands.” And it typically involves making multiple, low-resolution prototypes very quickly, often by bringing lots of found elements together in order to get to a solution.On one of his earliest projects, the team was kind of stuck, and they came up with a mechanism by hacking together a prototype made from a roll-on deodorant.Now, that became the first commercial computer mouse for the Apple Lisa and the Macintosh.17:08So, they learned their way to that by building prototypes.Another example is a group of designerswho were working on a surgical instrument with some surgeons.They were meeting with them;they were talking to the surgeons about what it was they needed with this device.And one of the designers ran out of the room and grabbed a white board marker and a film canister--which is now becoming a very precious prototyping medium--and a clothespin.He taped them all together, ran back into the room and said, “You mean, something like this?” And the surgeons grabbed hold of it and said, well, I want to hold it like this, or like that.And all of a sudden a productive conversation was happening about design around a tangible object.And in the end it turned into a real device.17:51And so this behavior is all about quickly getting something into the real world, and having your thinking advanced as a result.At IDEO there’s a kind of a back-to-preschool feel sometimes about the environment.The prototyping carts, filled with colored paper and Play-Doh and glue sticks and stuff--I mean, they do have a bit of a kindergarten feel to them.But the important idea is that everything’s at hand, everything’s around.So when designers are working on ideas, they can start building stuff whenever they want.They don’t necessarily even have to go into some kind of formal workshop to do it.And we think that’s pretty important.18:27And then the sad thing is, although preschools are full of this kind of stuff, as kids go through the school system it all gets taken away.They lose this stuff that facilitates this sort of playful and building mode of thinking.And of course, by the time you get to the average workplace, maybe the best construction tool we have might be the Post-it notes.It’s pretty barren.But by giving project teams and the clients who they’re working with permission to think with their hands, quite complex ideas can spring into life and go right through to execution much more easily.18:27悲哀的是，學(xué)齡前兒童雖然 充滿這些東西，一旦兒童進(jìn)入學(xué)校系統(tǒng) 這些都不見了。他們失去這些物品，這些能促成 好玩的、建造模式的思考。當(dāng)然，當(dāng)你到達(dá)一般工作場(chǎng)合時(shí)，我們能有的最佳建造工具 或許就是便利貼了。蠻寒酸的。但如能讓專案小組及一起工作的客戶 允許他們用手去思考，極復(fù)雜的構(gòu)想就會(huì)油然而生 并能更方便地加以執(zhí)行。

19:05This is a nurse using a very simple--as you can see--plasticine prototype, explaining what she wants out of a portable information system to a team of technologists and designers that are working with her in a hospital.And just having this very simple prototype allows her to talk about what she wants in a much more powerful way.And of course, by building quick prototypes, we can get out and test our ideas with consumers and users much more quickly than if we’re trying to describe them through words.19:37But what about designing something that isn’t physical? Something like a service or an experience? Something that exists as a series of interactions over time? Instead of building play, this can be approached with role-play.So, if you’re designing an interaction between two people--such as, I don’t know--ordering food at a fast food joint or something, you need to be able to imagine how that experience might feel over a period of time.And I think the best way to achieve that, and get a feeling for any flaws in your design, is to act it out.20:08So we do quite a lot of work at IDEO trying to convince our clients of this.They can be a little skeptical;I’ll come back to that.But a place, I think, where the effort is really worthwhile is where people are wrestling with quite serious problems--things like education or security or finance or health.And this is another example in a healthcare environment of some doctors and some nurses and designers acting out a service scenario around patient care.But you know, many adults are pretty reluctant to engage with role-play.Some of it’s embarrassment and some of it is because they just don’t believe that what emerges is necessarily valid.They dismiss an interesting interaction by saying, you know, “That’s just happening because they’re acting it out.”

20:51Research into kids' behavior actually suggests that it’s worth taking role-playing seriously.Because when children play a role, they actually follow social scripts quite closely that they’ve learnt from us as adults.If one kid plays “store,” and another one’s playing “house,” then the whole kind of play falls down.So they get used to quite quickly to understanding the rules for social interactions, and are actually quite quick to point out when they’re broken.21:18So when, as adults, we role-play, then we have a huge set of these scripts already internalized.We’ve gone through lots of experiences in life, and they provide a strong intuition as to whether an interaction is going to work.So we’re very good, when acting out a solution, at spotting whether something lacks authenticity.So role-play is actually, I think, quite valuable when it comes to thinking about experiences.Another way for us, as designers, to explore role-play is to put ourselves through an experience which we’re designing for, and project ourselves into an experience.21:56So here are some designers who are trying to understand what it might feel like to sleep in aconfined space on an airplane.And so they grabbed some very simple materials, you can see,and did this role-play, this kind of very crude role-play, just to get a sense of what it would be like for passengers if they were stuck in quite small places on airplanes.22:16This is one of our designers, Kristian Simsarian, and he’s putting himself through the experience of being an ER patient.Now, this is a real hospital, in a real emergency room.One of the reasons he chose to take this rather large video camera with him was because he didn’t want the doctors and nurses thinking he was actually sick, and sticking something into him that he was going to regret later.So anyhow, he went there with his video camera, and it’s kind of interesting to see what he brought back.Because when we looked at the video when he got back, we saw 20 minutes of this.22:45(Laughter)22:48And also, the amazing thing about this video--as soon as you see it you immediately project yourself into that experience.And you know what it feels like: all of that uncertainty while you’re left out in the hallway while the docs are dealing with some more urgent case in one of the emergency rooms, wondering what the heck’s going on.And so this notion of using role-play--or in this case, living through the experience as a way of creating empathy--particularly when you use video, is really powerful.23:15Or another one of our designers, Altay Sendil: he’s here having his chest waxed, not because he’s very vain, although actually he is--no, I’m kidding--but in order to empathize with the pain that chronic care patients go through when they’re having dressings removed.And so sometimes these analogous experiences, analogous role-play, can also be quite valuable.23:34So when a kid dresses up as a firefighter, you know, he’s beginning to try on that identity.He wants to know what it feels like to be a firefighter.We’re doing the same thing as designers.We’re trying on these experiences.And so the idea of role-play is both as an empathy tool, as well as a tool for prototyping experiences.And you know, we kind of admire people who do this at IDEO anyway.Not just because they lead to insights about the experience, but also because of their willingness to explore and their ability to unselfconsciously surrender themselves to the experience.In short, we admire their willingness to play.24:16Playful exploration, playful building and role-play: those are some of the ways that designers use play in their work.And so far, I admit, this might feel like it’s a message just to go out and play like a kid.And to certain extent it is, but I want to stress a couple of points.The first thing to remember is that play is not anarchy.Play has rules, especially when it’s group play.When kids play tea party, or they play cops and robbers, they’re following a script that they’ve agreed to.And it’s this code negotiation that leads to productive play.24:56So, remember the sketching task we did at the beginning? The kind of little face, the portrait you did? Well, imagine if you did the same task with friends while you were drinking in a pub.But everybody agreed to play a game where the worst sketch artist bought the next round of drinks.That framework of rules would have turned an embarrassing, difficult situation into a fun game.As a result, we’d all feel perfectly secure and have a good time--but because we all understood the rules and we agreed on them together.25:30But there aren’t just rules about how to play;there are rules about when to play.Kids don’t play all the time, obviously.They transition in and out of it, and good teachers spend a lot of timethinking about how to move kids through these experiences.As designers, we need to be able to transition in and out of play also.And if we’re running design studios we need to be able to figure out, how can we transition designers through these different experiences? I think this is particularly true if we think about the sort of--26:03I think what’s very different about design is that we go through these two very distinctive modes of operation.We go through a sort of generative mode, where we’re exploring many ideas;and then we come back together again, and come back looking for that solution, and developing that solution.I think they’re two quite different modes: divergence and convergence.And I think it’s probably in the divergent mode that we most need playfulness.Perhaps in convergent mode we need to be more serious.And so being able to move between those modes is really quite important.So, it’s where there’s a more nuanced version view of play, I think, is required.26:45Because it’s very easy to fall into the trap that these states are absolute.You’re either playful or you’re serious, and you can’t be both.But that’s not really true: you can be a serious professional adult and, at times, be playful.It’s not an either/or;it’s an “and.” You can be serious and play.So to sum it up, we need trust to play, and we need trust to be creative.So, there’s a connection.And there are a series of behaviors that we’ve learnt as kids, and that turn out to be quite useful to us as designers.They include exploration, which is about going for quantity;building, and thinking with your hands;and role-play, where acting it out helps us both to have more empathy for the situations in which we’re designing, and to create services and experiences that are seamless and authentic.27:44Thank you very much.(Applause)這位仁兄, 這位仁兄叫做博布?馬金。'60、'70 年代時(shí)他是創(chuàng)造力研究者，同時(shí)負(fù)責(zé)史丹福大學(xué)的設(shè)計(jì)學(xué)程。事實(shí)上，我的朋友兼 IDEO 創(chuàng)辦人大衛(wèi)?凱利，他也在場(chǎng)，曾在史丹福當(dāng)他的學(xué)生。他喜歡要學(xué)生做一個(gè)練習(xí)要他們拿一張紙 畫坐在身邊的人，他們的鄰座，很快地畫，越快越好。

0:48事實(shí)上，我們就要來(lái)做那個(gè)練習(xí)。你們都有一片紙板和一張紙。它有著一堆的圓圈在上面。我要你們把紙翻過(guò)來(lái)，背面是空白的，是吧？ 也該有一枝鉛筆。我要你找個(gè)坐在你旁邊的人，當(dāng)我說(shuō)?開始?，你用 30 秒畫你的鄰座，好嗎？ 都預(yù)備好了嗎？好了？開始。你有 30 秒，最好畫快些。加油，畫出杰作。好？停。很好，到了。1:38(笑聲)1:40是呀，很多笑聲。就是這樣。很多笑聲，有點(diǎn)難為情。1:46(笑聲)1:47有人說(shuō)?不好意思?？我猜我聽到有人說(shuō)?不好意思?。對(duì)，對(duì)，我有聽到。那正是每次都有的事，每次你要大人做這個(gè)。馬金每次要學(xué)生做，都發(fā)現(xiàn)這樣。得到的反應(yīng)完全一樣：許許多多?不好意思?。2:07(笑聲)2:08他會(huì)指出這是證據(jù) 我們害怕同儕的評(píng)斷，我們不好意思展現(xiàn)自己的構(gòu)想 給我們的同儕，給周邊的人。就是這種害怕使我們 變成思想上保守。我們或許有個(gè)狂野的想法，但我們怕和任何人分享。

2:35好，如果你要兒童做同樣的練習(xí)，他們一點(diǎn)都不會(huì)難為情。他們都高興地展現(xiàn)自己的杰作 給任何想看它的人。但當(dāng)他們學(xué)著長(zhǎng)大，他們對(duì)別人的意見變得大為敏感，而失去了那個(gè)自由，也開始變得難為情。研究游戲中的兒童，已經(jīng)一次次 證明了只要孩子們覺(jué)得安心、是在一種信賴的環(huán)境里，他們就越覺(jué)得能盡興去玩。

3:15例如說(shuō)，你計(jì)劃要成立一家設(shè)計(jì)公司，你因此可能也要規(guī)劃一個(gè)地方 讓人感到有安全感。那里他有敢去冒險(xiǎn)的安全感。也許有敢去游戲的安全感。

3:32創(chuàng)立 IDEO 之前，大衛(wèi)說(shuō)他想做的是 組一家員工全是他的好朋友的公司。那并不是只自我陶醉。他知道，友誼是游戲的關(guān)鍵。他知道，那給我們信賴感，也容許我們?nèi)ッ皠?chuàng)意風(fēng)險(xiǎn) 就是設(shè)計(jì)師都要冒的風(fēng)險(xiǎn)。所以那種想和朋友一起工作的決定 － 如今他有 550 位 － 是 IDEO 的緣起。

4:14而我們的工作室，像今天的許多創(chuàng)意工作區(qū)一樣，其設(shè)計(jì)是要幫助人們覺(jué)得放松。熟悉他們的周遭，自在地與同事一起工作。它不只是裝潢，我想你們都知道，創(chuàng)意公司往往在工作區(qū)都有個(gè)?象征? 可以提醒人要敢玩，以及那是個(gè)容許放肆的環(huán)境。因此不論是這個(gè)箱型車會(huì)議室 就在 IDEO 的一棟大樓里，或在匹克薩，動(dòng)畫師們?cè)谀疚菁把b飾的洞穴里工作?；蛟诠雀璩?，你知道的，它有名的是沙灘排球場(chǎng)，以及這個(gè)巨大的恐龍骨骼及上面的紅鶴。不懂紅鶴的理由是什么，但是總之，它們就在庭院里。或者，甚至瑞士的谷歌辦公室，這里有或許是最搞怪的點(diǎn)子。我的理論是這樣的：瑞士可以證明給 加州同事們說(shuō)，他們不會(huì)無(wú)聊。他們有滑梯，他們甚至有消防隊(duì)的鋼管。不知他們拿那個(gè)做什么，但他們就是有。

5:16因此, 所有這些地方都有這些?象征?。而我們?cè)?IDEO 的大?象征?，實(shí)際上 并不是個(gè)地點(diǎn)，而是件物品。它實(shí)際上是我們幾年前發(fā)明的東西，或幾年前創(chuàng)造出來(lái)的。那是個(gè)玩具，叫做 「彈射鏢」。我忘了帶一個(gè)上來(lái)。誰(shuí)可以到旁邊那把椅子下，你可以找到就貼在座墊底下。很好。請(qǐng)遞給我。謝謝你大衛(wèi)，感謝。

5:41這就是彈射鏢，你們都可以找到一個(gè) 貼在你的座墊下。我要來(lái)個(gè)小實(shí)驗(yàn)。另一個(gè)小實(shí)驗(yàn)。但是開始前，我要戴上這個(gè)。謝謝。好了。現(xiàn)在，我要做的是：我要看如何 － 我看不到，好了。我要看有多少位坐在房間后面的 可以把這些東西射上舞臺(tái)。使用方法是，你知道的，把手指套進(jìn)去，向后拉，放開就射出了。不要回頭看。這是我唯一的建議。所以我要看有多少人能把它射上舞臺(tái)。開始了！來(lái)吧、來(lái)吧。謝謝、謝謝。噢。我有另一個(gè)想法。我要 － 來(lái)吧。6:26(笑聲)6:30來(lái)吧。6:31(笑聲)6:35謝謝、謝謝、謝謝。不錯(cuò)、不錯(cuò)。還沒(méi)有嚴(yán)重傷害。6:40(笑聲)6:44嗯，它們繼續(xù)從后方飛過(guò)來(lái)： 繼續(xù)飛過(guò)來(lái)。有些人還沒(méi)有發(fā)射。你不知如何射，或怎么了 并不難的。大部分小孩都會(huì)射 拿到后十秒內(nèi)就會(huì)了。好了。很好、很好。好了。我想我們最好...我最好清理一下場(chǎng)地 否則我會(huì)踏到它們。好。其他人可以留著它 如果我講得特別無(wú)聊時(shí)，就拿來(lái)射我。7:16(笑聲)7:18好了。我要把它脫下，因?yàn)槲铱床坏綎|西 － 好了，好。所以，啊，那真好玩。7:27(笑聲)7:29好了，好。7:31(鼓掌)7:33所以，好，為什么？ 所以我們有彈射鏢，其他人有恐龍，你知道的。為何我們要有它？嗯，我說(shuō)過(guò)，我們有它，因?yàn)槲覀冋J(rèn)為：好玩是重要的。但是，為什么重要？ 我們用它在實(shí)用上，老實(shí)說(shuō)。我們認(rèn)為：好玩幫我們找到更有創(chuàng)意的解答。幫我們做得更好，當(dāng)我們做事時(shí)，幫我們感覺(jué)更好。

7:58現(xiàn)在，大人遇到了新的情況 － 當(dāng)我們遇到新情況，我們傾向 要將它盡快歸類。這是有道理的。我們想找個(gè)解答。生活是復(fù)雜的。我們要盡快 弄清楚四周的狀況。我猜，實(shí)際上演化論生物學(xué)者 或許有很多理由可說(shuō)明為何 我們要盡快歸類事情。其中一個(gè)理由也許是，當(dāng)我們看到個(gè)怪條紋的東西，那是老虎要跳出來(lái)吃人嗎？ 或者只是樹上的一些怪影？ 我們必須很快弄清楚。嗯，至少我們做過(guò)一次。我猜，我們大部分都不必再做。8:37這是鋁箔，對(duì)吧？你在廚房里用它。就是那樣，不是嗎？當(dāng)然是的、當(dāng)然是的。嗯，未必吧。8:44(笑聲)8:46小孩更愿意接受開放的可能性。他們將必然 － 當(dāng)他們遇到新的事情，他們將必然會(huì)問(wèn)：這是什么？當(dāng)然他們會(huì)。但他們也會(huì)問(wèn)：我能用它做什么？ 而你知道，比較有創(chuàng)意的小孩 將會(huì)得到真正有趣的例子。這種開放是探索游戲的開始。觀眾中有人有小孩嗎？ 一定是有的。呀，想必如此。因此我們都看到了，不是嗎？

9:49因此，博布?馬金的另一個(gè)喜愛(ài)的練習(xí)叫做?30 圈測(cè)驗(yàn)?。因此我們回來(lái)工作。你們都要回來(lái)工作。把剛才畫圖的紙翻過(guò)來(lái)，背面印有 30 個(gè)圓圈。就是這樣。你看到的就像這個(gè)。我要做什么呢，我要給你一分鐘，我要你盡量利用這些圓圈，畫成某些物品。例如，你可以把一個(gè)畫成足球，或另一個(gè)畫成太陽(yáng)。我要的是數(shù)量。我要你盡可能畫越多越好，利用我將給你的一分鐘。準(zhǔn)備好了嗎？好嗎？開始。

10:41好了。請(qǐng)放下鉛筆。誰(shuí)畫超過(guò)五個(gè)？ 應(yīng)該是每個(gè)人？超過(guò) 10 個(gè)？ 如果畫滿 10 個(gè)的，請(qǐng)舉手。15？20？有人畫滿 30 個(gè)？ 沒(méi)有？喔！有人做到了。好極了。有人用同一主題去變化嗎？如笑臉？快樂(lè)臉？悲傷臉？瞌睡臉？有人嗎？ 有人用我的例子嗎？太陽(yáng)、足球？ 很好?？?。我要的是數(shù)量。實(shí)際上我不在意它們是否都差別很大。我只是要你們盡量使用圓圈。大人的另一個(gè)傾向，會(huì)去編輯東西。我們停住自己，不再去做。我們一有想法就自我編輯它。

11:30有時(shí)候，我們想要有原創(chuàng)性，其實(shí)是一種編輯。而實(shí)際上未必真的好玩。因此那種往前探索許多事物的能力，即使它們彼此并不那么不同，實(shí)際上小孩子做得很好，是一種游戲。因此，現(xiàn)在博布?馬金做了另一個(gè) － 測(cè)驗(yàn)的另一個(gè)版本，一個(gè)頗有名的實(shí)驗(yàn)，在 1960 年代。有人知道這是什么嗎？是皮約特仙人掌。用它可以制造美斯卡靈，一種迷幻劑。'60 年代的人或許知道。

12:10馬金在 1966 年發(fā)表了一篇論文，描述一個(gè)實(shí)驗(yàn) 由他和他的同事執(zhí)行的，測(cè)試迷幻藥對(duì)創(chuàng)造力的影響。因此他挑選了 27 名專業(yè)人士。他們是： 工程師、物理學(xué)者、數(shù)學(xué)家、建筑師、家具設(shè)計(jì)師、還有藝術(shù)家。他請(qǐng)他們某個(gè)晚上過(guò)來(lái) 帶個(gè)他們正在處理的問(wèn)題。他給每個(gè)人吃一些美斯卡靈，讓他們聽一下好聽、輕松的音樂(lè)。接著他要他們做所謂的?普度創(chuàng)造力測(cè)驗(yàn)?。也許你知道，就是：想出回形針有多少用途？ 基本上和我要你們做的 30 個(gè)圓圈一樣。

13:02實(shí)際上，用藥前他也有做測(cè)驗(yàn)，用藥后也有，要比較 － 人們?cè)诋a(chǎn)生構(gòu)想的熟練度 和速度上有何不同。接著他要他們離開 開始處理帶來(lái)的問(wèn)題。他們都產(chǎn)生了一大堆的 有趣解答，實(shí)際上都相當(dāng) 具體的解答用在正處理的問(wèn)題上。他們想出的一些點(diǎn)子，這些受試者想出的...如：新的商業(yè)大樓和住屋設(shè)計(jì) 被客戶接受了。太陽(yáng)的太空探測(cè)實(shí)驗(yàn)設(shè)計(jì)。線性電子加速器的再設(shè)計(jì)、錄音磁帶的工程改進(jìn)。－ 這是好幾年前的事。完成家具產(chǎn)品線，甚至光子的新概念模型。因此，這是個(gè)蠻成功的夜晚。

13:53也許這個(gè)實(shí)驗(yàn)是硅谷為什么 在創(chuàng)新上能有那么大的突破。我們未得而知，但有可能的。我們要問(wèn)幾位執(zhí)行長(zhǎng) 他們是否參加了這個(gè)美斯卡靈實(shí)驗(yàn)。真的，重要的不是藥，而是實(shí)驗(yàn)的發(fā)現(xiàn)： 藥可以幫人跳出平常的思維方式。讓人忘記大人的行為 這些行為有礙創(chuàng)意。但是很難改變習(xí)慣，我們的大人習(xí)慣。

14:23在 IDEO，我們把腦力激蕩規(guī)則寫在墻上。昭告如下：?延后判斷?，或?追求數(shù)量?。好像這樣也不對(duì)。我是說(shuō)，創(chuàng)造力可以有規(guī)則嗎？ 好像我們需要規(guī)則 來(lái)幫我們打破舊規(guī)則及常態(tài) 否則我們又把它放到創(chuàng)造過(guò)程里。當(dāng)然長(zhǎng)時(shí)來(lái)我們已學(xué)會(huì)它，可以有較好的腦力激蕩，有更具創(chuàng)意的產(chǎn)出，只要大家遵守規(guī)則。當(dāng)然，許多設(shè)計(jì)師、個(gè)人設(shè)計(jì)師，以更有機(jī)的方式達(dá)成這個(gè)。

14:57我認(rèn)為，伊姆斯夫婦是實(shí)驗(yàn)的最佳實(shí)例。他們多年實(shí)驗(yàn)各種合板 未必心中先有單一目標(biāo)。他們循著他們的興趣探索。他們當(dāng)初是要設(shè)計(jì)傷兵的斷骨夾板 我想，是為二戰(zhàn)及韓戰(zhàn)的傷兵。從這個(gè)實(shí)驗(yàn)，他們進(jìn)展到各種椅子。

15:19經(jīng)由不斷的材料實(shí)驗(yàn)，發(fā)展了廣范圍的經(jīng)典解答 現(xiàn)在我們都知道，后來(lái)導(dǎo)致 那個(gè)傳奇的靠椅。如果伊姆斯停止在那個(gè)偉大的解答，我們受益的將沒(méi)有那么多 今日的絕佳設(shè)計(jì)。當(dāng)然，他們把實(shí)驗(yàn)用在工作的所有面向。從影片到建筑、從游戲到圖文。因此我想，他們是絕佳的設(shè)計(jì)探索 和實(shí)驗(yàn)的范例。

15:53當(dāng)伊姆斯探索各種可能時(shí)，他們也探索實(shí)體物品。經(jīng)由建造模型來(lái)做。?建造?是我要談的另一個(gè)行為。平均的西方小一學(xué)生 花游戲時(shí)間的一半之多 做所謂的「建構(gòu)游戲」。建構(gòu)游戲 － 顯然很好玩，也是有力的學(xué)習(xí)方法。當(dāng)玩用積木建造一個(gè)塔，小孩開始學(xué)許多有關(guān)塔的事。當(dāng)他們不斷地拆了又建，學(xué)習(xí)就以游戲的副產(chǎn)品發(fā)生著。這是古典的「做中學(xué)」。

16:37大衛(wèi)?剴利叫這種行為，當(dāng)由設(shè)計(jì)師做時(shí)：「用手思考」。它基本上包含快速地 制作多次草模。如，往往是組合找到的東西 以得到解答。最早期的一個(gè)項(xiàng)目，小組卡住了，后來(lái)得到的機(jī)構(gòu)是拼組了 除臭劑的滾球而成的模型。而成為第一款上市計(jì)算機(jī)鼠標(biāo) 用在蘋果麗莎和麥金塔。

17:08因此他們以建造模型找到那個(gè)解答。另個(gè)例子是有一群設(shè)計(jì)師 和外科醫(yī)師討論手術(shù)器具設(shè)計(jì) 他們開會(huì)，他們和外科醫(yī)師談 問(wèn)他們需要這個(gè)器具做什么。其中一個(gè)設(shè)計(jì)師跑出房間 抓了一支白板筆和一個(gè)底片盒 － 它們變成很有用的模型道具 － 加上曬衣夾。用膠帶捆起來(lái)，跑回房間說(shuō)：你是說(shuō)像這個(gè)？ 外科醫(yī)師抓住把手，說(shuō)： 我要像這樣或那樣握它。突然間，建設(shè)性的對(duì)話開始 繞著實(shí)際的物品討論設(shè)計(jì)。最后產(chǎn)生了真實(shí)的器具。

17:51所以這個(gè)行為是為了快速放東西 到真實(shí)世界，以便思考也跟著前進(jìn)。在 IDEO 有點(diǎn)像回到學(xué)前的感覺(jué)，關(guān)于它的環(huán)境。塞滿色紙做購(gòu)物車的模型 玩面團(tuán)、黏棒子及其他東西。他們真的有點(diǎn)像是在幼兒園的感覺(jué)。但最重要的概念是，事事物物都在周邊、順手可得。因此當(dāng)設(shè)計(jì)師在找構(gòu)想時(shí) 他們?nèi)魏螘r(shí)候都能開始建造東西。他們未必需要去 某個(gè)正式的工場(chǎng)去做它。我們認(rèn)為這是很重要的。

19:05這位護(hù)士用很簡(jiǎn)單的 － 你看得出 － 油土模型，說(shuō)明她要用手持信息系統(tǒng)做什么 給技術(shù)人員及設(shè)計(jì)師小組聽 他們正一起在醫(yī)院合作。只用這個(gè)簡(jiǎn)單的模型 讓她有力地表達(dá)她想要的東西。當(dāng)然，建造快速模型可以 讓我們更快速提出構(gòu)想，并和顧客及使用者測(cè)試它，比只是用口頭描述好多了。

19:37但如果要設(shè)計(jì)非實(shí)體的事物呢？ 像是服務(wù)或體驗(yàn)？ 時(shí)間上的一系列互動(dòng)之類的? 不是建造游戲，這時(shí)要用角色扮演。如果你要設(shè)計(jì)兩個(gè)人之間的互動(dòng) 例如，在快餐店點(diǎn)餐 或什么的，你要能想象 那個(gè)時(shí)間歷程上經(jīng)驗(yàn)的感覺(jué)。我想，最好的達(dá)成方式 并感受設(shè)計(jì)缺點(diǎn)，就是扮演一下。

20:08在 IDEO 我們花佷多工夫 說(shuō)服我們的客戶采用它。他們有點(diǎn)懷疑，等下我再說(shuō)。但我認(rèn)為，有個(gè)值得努力的地方 是在人們致力的嚴(yán)肅問(wèn)題上。例如教育、保險(xiǎn)、財(cái)務(wù)、或醫(yī)療。這是另一個(gè)醫(yī)療環(huán)境的例子 醫(yī)生、護(hù)士、及設(shè)計(jì)師們 扮演著病患照顧的服務(wù)情境。但是你知道，許多大人 很不愿參與角色扮演。有的怕難為情，有的則是因?yàn)?他們就是不相信，這樣得到的會(huì)是有效的。他們推辭有趣的互動(dòng)，說(shuō)： 它的發(fā)生是因?yàn)橛腥诉@樣演出。20:51研究?jī)和袨閯t實(shí)際指出 角色扮演值得認(rèn)真看待。因?yàn)楫?dāng)兒童扮演一個(gè)角色時(shí) 他們真的蠻密切地跟著社會(huì)劇本 那是從大人那里學(xué)來(lái)的。如果有個(gè)小孩扮商店，另一個(gè)扮房子，則整個(gè)游戲就垮了。因此他們習(xí)慣于很快地 了解社會(huì)互動(dòng)的規(guī)則，實(shí)際上也很快能指出規(guī)則的違反。

21:18因此，當(dāng)大人扮演角色時(shí)，我們有一大堆已經(jīng)內(nèi)化的劇本。在生活中我們已有許多經(jīng)驗(yàn)。而它們提供很強(qiáng)的直覺(jué) 去得知某項(xiàng)互動(dòng)是否可行。因此我們很拿手于演出一個(gè)解答，去指出某事是否缺乏真實(shí)感。因此，我認(rèn)為角色扮演是 很有價(jià)值的，可用在思考各種體驗(yàn)。另一個(gè)提供設(shè)計(jì)師探討角色扮演的方式 是親自去經(jīng)歷要設(shè)計(jì)的事情，就是把自己投入那項(xiàng)經(jīng)驗(yàn)。

21:56這里有幾位設(shè)計(jì)師試著要了解 睡在飛機(jī)上狹窄空間 的感覺(jué)是如何。因此他們?nèi)∮梅浅：?jiǎn)單的材料，你看。而去做這樣的角色扮演，這種很粗糙的角色扮演，只想理解一下旅客會(huì)有的感覺(jué) 如果旅客被塞在機(jī)上的小小空間。

22:16這是我們的一位設(shè)計(jì)師克力仙?西姆薩連，他自己經(jīng)歷在急診室當(dāng)病患的體驗(yàn)。這可是真的醫(yī)院，在真的急診室。為何他選擇要帶著 這個(gè)頗大的錄像機(jī)？ 因?yàn)樗幌氡会t(yī)生或護(hù)士認(rèn)為 他是真的有病，而跟他打什么針 這會(huì)令他后悔?？傊?，他帶著錄像機(jī)去了那里，有趣的是看他帶回的東西。因?yàn)楫?dāng)他回來(lái)時(shí)，我們看了他的錄像，我們看了 20 分鐘的這個(gè)。22:45(笑聲)22:48還有，這個(gè)錄像的神奇之處是，只要你看它，你就立刻好像 自己投入那個(gè)體驗(yàn)。而知道那種感覺(jué)，那種不確定感 當(dāng)你被留置在走廊 而醫(yī)師們忙著其他更急的事 去了另一間急診病房，你不解到底是怎么了。因此使用角色扮演的這個(gè)概念，這個(gè)例子里，就是去經(jīng)歷那個(gè)經(jīng)驗(yàn) 是一種創(chuàng)造同感的方式，尤其當(dāng)你使用錄像，是佷有力的。

23:15另一位我們的設(shè)計(jì)師阿爾泰?仙迪爾，他來(lái)做胸部除毛，并不是為了愛(ài)虛榮，雖然他實(shí)際是的。不，我開玩笑。而是為了感同慢性病人的痛苦 去經(jīng)歷他們移除敷料貼片的感覺(jué)。因此有時(shí)這些模擬的經(jīng)驗(yàn)，即模擬的角色扮演，也可以很有用。

23:34當(dāng)小孩穿上消防裝，他開始嘗試那個(gè)身分。他要知道當(dāng)消防員的感覺(jué)。身為設(shè)計(jì)師我們做相同的事。我們嘗試這些體驗(yàn)。因此角色扮演的想法不但是感同的工具，也是型塑體驗(yàn)的工具。我們很羨慕在 IDEO 有人去做這個(gè)。不只因?yàn)樗麄儙?lái)體驗(yàn)的洞見，也因?yàn)樗麄冊(cè)敢馊ヌ剿?以及他們有能力在無(wú)意識(shí)中 忘我地去體驗(yàn)。簡(jiǎn)言之，我們羨慕他們?cè)敢馊グ缪荨?/p>

24:16因此，好玩的探索、好玩的建造、及角色扮演。這些都是設(shè)計(jì)師工作中用的方法。至此，我承認(rèn)這好像是 叫你們像個(gè)小孩那樣去玩。某個(gè)程度上是的，但我要強(qiáng)調(diào)幾點(diǎn)。首先記住游戲不是亂無(wú)章法的。游戲有規(guī)則，尤其是團(tuán)體游戲。當(dāng)孩子玩茶會(huì)、或玩警察抓小偷，他們依著彼此同意的劇本。是這個(gè)守則協(xié)商帶來(lái)有產(chǎn)出的游戲。

24:56記得一開始的畫圖任務(wù)嗎 你畫的那個(gè)小臉、畫像？ 想想如果你和朋友做這個(gè) 一邊在酒廊里喝酒。大家同意玩?zhèn)€游戲 畫得最差的要付下一巡酒錢。這個(gè)規(guī)則將使難為情、窘境成為有趣的游戲。結(jié)果呢，我們將有安全感，過(guò)得很愉快 － 因?yàn)槲覀兌剂私庖?guī)則，我們一起同意它。

25:30但是，不只有「如何玩」的規(guī)則，也有「何時(shí)玩」的規(guī)則。顯然，孩子們不是一直在玩。他們進(jìn)入及退出游戲。而好的老師要花許多時(shí)間 思考如何帶孩子走過(guò)這些經(jīng)驗(yàn)。身為設(shè)計(jì)師，我們也要能進(jìn)入及退出游戲。如果我們經(jīng)營(yíng)設(shè)計(jì)公司 我們要讓設(shè)計(jì)師，如何進(jìn)出這些不同的體驗(yàn)？ 尤其是當(dāng)我們思考...26:03設(shè)計(jì)上有很大差別的是 我們經(jīng)歷兩種很獨(dú)特的操作模式。我們經(jīng)歷產(chǎn)出模式，此時(shí)我們探索創(chuàng)意。接著，我們又回來(lái)，回來(lái)尋找解答，并發(fā)展那個(gè)解答。我認(rèn)為兩者是極不同的模式。發(fā)散及收斂?；蛟S是在發(fā)散模式中 我們最需要「好玩」?；蛟S在收斂模式中，我們要嚴(yán)肅一點(diǎn)。因此能夠在這兩個(gè)模式間移動(dòng) 真的很重要。因此 有個(gè)更細(xì)致的游戲觀，我想是需要的。

26:45因?yàn)楹苋菀椎羧胂葳澹詾檫@兩種狀態(tài)是絕對(duì)的。要不是好玩，就是嚴(yán)肅，不能兩者都有。但不是那樣。你可以是嚴(yán)肅的專業(yè)人士，有時(shí)卻是好玩的。那不是二擇一，而是兼有。你可以嚴(yán)肅又好玩?？偨Y(jié)一下，我們需要信賴感才敢玩，需要信賴感才有創(chuàng)意，這有關(guān)聯(lián)。有一系列的行為我們?cè)趦和瘯r(shí)學(xué)到 那對(duì)設(shè)計(jì)師很有用。它們包含探索，即追求數(shù)量。建造及用手思考。及角色扮演，演出可幫助我們對(duì) 我們的設(shè)計(jì)情境更同感，及創(chuàng)立服務(wù)和體驗(yàn)，使它順暢無(wú)縫、真實(shí)可靠。27:44謝謝大家。

第二篇：ted演講稿

Brian Cox: CERN's supercollider This is the Large Hadron Collider.It's 27 kilometers in circumference.It's the biggest scientific experiment ever attempted.Over 10,000 physicists and engineers from 85 countries around the world have come together over several decades to build this machine.What we do is we accelerate protons--so, hydrogen nuclei--around 99.999999 percent the speed of light.Right? At that speed, they go around that 27 kilometers 11,000 times a second.And we collide them with another beam of protons going in the opposite direction.We collide them inside giant detectors.They're essentially digital cameras.And this is the one that I work on, ATLAS.You get some sense of the size--you can just see these EU standard-size people underneath.(Laughter)You get some sense of the size: 44 meters wide, 22 meters in diameter, 7,000 tons.And we re-create the conditions that were present less than a billionth of a second after the universe began up to 600 million times a second inside that detector--immense numbers.And if you see those metal bits there--those are huge magnets that bend electrically charged particles, so it can measure how fast they're traveling.This is a picture about a year ago.Those magnets are in there.And, again, a EU standard-size, real person, so you get some sense of the scale.And it's in there that those mini-Big Bangs will be created, sometime in the summer this year.And actually, this morning, I got an email saying that we've just finished, today, building the last piece of ATLAS.So as of today, it's finished.I'd like to say that I planned that for TED, but I didn't.So it's been completed as of today.(Applause)Yeah, it's a wonderful achievement.So, you might be asking, “Why? Why create the conditions that were present less than a billionth of a second after the universe began?” Well, particle physicists are nothing if not ambitious.And the aim of particle physics is to understand what everything's made of, and how everything sticks together.And by everything I mean, of course, me and you, the Earth, the Sun, the 100 billion suns in our galaxy and the 100 billion galaxies in the observable universe.Absolutely everything.Now you might say, “Well, OK, but why not just look at it? You know? If you want to know what I'm made of, let's look at me.” Well, we found that as you look back in time, the universe gets hotter and hotter, denser and denser, and simpler and simpler.Now, there's no real reason I'm aware of for that, but that seems to be the case.So, way back in the early times of the universe, we believe it was very simple and understandable.All this complexity, all the way to these wonderful things--human brains--are a property of an old and cold and complicated universe.Back at the start, in the first billionth of a second, we believe, or we've observed, it was very simple.It's almost like...imagine a snowflake in your hand, and you look at it, and it's an incredibly complicated, beautiful object.But as you heat it up, it'll melt into a pool of water, and you would be able to see that, actually, it was just made of H20, water.So it's in that same sense that we look back in time to understand what the universe is made of.And, as of today, it's made of these things.Just 12 particles of matter, stuck together by four forces of nature.The quarks, these pink things, are the things that make up protons and neutrons that make up the atomic nuclei in your body.The electron--the thing that goes around the atomic nucleus--held around in orbit, by the way, by the electromagnetic force that's carried by this thing, the photon.The quarks are stuck together by other things called gluons.And these guys, here, they're the weak nuclear force, probably the least familiar.But, without it, the sun wouldn't shine.And when the sun shines, you get copious quantities of these things, called neutrinos, pouring out.Actually, if you just look at your thumbnail--about a square centimeter--there are something like 60 billion neutrinos per second from the sun, passing through every square centimeter of your body.But you don't feel them, because the weak force is correctly named--very short range and very weak, so they just fly through you.And these particles have been discovered over the last century, pretty much.The first one, the electron, was discovered in 1897, and the last one, this thing called the tau neutrino, in the year 2000.Actually just--I was going to say, just up the road in Chicago.I know it's a big country, America, isn't it? Just up the road.Relative to the universe, it's just up the road.(Laughter)So, this thing was discovered in the year 2000, so it's a relatively recent picture.One of the wonderful things, actually, I find, is that we've discovered any of them, when you realize how tiny they are.You know, they're a step in size from the entire observable universe.So, 100 billion galaxies, 13.7 billion light years away--a step in size from that to Monterey, actually, is about the same as from Monterey to these things.Absolutely, exquisitely minute, and yet we've discovered pretty much the full set.So, one of my most illustrious forebears at Manchester University, Ernest Rutherford, discoverer of the atomic nucleus, once said, “All science is either physics or stamp collecting.” Now, I don't think he meant to insult the rest of science, although he was from New Zealand, so it's possible.(Laughter)But what he meant was that what we've done, really, is stamp collect there.OK, we've discovered the particles, but unless you understand the underlying reason for that pattern--you know, why it's built the way it is--really you've done stamp collecting.You haven't done science.Fortunately, we have probably one of the greatest scientific achievements of the twentieth century that underpins that pattern.It's the Newton's laws, if you want, of particle physics.It's called the standard model--beautifully simple mathematical equation.You could stick it on the front of a T-shirt, which is always the sign of elegance.This is it.(Laughter)I've been a little disingenuous, because I've expanded it out in all its gory detail.This equation, though, allows you to calculate everything--other than gravity--that happens in the universe.So, you want to know why the sky is blue, why atomic nuclei stick together--in principle, you've got a big enough computer--why DNA is the shape it is.In principle, you should be able to calculate it from that equation.But there's a problem.Can anyone see what it is? A bottle of champagne for anyone that tells me.I'll make it easier, actually, by blowing one of the lines up.Basically, each of these terms refers to some of the particles.So those Ws there refer to the Ws, and how they stick together.These carriers of the weak force, the Zs, the same.But there's an extra symbol in this equation: H.Right, H.H stands for Higgs particle.Higgs particles have not been discovered.But they're necessary: they're necessary to make that mathematics work.So all the exquisitely detailed calculations we can do with that wonderful equation wouldn't be possible without an extra bit.So it's a prediction: a prediction of a new particle.What does it do? Well, we had a long time to come up with good analogies.And back in the 1980s, when we wanted the money for the LHC from the U.K.government, Margaret Thatcher, at the time, said, “If you guys can explain, in language a politician can understand, what the hell it is that you're doing, you can have the money.I want to know what this Higgs particle does.” And we came up with this analogy, and it seemed to work.Well, what the Higgs does is, it gives mass to the fundamental particles.And the picture is that the whole universe--and that doesn't mean just space, it means me as well, and inside you--the whole universe is full of something called a Higgs field.Higgs particles, if you will.The analogy is that these people in a room are the Higgs particles.Now when a particle moves through the universe, it can interact with these Higgs particles.But imagine someone who's not very popular moves through the room.Then everyone ignores them.They can just pass through the room very quickly, essentially at the speed of light.They're massless.And imagine someone incredibly important and popular and intelligent walks into the room.They're surrounded by people, and their passage through the room is impeded.It's almost like they get heavy.They get massive.And that's exactly the way the Higgs mechanism works.The picture is that the electrons and the quarks in your body and in the universe that we see around us are heavy, in a sense, and massive, because they're surrounded by Higgs particles.They're interacting with the Higgs field.If that picture's true, then we have to discover those Higgs particles at the LHC.If it's not true--because it's quite a convoluted mechanism, although it's the simplest we've been able to think of--then whatever does the job of the Higgs particles we know have to turn up at the LHC.So, that's one of the prime reasons we built this giant machine.I'm glad you recognize Margaret Thatcher.Actually, I thought about making it more culturally relevant, but--(Laughter)anyway.So that's one thing.That's essentially a guarantee of what the LHC will find.There are many other things.You've heard many of the big problems in particle physics.One of them you heard about: dark matter, dark energy.There's another issue, which is that the forces in nature--it's quite beautiful, actually--seem, as you go back in time, they seem to change in strength.Well, they do change in strength.So, the electromagnetic force, the force that holds us together, gets stronger as you go to higher temperatures.The strong force, the strong nuclear force, which sticks nuclei together, gets weaker.And what you see is the standard model--you can calculate how these change--is the forces, the three forces, other than gravity, almost seem to come together at one point.It's almost as if there was one beautiful kind of super-force, back at the beginning of time.But they just miss.Now there's a theory called super-symmetry, which doubles the number of particles in the standard model, which, at first sight, doesn't sound like a simplification.But actually, with this theory, we find that the forces of nature do seem to unify together, back at the Big Bang--absolutely beautiful prophecy.The model wasn't built to do that, but it seems to do it.Also, those super-symmetric particles are very strong candidates for the dark matter.So a very compelling theory that's really mainstream physics.And if I was to put money on it, I would put money on--in a very unscientific way--that that these things would also crop up at the LHC.Many other things that the LHC could discover.But in the last few minutes, I just want to give you a different perspective of what I think--what particle physics really means to me--particle physics and cosmology.And that's that I think it's given us a wonderful narrative--almost a creation story, if you'd like--about the universe, from modern science over the last few decades.And I'd say that it deserves, in the spirit of Wade Davis' talk, to be at least put up there with these wonderful creation stories of the peoples of the high Andes and the frozen north.This is a creation story, I think, equally as wonderful.The story goes like this: we know that the universe began 13.7 billion years ago, in an immensely hot, dense state, much smaller than a single atom.It began to expand about a million, billion, billion, billion billionth of a second--I think I got that right--after the Big Bang.Gravity separated away from the other forces.The universe then underwent an exponential expansion called inflation.In about the first billionth of a second or so, the Higgs field kicked in, and the quarks and the gluons and the electrons that make us up got mass.The universe continued to expand and cool.After about a few minutes, there was hydrogen and helium in the universe.That's all.The universe was about 75 percent hydrogen, 25 percent helium.It still is today.It continued to expand about 300 million years.Then light began to travel through the universe.It was big enough to be transparent to light, and that's what we see in the cosmic microwave background that George Smoot described as looking at the face of God.After about 400 million years, the first stars formed, and that hydrogen, that helium, then began to cook into the heavier elements.So the elements of life--carbon, and oxygen and iron, all the elements that we need to make us up--were cooked in those first generations of stars, which then ran out of fuel, exploded, threw those elements back into the universe.They then re-collapsed into another generation of stars and planets.And on some of those planets, the oxygen, which had been created in that first generation of stars, could fuse with hydrogen to form water, liquid water on the surface.On at least one, and maybe only one of those planets, primitive life evolved, which evolved over millions of years into things that walked upright and left footprints about three and a half million years ago in the mud flats of Tanzania, and eventually left a footprint on another world.And built this civilization, this wonderful picture, that turned the darkness into light, and you can see the civilization from space.As one of my great heroes, Carl Sagan, said, these are the things--and actually, not only these, but I was looking around--these are the things, like Saturn V rockets, and Sputnik, and DNA, and literature and science--these are the things that hydrogen atoms do when given 13.7 billion years.Absolutely remarkable.And, the laws of physics.Right? So, the right laws of physics--they're beautifully balanced.If the weak force had been a little bit different, then carbon and oxygen wouldn't be stable inside the hearts of stars, and there would be none of that in the universe.And I think that's a wonderful and significant story.50 years ago, I couldn't have told that story, because we didn't know it.It makes me really feel that that civilization--which, as I say, if you believe the scientific creation story, has emerged purely as a result of the laws of physics, and a few hydrogen atoms--then I think, to me anyway, it makes me feel incredibly valuable.So that's the LHC.The LHC is certainly, when it turns on in summer, going to write the next chapter of that book.And I'm certainly looking forward with immense excitement to it being turned on.Thanks.(Applause)

第三篇：TED演講稿

ted精彩演講：墜機(jī)讓我學(xué)到的三件事 imagine a big explosion as you climb through 3,000 ft.imagine a plane full of smoke.imagine an engine going clack, clack, clack, clack, clack, clack, clack.it sounds scary.想像一個(gè)大爆炸，當(dāng)你在三千多英尺的高空；想像機(jī)艙內(nèi)布滿黑煙，想像引擎發(fā)出喀啦、喀啦、喀啦、喀啦、喀啦的聲響，聽起來(lái)很可怕。well i had a unique seat that day.i was sitting in 1d.i was the only one who can talk to the flight attendants.so i looked at them right away, and they said, no problem.we probably hit some birds.the pilot had already turned the plane around, and we werent that far.you could see manhattan.那天我的位置很特別，我坐在1d，我是唯一可以和空服員說(shuō)話的人，于是我立刻看著他們，他們說(shuō)，“沒(méi)問(wèn)題，我們可能撞上鳥了?！?機(jī)長(zhǎng)已經(jīng)把機(jī)頭轉(zhuǎn)向，我們離目的地很近，已經(jīng)可以看到曼哈頓了。two minutes later, 3 things happened at the same time.the pilot lines up the plane with the hudson river.thats usually not the route.he turns off the engines.now imagine being in a plane with no sound.and then he says 3 words-the most unemotional 3 words ive ever heard.he says, brace for impact.兩分鐘以后，三件事情同時(shí)發(fā)生：機(jī)長(zhǎng)把飛機(jī)對(duì)齊哈德遜河，一般的航道可不是這樣。他關(guān)上引擎。想像坐在一架沒(méi)有聲音的飛機(jī)上。然后他說(shuō)了幾個(gè)字，我聽過(guò)最不帶情緒的幾個(gè)字，他說(shuō)，“即將迫降，小心沖擊?！? i didnt have to talk to the flight attendant anymore.i could see in her eyes, it was terror.life was over.我不用再問(wèn)空服員什么了。我可以在她眼神里看到恐懼，人生結(jié)束了。now i want to share with you 3 things i learned about myself that day.現(xiàn)在我想和你們分享那天我所學(xué)到的三件事。i leant that it all changes in an instant.we have this bucket list, we have these things we want to do in life, and i thought about all the people i wanted to reach out to that i didnt, all the fences i wanted to mend, all the experiences i wanted to have and i never did.as i thought about that later on, i came up with a saying, which is, collect bad wines.because if the wine is ready and the person is there, im opening it.i no longer want to postpone anything in life.and that urgency, that purpose, has really changed my life.在那一瞬間內(nèi)，一切都改變了。我們的人生目標(biāo)清單，那些我們想做的事，所有那些我想聯(lián)絡(luò)卻沒(méi)有聯(lián)絡(luò)的人，那些我想修補(bǔ)的圍墻，人際關(guān)系，所有我想經(jīng)歷卻沒(méi)有經(jīng)歷的事。之后我回想那些事，我想到一句話，那就是，“我收藏的酒都很差?！?因?yàn)槿绻埔殉墒?，分享?duì)象也有，我早就把把酒打開了。我不想再把生命中的任何事延后，這種緊迫感、目標(biāo)性改變了我的生命。the second thing i learnt that dayi thought about, wow, i really feel one real regret, ive lived a good life.in my own humanity and mistaked, ive tired to get better at everything i tried.but in my humanity, i also allow my ego to get in.and i regretted the time i wasted on things that did not matter with people that matter.and i thought about my relationship with my wife, my friends, with people.and after, as i reflected on that, i decided to eliminate negative energy from my life.its not perfect, but its a lot better.ive not had a fight with my wife in 2 years.it feels great.i no longer try to be right;i choose to be happy.那天我學(xué)到的第二件事是，正當(dāng)我們通過(guò)喬治華盛頓大橋，那也沒(méi)過(guò)多久，我想，哇，我有一件真正后悔的事。雖然我有人性缺點(diǎn)，也犯了些錯(cuò)，但我生活得其實(shí)不錯(cuò)。我試著把每件事做得更好。但因?yàn)槿诵?，我難免有些自我中心，我后悔竟然花了許多時(shí)間，和生命中重要的人討論那些不重要的事。我想到我和妻子、朋友及人們的關(guān)系，之后，回想這件事時(shí)，我決定除掉我人生中的負(fù)面情緒。還沒(méi)完全做到，但確實(shí)好多了。過(guò)去兩年我從未和妻子吵架，感覺(jué)很好，我不再嘗試爭(zhēng)論對(duì)錯(cuò)，我選擇快樂(lè)。that sadness really framed in one thought, which is, i only wish for one thing.i only wish i could see my kids grow up.我所學(xué)到的第三件事是，當(dāng)你腦中的始終開始倒數(shù)“15，14，13”，看到水開始涌入，心想，“拜托爆炸吧！” 我不希望這東西碎成20片，就像紀(jì)錄片中看到的那樣。當(dāng)我們逐漸下沉，我突然感覺(jué)到，哇，死亡并不可怕，就像是我們一生一直在為此做準(zhǔn)備，但很令人悲傷。我不想就這樣離開，我熱愛(ài)我的生命。這個(gè)悲傷的主要來(lái)源是，我只期待一件事，我只希望能看到孩子長(zhǎng)大。

about a month later, i was at a performance by my daugterand please dont-but imagine, and how would you change? what would you get done that youre waiting to get done because you think youll be here forever? how would you change your relationtships and the negative energy in them? and more than anything, are you being the best parent you can? 我鼓勵(lì)今天要坐飛機(jī)的各位，想像如果你坐的飛機(jī)出了同樣的事，最好不要－但想像一下，你會(huì)如何改變？有什么是你想做卻沒(méi)做的，因?yàn)槟阌X(jué)得你有其它機(jī)會(huì)做它？你會(huì)如何改變你的人際關(guān)系，不再如此負(fù)面？最重要的是，你是否盡力成為一個(gè)好父母？ thank you.篇二：你不必沉迷英語(yǔ) ted演講稿

我知道你們?cè)谙胧裁?，你們覺(jué)得我迷路了，馬上就會(huì)有人走上臺(tái)溫和地把我?guī)Щ匚业淖簧?。（掌聲）。我在迪拜總?huì)遇上這種事?！皝?lái)這里度假的嗎，親愛(ài)的？”（笑聲）“來(lái)探望孩子的嗎？這次要待多久呢？

恩，事實(shí)上，我希望能再待久一點(diǎn)。我在波斯灣這邊生活和教書已經(jīng)超過(guò)30年了。（掌聲）這段時(shí)間里，我看到了很多變化?，F(xiàn)在這份數(shù)據(jù)是挺嚇人的，而我今天要和你們說(shuō)的是有關(guān)語(yǔ)言的消失和英語(yǔ)的全球化。我想和你們談?wù)勎业呐笥眩诎⒉歼_(dá)比教成人英語(yǔ)。在一個(gè)晴朗的日子里，她決定帶她的學(xué)生到花園去教他們一些大自然的詞匯。但最后卻變成是她在學(xué)習(xí)所有當(dāng)?shù)刂参镌诎⒗Z(yǔ)中是怎么說(shuō)的。還有這些植物是如何被用作藥材，化妝品，烹飪，香草。這些學(xué)生是怎么得到這些知識(shí)的呢？當(dāng)然是從他們的祖父母，甚至曾祖父母那里得來(lái)的。不需要我來(lái)告訴你們能夠跨代溝通是多么重要。but sadly, today, languages are dying at an unprecedented rate.a language dies every 14 days.now, at the same time, english is the undisputed global language.could there be a connection? well i dont know.but i do know that ive seen a lot of changes.when i first came out to the gulf, i came to kuwait in the days when it was still a hardship post.actually, not that long ago.that is a little bit too early.but nevertheless, i was recruited by the british council along with about 25 other teachers.and we were the first non-muslims to teach in the state schools there in kuwait.we were brought to teach english because the government wanted to modernize the country and empower the citizens through education.and of course, the u.k.benefited from some of that lovely oil wealth.但遺憾的是，今天很多語(yǔ)言正在以前所未有的速度消失。每14天就有一種語(yǔ)言消失，而與此同時(shí)，英語(yǔ)卻無(wú)庸置疑地成為全球性的語(yǔ)言。這其中有關(guān)聯(lián)嗎？我不知道。但我知道的是，我見證過(guò)許多改變。初次來(lái)到海灣地區(qū)時(shí)，我去了科威特。當(dāng)時(shí)教英文仍然是個(gè)困難的工作。其實(shí)，沒(méi)有那么久啦，這有點(diǎn)太久以前了?？傊?，我和其他25位老師一起被英國(guó)文化協(xié)會(huì)聘用。我們是第一批非穆斯林的老師，在科威特的國(guó)立學(xué)校任教。我們被派到那里教英語(yǔ)，是因?yàn)楫?dāng)?shù)卣Ｍ麌?guó)家可以現(xiàn)代化并透過(guò)教育提升公民的水平。當(dāng)然，英國(guó)也能得到些好處，產(chǎn)油國(guó)可是很有錢的。okay.now this is the major change that ive seen--how teaching english has morphed from being a mutually english-speaking nation on earth.and why not? after all, the best education--according to the latest world university rankings--is to be found in the universities of the u.k.and the u.s.so everybody wants to have an english education, naturally.but if youre not a native speaker, you have to pass a test.言歸正傳，我見過(guò)最大的改變，就是英語(yǔ)教學(xué)的蛻變?nèi)绾螐囊粋€(gè)互惠互利的行為變成今天這種大規(guī)模的國(guó)際產(chǎn)業(yè)。英語(yǔ)不再是學(xué)校課程里的外語(yǔ)學(xué)科，也不再只是英國(guó)的專利。英語(yǔ)（教學(xué)）已經(jīng)成為所有英語(yǔ)系國(guó)家追逐的潮流。何樂(lè)而不為呢？畢竟，最好的教育來(lái)自于最好的大學(xué)，而根據(jù)最新的世界大學(xué)排名，那些名列前茅的都是英國(guó)和美國(guó)的大學(xué)。所以自然每個(gè)人都想接受英語(yǔ)教育，但如果你不是以英文為母語(yǔ)，你就要通過(guò)考試。now can it be right to reject a student on linguistic ability well, i dont think so.we english teachers reject them all the time.we put a stop sign, and we stop them in their tracks.they cant pursue their dream any longer, till they get english.now let me put it this way, if i met a dutch speaker who had the cure for cancer, would i stop him from entering my british university? i dont think so.but indeed, that is exactly what we do.we english teachers are the gatekeepers.and you have to satisfy us first that your english is good enough.now it can be dangerous to give too much power to a narrow segment of society.maybe the barrier would be too universal.但僅憑語(yǔ)言能力就拒絕學(xué)生這樣對(duì)嗎？譬如如果你碰到一位天才計(jì)算機(jī)科學(xué)家，但他會(huì)需要有和律師一樣的語(yǔ)言能力嗎？我不這么認(rèn)為。但身為英語(yǔ)老師的我們，卻總是拒絕他們。我們處處設(shè)限，將學(xué)生擋在路上，使他們無(wú)法再追求自己的夢(mèng)想，直到他們通過(guò)考試?，F(xiàn)在容我換一個(gè)方式說(shuō)，如果我遇到了一位只會(huì)說(shuō)荷蘭話的人，而這個(gè)人能治愈癌癥，我會(huì)阻止他進(jìn)入我的英國(guó)大學(xué)嗎？我想不會(huì)。但事實(shí)上，我們的確在做這種事。我們這些英語(yǔ)老師就是把關(guān)的。你必須先讓我們滿意，使我們認(rèn)定你的英文夠好。但這可能是危險(xiǎn)的。把太多的權(quán)力交由這么小的一群人把持，也許會(huì)令這種障礙太過(guò)普及。okay.but, i hear you say, what about the research? its all in english.so the books are in english, the journals are done in english, but that is a self-fulfilling.it feeds the english requirement.and so it goes on.i ask you, what happened to translation? if you think about the islamic golden age, there was lots of translation then.they translated from latin and greek into arabic, into persian, and then it was translated on into the germanic languages of europe and the romance languages.and so light shone upon the dark ages of europe.now dont get me wrong;i am not against teaching english, all you english teachers out there.i love it that we have a global language.we need one today more than ever.but i am against using it as a barrier.do we really want to end up with 600 languages and the main one being english, or chinese? we need more than that.where do we draw the line? this system equates intelligence with a knowledge of english which is quite.于是，我聽到你們問(wèn)但是研究呢?研究報(bào)告都要用英文?！钡拇_，研究論著和期刊都要用英文發(fā)表，但這只是一種理所當(dāng)然的現(xiàn)象。有英語(yǔ)要求，自然就有英語(yǔ)供給，然后就這么循環(huán)下去。我倒想問(wèn)問(wèn)大家，為什么不用翻譯呢？想想伊斯蘭的黃金時(shí)代，當(dāng)時(shí)翻譯盛行，人們把拉丁文和希臘文翻譯成阿拉伯文或波斯文，然后再由拉伯文或波斯文翻譯為歐洲的日耳曼語(yǔ)言以及羅曼語(yǔ)言。于是文明照亮了歐洲的黑暗時(shí)代。但不要誤會(huì)我的意思，我不是反對(duì)英語(yǔ)教學(xué)或是在座所有的英語(yǔ)老師。我很高興我們有一個(gè)全球性的語(yǔ)言，這在今日尤為重要。但我反對(duì)用英語(yǔ)設(shè)立障礙。難道我們真希望世界上只剩下600種語(yǔ)言，其中又以英文或中文為主流嗎？我們需要的不只如此。那么我們?cè)撊绾文媚竽兀窟@個(gè)體制把智能和英語(yǔ)能力畫上等號(hào)這是相當(dāng)武斷的。

and i want to remind you that the giants upon whose shoulders todays stand did not have to have english, they didnt have to pass an english test.case in point, einstein.he, by the way, was considered remedial at school because he was, in fact, dyslexic.but fortunately for the world, he did not have to pass an english test.because they didnt start until 1964 with toefl, the american test of english.now its exploded.there are lots and lots of tests of english.and millions and millions of students take these tests every year.now you might think, you and me, those fees arent bad, theyre okay, but they are prohibitive to so many millions of poor people.so immediately, were rejecting them.我想要提醒你們，扶持當(dāng)代知識(shí)分子的這些“巨人肩膀不必非得具有英文能力，他們不需要通過(guò)英語(yǔ)考試。愛(ài)因斯坦就是典型的例子。順便說(shuō)一下，他在學(xué)校還曾被認(rèn)為需要課外補(bǔ)習(xí)，因?yàn)樗鋵?shí)有閱讀障礙。但對(duì)整個(gè)世界來(lái)說(shuō),很幸運(yùn)的當(dāng)時(shí)他不需要通過(guò)英語(yǔ)考試，因?yàn)樗麄冎钡?964年才開始使用托福?，F(xiàn)在英語(yǔ)測(cè)驗(yàn)太泛濫了，有太多太多的英語(yǔ)測(cè)驗(yàn)，以及成千上萬(wàn)的學(xué)生每年都在參加這些考試。現(xiàn)在你會(huì)認(rèn)為，你和我都這么想，這些費(fèi)用不貴，價(jià)錢滿合理的。但是對(duì)數(shù)百萬(wàn)的窮人來(lái)說(shuō)，這些費(fèi)用高不可攀。所以，當(dāng)下我們又拒絕了他們。it brings to mind a headline i saw recently: education: the great divide.now i get it, i understand why people would focus on english.they want to give their children the best chance in life.and to do that, they need a western education.because, of course, the best jobs go to people out of the western universities, that i put on earlier.its a circular thing.這使我想起最近看到的一個(gè)新聞標(biāo)題：“教育：大鴻溝”現(xiàn)在我懂了。我了解為什么大家都重視英語(yǔ)，因?yàn)樗麄兿Ｍo孩子最好的人生機(jī)會(huì)。為了達(dá)成這目的，他們需要西方教育。畢竟，不可否認(rèn)，最好的工作都留給那些西方大學(xué)畢業(yè)出來(lái)的人。就像我之前說(shuō)的，這是一種循環(huán)。

okay.let me tell you a story about two scientists, two english scientists.they were doing an experiment to do with genetics and the forelimbs and the hind limbs of animals.but they couldnt get the results they wanted.they really didnt know what to do, until along came a german scientist who realized that they were using two words for forelimb and hind limb, whereas genetics does not differentiate and neither does german.so bingo, problem solved.if you cant think a thought, you are stuck.but if another language can think that thought, then, by cooperating, we can achieve and learn so much more.好，我跟你們說(shuō)一個(gè)關(guān)于兩位科學(xué)家的故事：有兩位英國(guó)科學(xué)家在做一項(xiàng)實(shí)驗(yàn)，是關(guān)于遺傳學(xué)的，以及動(dòng)物的前、后肢。但他們無(wú)法得到他們想要的結(jié)果。他們真的不知道該怎么辦，直到來(lái)了一位德國(guó)的科學(xué)家。他發(fā)現(xiàn)在英文里前肢和后肢是不同的二個(gè)字，但在遺傳學(xué)上沒(méi)有區(qū)別。在德語(yǔ)也是同一個(gè)字。所以，叮！問(wèn)題解決了。如果你不能想到一個(gè)念頭，你會(huì)卡在那里。但如果另一個(gè)語(yǔ)言能想到那念頭，然后通過(guò)合作我們可以達(dá)成目的，也學(xué)到更多。

我的女兒從科威特來(lái)到英格蘭，她在阿拉伯的學(xué)校學(xué)習(xí)科學(xué)和數(shù)學(xué)。那是所阿拉伯中學(xué)。在學(xué)校里，她得把這些知識(shí)翻譯成英文，而她在班上卻能在這些學(xué)科上拿到最好的成績(jī)。這告訴我們，當(dāng)外籍學(xué)生來(lái)找我們，我們可能無(wú)法針對(duì)他們所知道的給予贊賞，因?yàn)槟鞘莵?lái)自于他們母語(yǔ)的知識(shí)。當(dāng)一個(gè)語(yǔ)言消失時(shí)，我們不知道還有什么也會(huì)一并失去。this is--i dont know if you saw it on cnn recently--they gave the heroes award to a young kenyan shepherd boy who couldnt study at night in his village like all the village children,篇三：世上最好的演講：ted演講吸引人的秘密 why ted talks are better than the last speech you sat through 世上最好的演講：ted演講吸引人的秘密 think about the last time you heard someone give a speech, or any formal presentation.maybe it was so long that you were either overwhelmed with data, or you just tuned the speaker out.if powerpoint was involved, each slide was probably loaded with at least 40 words or figures, and odds are that you dont remember more than a tiny bit of what they were supposed to show.回想一下你上次聆聽某人發(fā)表演講或任何正式陳述的情形。它也許太長(zhǎng)了，以至于你被各種數(shù)據(jù)搞得頭昏腦脹，甚或干脆不理會(huì)演講者。如果演講者使用了ppt文檔，那么每張幻燈片很可能塞入了至少40個(gè)單詞或數(shù)字，但你現(xiàn)在或許只記得一丁點(diǎn)內(nèi)容。pretty uninspiring, huh? talk like ted: 9 public-speaking secrets of the worlds best mindsexamines why in prose thats as lively and appealing as, well, a ted talk.timed to coincide with the 30th anniversary in march of those now-legendary ted conferences, the book draws on current brain science to explain what wins over, and fires up, an audience--and what doesnt.author carmine gallo also studied more than 500 of the most popular ted speeches(there have been about 1,500 so far)and interviewed scores of the people who gave them.相當(dāng)平淡，是吧？《像ted那樣演講：全球頂級(jí)人才九大演講秘訣》(talk like ted: 9 public-speaking secrets of the worlds best minds)一書以流暢的文筆審視了為什么ted演講如此生動(dòng)，如此引人入勝。出版方有意安排在今年3月份發(fā)行此書，以慶賀如今已成為經(jīng)典的ted大會(huì)成立30周年。這部著作借鑒

當(dāng)代腦科學(xué)解釋了什么樣的演講能夠說(shuō)服聽眾、鼓舞聽眾，什么樣的演講無(wú)法產(chǎn)生這種效果。

much of what he found out is surprising.consider, for instance, the fact that each ted talk is limited to 18 minutes.that might sound too short to convey much.yet ted curator chris anderson imposed the time limit, he told gallo, because its long enough to be serious and short enough to hold peoples attention...by forcing speakers who are used to going on for 45 minutes to bring it down to 18, you get them to think about what they really want to say.its also the perfect length if you want your message to go viral, anderson says.他挖出了不少令人吃驚的演講策略。例如，每場(chǎng)ted演講都被限制在18分鐘以內(nèi)。聽起來(lái)太過(guò)短暫，似乎無(wú)法傳達(dá)足夠多訊息。然而，ted大會(huì)策辦人克里斯?安德森決議推行這項(xiàng)時(shí)間限制規(guī)則，因?yàn)椤斑@個(gè)時(shí)間長(zhǎng)度足夠莊重，同時(shí)又足夠短，能夠吸引人們的注意力。通過(guò)迫使那些習(xí)慣于滔滔不絕講上45分鐘的嘉賓把演講時(shí)間壓縮至18分鐘，你就可以讓他們認(rèn)真思考他們真正想說(shuō)的話，”他對(duì)加洛說(shuō)。此外，安德森說(shuō)，如果你希望你的訊息像病毒般擴(kuò)散，這也是一個(gè)完美的時(shí)間長(zhǎng)度。recent neuroscience shows why the time limit works so well: people listening to a presentation are storing data for retrieval in the future, and too much information leads to cognitive overload, which gives rise to elevated levels of anxiety--meaning that, if you go on and on, your audience will start to resist you.even worse, they wont recall a single point you were trying to make.最近的神經(jīng)科學(xué)研究說(shuō)明了為什么這項(xiàng)時(shí)間限制產(chǎn)生如此好的效果：聆聽陳述的人們往往會(huì)存儲(chǔ)相關(guān)數(shù)據(jù)，以備未來(lái)檢索之用，而太多的信息會(huì)導(dǎo)致“認(rèn)知超負(fù)荷”，進(jìn)而推升聽眾的焦慮度。它意味著，如果你說(shuō)個(gè)沒(méi)完沒(méi)了，聽眾就會(huì)開始抗拒你。更糟糕的是，他們不會(huì)記得你努力希望傳遞的信息點(diǎn)，甚至可能一個(gè)都記不住。

如何把一個(gè)復(fù)雜的陳述壓縮至18分鐘左右？加洛就這個(gè)問(wèn)題提供了一些小建議，其中包括他所稱的“三的法則”。具體說(shuō)就是，把大量觀點(diǎn)高度濃縮為三大要點(diǎn)。ted大會(huì)上的許多演講高手就是這樣做的。他還指出，即使一篇演講無(wú)法提煉到這樣的程度，單是這番努力也一定能改善演講的效果：“僅僅通過(guò)這番提煉，你就可以大大增強(qiáng)陳述的創(chuàng)造性和影響力?！? then theres powerpoint.ted represents the end of powerpoint as we know it, writes gallo.he hastens to add that theres nothing wrong with powerpoint as a tool, but that most speakers unwittingly make it work against them by cluttering up their slides with way too many words(40, on average)and numbers.另一個(gè)建議與ppt文檔有關(guān)?！皌ed大會(huì)象征著我們所知的ppt文檔正走向終結(jié)，”加洛寫道。他隨后又馬上補(bǔ)充說(shuō)，作為工具的powerpoint本身并沒(méi)有什么錯(cuò)，但大多數(shù)演講者為他們的幻燈片塞進(jìn)了太多的單詞（平均40個(gè)）和數(shù)字，讓這種工具不經(jīng)意間帶來(lái)了消極影響。the remedy for that, based on the most riveting ted talks: if you must use slides, fill them with a lot more images.once again, research backs this up, with something academics call the picture superiority effect: three days after hearing or reading a set of facts, most people will remember about 10% of the information.add a photo or a drawing, and recall jumps to 65%.最吸引人的ted演講為我們提供了一個(gè)補(bǔ)救策略：如果你必須使用幻燈片，務(wù)必記得要大量運(yùn)用圖像資源。這種做法同樣有科學(xué)依據(jù)，它就是研究人員所稱的“圖優(yōu)效應(yīng)”(picture superiority effect)：聽到或讀到一組事實(shí)三天后，大多數(shù)人會(huì)記得大約10%的信息。而添加一張照片或圖片后，記憶率將躍升至65%。one study, by molecular biologist john medina at the university of washington school of medicine, found that not only could people recall more than 2,500 pictures with at least 90% accuracy several days later, but accuracy a whole year afterward was still at about 63%.華盛頓大學(xué)醫(yī)學(xué)院(university of washington school of medicine)分子生物學(xué)家約翰?梅迪納主持的研究發(fā)現(xiàn)，幾天后，人們能夠回想起超過(guò)2,500張圖片，準(zhǔn)確率至少達(dá)到90%；一年后的準(zhǔn)確率依然保持在63%左右。that result demolishes print and speech, both of which were tested on the same group of subjects, medinas study indicated, which is something worth bearing in mind for anybody hoping that his or her ideas will be remembered.梅迪納的研究表明，這個(gè)結(jié)果“完勝”印刷品和演講的記憶效果（由同一組受試者測(cè)試）。任何一位希望自己的思想被聽眾銘記在心的演講者或許都應(yīng)該記住這一點(diǎn)。篇四：ted演講稿

我是個(gè)說(shuō)書之人。在這里，我想和大家分享一些我本人的故事。一些關(guān)于所謂的“單一故事的危險(xiǎn)性”的經(jīng)歷。我成長(zhǎng)在尼日利亞?wèn)|部的一所大學(xué)校園里。我母親常說(shuō)我從兩歲起就開始讀書。不過(guò)我認(rèn)為“四歲起”比較接近事實(shí)。所以我從小就開始讀書，讀的是英國(guó)和美國(guó)的兒童書籍。

我也是從小就開始寫作，當(dāng)我在七歲那年，開始強(qiáng)迫我可憐的母親閱讀我用鉛筆寫好的故事，外加上蠟筆描繪的插圖時(shí)，我所寫的故事正如我所讀的故事那般，我故事里的人物們都是白皮膚、藍(lán)眼睛的。常在雪中嬉戲，吃著蘋果。而且他們經(jīng)常討論天氣，討論太陽(yáng)出來(lái)時(shí)，一切都多么美好。我一直寫著這樣故事，雖然說(shuō)我當(dāng)時(shí)住在尼日利亞，并且從來(lái)沒(méi)有出過(guò)國(guó)。雖然說(shuō)我們從來(lái)沒(méi)見過(guò)雪，雖然說(shuō)我們實(shí)際上只能吃到芒果；雖然說(shuō)我們從不討論天氣，因?yàn)楦緵](méi)這個(gè)必要。

我故事里的人物們也常喝姜汁啤酒，因?yàn)槲宜x的那些英國(guó)書中的人物們常喝姜汁啤酒。雖然說(shuō)我當(dāng)時(shí)完全不知道姜汁啤酒是什么東西。時(shí)隔多年，我一直都懷揣著一個(gè)深切的渴望，想嘗嘗姜汁啤酒的味道。不過(guò)這要另當(dāng)別論了。這一切所表明的，正是在一個(gè)個(gè)的故事面前，我們是何等的脆弱，何等的易受影響，尤其當(dāng)我們還是孩子的時(shí)候，因?yàn)槲耶?dāng)時(shí)讀的所有書中只有外國(guó)人物，我因而堅(jiān)信：書要想被稱為書，就必須有外國(guó)人在里面，就必須是關(guān)于我無(wú)法親身體驗(yàn)的事情，而這一切都在我接觸了非洲書籍之后發(fā)生了改變。當(dāng)時(shí)非洲書并不多，而且他們也不像國(guó)外書籍那樣好找。不過(guò)因?yàn)椋『?！之類的作家，我思維中對(duì)于文學(xué)的概念，產(chǎn)生了質(zhì)的改變。我意識(shí)到像我這樣的人---有著巧克力般的膚色和永遠(yuǎn)無(wú)法梳成馬尾辮的卷曲頭發(fā)的女孩們，也可以出現(xiàn)在文學(xué)作品中。

我開始撰寫我所熟知的事物，但這并不是說(shuō)我不喜愛(ài)那些美國(guó)和英國(guó)書籍，恰恰相反，那些書籍激發(fā)了我的想象力，為我開啟了新的世界。但隨之而來(lái)的后果就是，我不知道原來(lái)像我這樣的人，也是可以存在于文學(xué)作品中的，而與非洲作家的結(jié)緣，則是將我從對(duì)于書籍的單一故事中拯救了出來(lái)。

我來(lái)自一個(gè)傳統(tǒng)的尼日利亞中產(chǎn)家庭，我的父親是一名教授，我的母親是一名大學(xué)管理員。因此我們和很多其他家庭一樣，都會(huì)從附近的村莊中雇傭一些幫手來(lái)打理家事。在我八歲那一年，我們家招來(lái)了一位新的男仆。他的名字叫做fide.我父親只告訴我們說(shuō)，他是來(lái)自一個(gè)非常窮苦的家庭，我母親會(huì)時(shí)不時(shí)的將山芋、大米，還有我們穿舊的衣服送到他的家里。每當(dāng)我剩下晚飯的時(shí)候，我的母親就會(huì)說(shuō)：吃凈你的食物！難道你不知道嗎？像fide家這樣的人可是一無(wú)所有。因此我對(duì)他們家人充滿了憐憫。

后來(lái)的一個(gè)星期六，我們?nèi)ide的村莊拜訪，他的母親向我們展示了一個(gè)精美別致的草籃----用fide的哥哥用染過(guò)色的酒椰葉編制的。我當(dāng)時(shí)完全被震驚了。我從來(lái)沒(méi)有想過(guò)fide的家人居然有親手制造東西的才能。在那之前，我對(duì)fide家唯一的了解就是他們是何等的窮困，正因?yàn)槿绱?，他們?cè)谖夷X中的印象只是一個(gè)字------“窮”。他們的貧窮是我賜予他們的單一故事。

多年以后，在我離開尼日利亞前往美國(guó)讀大學(xué)的時(shí)候，我又想到了這件事。我那時(shí)19歲，我的美國(guó)室友當(dāng)時(shí)完全對(duì)我感到十分驚訝了。他問(wèn)我是從哪里學(xué)的講一口如此流利的英語(yǔ)，而當(dāng)我告知她尼日利亞剛巧是以英語(yǔ)作為官方語(yǔ)言的時(shí)候，她的臉上則是寫滿了茫然。她問(wèn)我是否可以給她聽聽她所謂的“部落音樂(lè)”，可想而知，當(dāng)我拿出瑪麗亞凱莉的磁帶時(shí)，她是何等的失望，她斷定我不知道如何使用電爐。

我猛然意識(shí)到“在他見到我之前，她就已經(jīng)對(duì)我充滿了憐憫之心。她對(duì)我這個(gè)非洲人的預(yù)設(shè)心態(tài)是一種充滿施恩與好意的憐憫之情。我那位室友的腦中有一個(gè)關(guān)于非洲的單一故事。一個(gè)充滿了災(zāi)難的單一故事。在這個(gè)單一的故事中，非洲人是完全沒(méi)有可能在任何方面和她有所相似的；沒(méi)有可能接收到比憐憫更復(fù)雜的感情；沒(méi)有可能以一個(gè)平等的人類的身份與她

溝通。

我不得不強(qiáng)調(diào)，在我前往美國(guó)之前，我從來(lái)沒(méi)有有意識(shí)的把自己當(dāng)做個(gè)非洲人。但在美國(guó)的時(shí)候，每當(dāng)人們提到”非洲“時(shí)，大家都會(huì)轉(zhuǎn)向我，雖然我對(duì)納米比亞之類的地方一無(wú)所知。但我漸漸的開始接受這個(gè)新的身份，現(xiàn)在很多時(shí)候我都是把自己當(dāng)做一個(gè)非洲人來(lái)看待。不過(guò)當(dāng)人們把非洲當(dāng)做一個(gè)國(guó)家來(lái)討論的時(shí)候，我還是覺(jué)得挺反感的。最近的一次例子就發(fā)生在兩天前，我從拉各斯搭乘航班，旅程原本相當(dāng)愉快，直到廣播里開始介紹在”印度、非洲以及其他國(guó)家”所進(jìn)行的慈善事業(yè)。

當(dāng)我以一名非洲人的身份在美國(guó)讀過(guò)幾年之后，我開始理解我那位室友當(dāng)時(shí)對(duì)我的反應(yīng)。如果我不是在尼日利亞長(zhǎng)大，如果我對(duì)非洲的一切認(rèn)識(shí)都是來(lái)自于大眾流行的影像，我相信我眼中的非洲也同樣是充滿了美麗的地貌、美麗的動(dòng)物，以及一群難以理解的人們進(jìn)行著毫無(wú)意義的戰(zhàn)爭(zhēng)、死于艾滋和貧窮、無(wú)法為自己辯護(hù)，并且等待著一位慈悲的、白種的外國(guó)人的救贖，我看待非洲的方式將會(huì)和我兒時(shí)看待fide一家的方式是一樣的。

我認(rèn)為關(guān)于非洲的這個(gè)單一故事從根本上來(lái)自于西方的文學(xué)。這是來(lái)自倫敦商人john locke的一段話。他在1561年的時(shí)候，曾游歷非洲西部，并且為他的航行做了翻很有趣的記錄。他先是把黑色的非洲人稱為“沒(méi)有房子的野獸”，隨后又寫道：“他們也是一群無(wú)頭腦的人，他們的嘴和眼睛都長(zhǎng)在了他們的胸口上。”

我每次讀到這一段的時(shí)候，都不禁大笑起來(lái)。他的想象力真的是讓人敬佩。但關(guān)于他的作品極其重要的一點(diǎn)是它昭示著西方社會(huì)講述非洲故事的一個(gè)傳統(tǒng)，在這個(gè)傳統(tǒng)中，撒哈拉以南的非洲充滿了消極、差異以及黑暗，是偉大的詩(shī)人rudyard kipling筆下所形容的“半惡魔、半孩童”的奇異人種。

正因?yàn)槿绱?，我開始意識(shí)到我的那位美國(guó)室友一定在她的成長(zhǎng)過(guò)程中，看到并且聽過(guò)關(guān)于這個(gè)單一故事的不同版本，就如同之前一位曾經(jīng)批判我的小說(shuō)缺乏“真實(shí)的非洲感”的教授一樣。話說(shuō)我倒是甘愿承認(rèn)我的小說(shuō)有幾處寫的不好的地方，有幾處敗筆，但我很難想象我的小說(shuō)既然會(huì)缺乏“真實(shí)的非洲感”。事實(shí)上，我甚至不知道真實(shí)的非洲感到底是個(gè)什么東西。那位教授跟我說(shuō)我書中的人物都和他太相近了，都是受過(guò)教育的中產(chǎn)人物。我的人物會(huì)開車，他們沒(méi)有受到饑餓的困擾。正因此，他們?nèi)狈α苏鎸?shí)的非洲感。

我在這里不得不指出，我本人也常常被單一的故事蒙蔽雙眼。幾年前，我從美國(guó)探訪墨西哥，當(dāng)時(shí)美國(guó)的政治氣候比較緊張。關(guān)于移民的辯論一直在進(jìn)行著。而在美國(guó)，“移民”和“墨西哥人”常常被當(dāng)做同義詞來(lái)使用。關(guān)于墨西哥人的故事是源源不絕，講的都是欺詐醫(yī)療系統(tǒng)、偷渡邊境、在邊境被捕之類的事情。

我還記得當(dāng)我到達(dá)瓜達(dá)拉哈拉的第一天，看著人們前往工作，在市集上吃著墨西哥卷、抽著煙、大笑著，我記得我剛看到這一切時(shí)是何等的驚訝，但隨后我的心中便充滿了羞恥感。我意識(shí)到我當(dāng)時(shí)完全被沉浸在媒體上關(guān)于墨西哥人的報(bào)道，以致于他們?cè)谖业哪X中幻化成一個(gè)單一的個(gè)體---卑賤的移民。我完全相信了關(guān)于墨西哥人的單一故事，對(duì)此我感到無(wú)比的羞愧。這就是創(chuàng)造單一故事的過(guò)程，將一群人一遍又一遍地呈現(xiàn)為一個(gè)事物，并且只是一個(gè)事物，時(shí)間久了，他們就變成了那個(gè)事物。

而說(shuō)到單一的故事，就自然而然地要講到權(quán)力這個(gè)問(wèn)題。每當(dāng)我想到這個(gè)世界的權(quán)力結(jié)構(gòu)的時(shí)候，我都會(huì)想起一個(gè)伊傅語(yǔ)中的單詞，叫做“nkali”,它是一個(gè)名詞，可以在大意上被翻譯成”比另一個(gè)人強(qiáng)大?！本腿缤覀兊慕?jīng)濟(jì)和政治界一樣，我們所講的故事也是建立在它的原則上的。這些故事是怎樣被講述的、由誰(shuí)來(lái)講述、何時(shí)被講述、有多少故事被講述，這一切都取決于權(quán)力。篇五：ted演講的十條黃金法則

如何登上ted演講舞臺(tái)——ted演講的十條黃金法則、導(dǎo)讀：如果你喜歡ted，甚至夢(mèng)想，有一天自己也站在ted的舞臺(tái)上做一個(gè)演講，本文將介紹著名的ted演講十個(gè)黃金法則，請(qǐng)往下看吧~~ 如果你喜歡ted，觀看了ted的演講視頻，感到激動(dòng)不已，甚至夢(mèng)想，有一天自己也站在ted的舞臺(tái)上做一個(gè)演講，分享你的精彩創(chuàng)意想法和精彩故事！這太好了，這種熱情的向往，是通往ted講臺(tái)之路的最大動(dòng)力。除此之外還需要了解一些演講技巧。these 10 tips are the heart of a great ted talk.1.dream big.strive to create the best talk you have ever given.reveal something never seen before.do something the audience will remember forever.share an idea that could change the world.給自己一個(gè)高目標(biāo)，要把這個(gè)演講做成你最成功的一個(gè)演講。你可以向觀眾展示某些未曾公開展示的東西或做出能夠讓觀眾留下深刻印象的事情。分享一個(gè)有可能改變世界的想法。2.show us the real you.share your passions, your dreams...and also your fears.be vulnerable.speak of failure as well as success.展示一個(gè)最真實(shí)的你。分享你的激情、夢(mèng)想，乃至恐懼。不要把自己當(dāng)成是完美無(wú)缺的，你可以講成功的故事，也可以講失敗的故事。4.connect with peoples emotions.make us laugh!make us cry!要說(shuō)得動(dòng)人一點(diǎn)，使得觀眾聽了會(huì)發(fā)出由衷的微笑或感動(dòng)到禁不住要哭泣。5.dont flaunt your ego.dont boast.it’s the surest way to switch everyone off.不要自吹自擂。那樣做的話，最容易嚇跑觀眾。

臺(tái)上不能推銷！除非事先有通知，否則不可談?wù)撃愕墓净蚪M織。更別指望在臺(tái)上展示你的產(chǎn)品。

要給其他演講嘉賓一定的回應(yīng)，可以贊可以彈。意見之對(duì)立才會(huì)擦出思維之火火嘛。激情的參與本身的力量就是這么強(qiáng)大的。8.if possible, dont read your talk.notes are fine.but if the choice is between reading or rambling, then read!除非萬(wàn)不得已，否則不要照著講稿閱讀。當(dāng)然可以看自己寫的小紙片。但假如不看講稿你會(huì)表述得含糊不清的話，那還是看著稿子講吧。9.you must end your talk on time.doing otherwise is to steal time from the people that follow you.we won’t allow it.必須在規(guī)定的時(shí)間內(nèi)說(shuō)完。因?yàn)槌瑫r(shí)就意味著剝奪了其他人的時(shí)間。這是不允許的。10.rehearse your talk in front of a trusted friend...for timing, for clarity, for impact.為了保證演講準(zhǔn)時(shí)、清晰、高質(zhì)量，我們希望你提前跟朋友一起做試講。關(guān)于ted ted于1984年由理查德·溫曼和哈里·馬克思共同創(chuàng)辦，從1990年開始每年在美國(guó)加州的蒙特利舉辦一次，而如今，在世界的其他城市也會(huì)每半年舉辦一次。

它邀請(qǐng)世界上的思想領(lǐng)袖與實(shí)干家來(lái)分享他們最熱衷從事的事業(yè)?！皌ed”由“科技”、“娛樂(lè)”以及“設(shè)計(jì)”三個(gè)英文單詞首字母組成，這三個(gè)廣泛的領(lǐng)域共同塑造著我們的未來(lái)。事實(shí)上，這場(chǎng)盛會(huì)涉及的領(lǐng)域還在不斷擴(kuò)展，展現(xiàn)著涉及幾乎各個(gè)領(lǐng)域的各種見解。參加者們稱它為 “超級(jí)大腦spa”和“四日游未來(lái)”。

大會(huì)觀眾往往是企業(yè)的ceo、科學(xué)家、創(chuàng)造者、慈善家等等，他們幾乎和演講嘉賓一樣優(yōu)秀。比爾·克林頓、比爾·蓋茨、維基百科創(chuàng)始人吉米·威爾斯、dna結(jié)構(gòu)的發(fā)現(xiàn)者詹姆斯·華森、google創(chuàng)辦人、英國(guó)動(dòng)物學(xué)家珍妮·古道爾、美國(guó)建筑大師弗蘭克·蓋里、歌手保羅·西蒙、維珍品牌創(chuàng)始人理查德·布蘭森爵士、國(guó)際設(shè)計(jì)大師菲利普·斯達(dá)克以及u2樂(lè)隊(duì)主唱bono都曾經(jīng)擔(dān)任過(guò)演講嘉賓。

大凡有機(jī)會(huì)來(lái)到ted大會(huì)現(xiàn)場(chǎng)作演講的均有非同尋常的經(jīng)歷，他們要么是某一領(lǐng)域的佼佼者，要么是某一新興領(lǐng)域的開創(chuàng)人，要么是做出了某些足以給社會(huì)帶來(lái)改觀的創(chuàng)舉。比如人類基因組研究領(lǐng)域的領(lǐng)軍人物craig venter，“給每位孩子一百美元筆記本電腦”項(xiàng)目的創(chuàng)建人 nicholas negroponte，只身滑到北極的第一人 ben saunders，當(dāng)代杰出的語(yǔ)言學(xué)家

steven pinker??至于像 al gore 那樣的明星就更是ted大會(huì)之?？土?。每一個(gè)ted 演講的時(shí)間通常都是18分鐘以內(nèi)，但是，由于演講者對(duì)于自己所從事的事業(yè)有一種深深的熱愛(ài)，他們的演講也往往最能打動(dòng)聽者的心，并引起人們的思考與進(jìn)一步探索。

第四篇：TED演講稿

embracing otherness.when i first heard this theme, i thought, well embracing otherness is embracing myself.and the journey to that i grew up on the coast of england in the 70s.my dad is white from cornwall, and my mom is black from zimbabwe.even the idea of us as a family was challenging to most people.but nature had its wicked way, and brown babies were born.but from about the age of five, i was aware that i didnt fit.i was the black atheist kid in the all-white catholic school run by nuns.i was an anomaly.and my self was rooting around for definition and trying to plug in.because the self likes to fit, to see itself replicated, to belong.that confirms its existence and its importance.and it is important.it has an extremely important function.without it, we literally cant interface with others.we cant hatch plans and climb that stairway of popularity, of success.but my skin color wasnt right.my hair wasnt right.my history wasnt right.my self became defined by otherness, which meant that, in that social world, i didnt really exist.and i was other before being anything else-first-grade, not much artistic talent...yet.and i m balling, im crying, like a little kid.and it made all the sense in the world to me.i realized at that point by connecting those two dots, that the only thing that matters in my life is being a great dad.above all, above all, the only goal i have in life is to be a good dad.一個(gè)月后，我參加女兒的表演，她一年級(jí)，沒(méi)什么藝術(shù)天份，就算如此。我淚流滿面，像個(gè)孩子，這讓我的世界重新有了意義。當(dāng)當(dāng)時(shí)我意識(shí)到，將這兩件事連接起來(lái)，其實(shí)我生命中唯一重要的事，就是成為一個(gè)好父親，比任何事都重要，比任何事都重要，我人生中唯一的目標(biāo)就是做個(gè)好父親。那天我經(jīng)歷了一個(gè)奇跡，我活下來(lái)了。我還得到另一個(gè)啟示，像是看見自己的未來(lái)再回來(lái)，改變自己的人生。

第五篇：TED演講稿

5天內(nèi)，超過(guò)60萬(wàn)次瀏覽量的最新TED演講“二十歲一去不再來(lái)”激起了世界各地的熱烈討論。Meg Jay身為臨床心理治療師，專門為20多歲的青年人提供各種咨詢服務(wù)，她說(shuō)：“當(dāng)我還在念Ph.D.的時(shí)候遇到了第一位病人，一個(gè)26歲的女生向我傾訴她 的愛(ài)情困惑。對(duì)于二十多歲的年輕男女來(lái)說(shuō)，這也是再常見不過(guò)的了，所以我很自然地就陷入了附和的狀態(tài)，隨著她說(shuō),’三十歲會(huì)是新的二十歲’。事實(shí)也確實(shí)如 此，事業(yè)發(fā)展，家庭建立，甚至死亡都是很遙遠(yuǎn)的事情。二十多歲花不完的就是時(shí)間，為愛(ài)情困惑下顯得沒(méi)什么大不了?！?然而Meg的導(dǎo)師可不這么認(rèn)為，他告誡Meg,“如果二十多歲的女孩難以走出錯(cuò)誤的戀愛(ài)關(guān)系，那么很有可能日后她將進(jìn)入錯(cuò)誤的婚姻?！?/p>

二十歲，常常被掛在嘴邊的青春，常常被稱為“再不瘋狂就老了”的甜蜜光陰，在臨床心理學(xué)來(lái)說(shuō)又是人成長(zhǎng)定性的重要時(shí)段，這十年將為日后幾十年的職業(yè) 和家庭樹立了方向。許多人活到三十歲，四十歲感慨希望更早得到的人生智慧在Meg看來(lái)完全可以告知?jiǎng)倓偲鸩降那嗄耆?，因?yàn)槟切┧^功成名就的人通常都在 35歲左右邁入人生最關(guān)鍵的階段，而二十多歲正是打基礎(chǔ)的重要時(shí)間，人的大腦或者身體成熟度都在這段時(shí)間達(dá)到最高值。如果說(shuō)孩童5歲前是智力開發(fā)的重要時(shí) 刻，那么20多歲則是成人后發(fā)展的重要基石。

Meg說(shuō)，“要想獲得成功，首先要有個(gè)計(jì)劃，其次你要活得足夠長(zhǎng)看到計(jì)劃實(shí)現(xiàn)。而那些以為二十多歲就是用來(lái)虛擲光陰的人正在消耗他們有所建樹的時(shí)間 成本，為了不投契的戀人苦惱，為了小事糾結(jié)，直到站在三十歲的門檻，猛然醒悟自己的未來(lái)還一片迷茫，身邊人都安定下來(lái)，為了和大家保持一致，于是趕緊抓住 身邊的一個(gè)人結(jié)婚就好像大家在玩搶板凳的游戲?！?/p>

二十多歲的人，常常困惑自己沒(méi)有“身份定位”，好像可以做很多事情，但又沒(méi)有足夠的資歷去擔(dān)當(dāng)任何事。

二十多歲的人，常常抱怨或者感嘆：家庭出身無(wú)法選擇。

二十多歲的人，看別人的生活都很精彩，看自己的生活乏然無(wú)味。

Meg說(shuō)：“第一，我常告訴二十多歲的男孩女孩，不要為你究竟是誰(shuí)而煩惱，開始思考你可以是誰(shuí)，并且去賺那些說(shuō)明你是誰(shuí)的資本?，F(xiàn)在就是最好的嘗試 時(shí)機(jī)，不管是海外實(shí)習(xí)，還是創(chuàng)業(yè)，或者做公益。第二，年輕人經(jīng)常聚在一起，感情好到可以穿一條褲子?？墒巧鐣?huì)中許多機(jī)會(huì)是從弱關(guān)系開始的，不要把自己封鎖 在小圈子里，走出去你才會(huì)對(duì)自己的經(jīng)歷有更多的認(rèn)識(shí)。第三，記住你可以選擇自己的家庭。你的婚姻就是未來(lái)幾十年的家庭，就算你要到三十歲結(jié)婚，現(xiàn)在選擇和 什么樣的人交往也是至關(guān)重要的。簡(jiǎn)而言之，二十歲是不能輕易揮霍的美好時(shí)光?！?/p>

這段關(guān)于20歲青年人如何看待人生的演講引起了許多TED粉絲的討論，來(lái)自TEDx組織團(tuán)隊(duì)的David Webber就說(shuō)：Meg指出最重要的一點(diǎn)便是青年人需要及早意識(shí)到積累經(jīng)驗(yàn)和眼界，無(wú)論是20歲還是30歲，都是有利自己發(fā)展的重要事?！?/p>

還有人說(shuō)：“小時(shí)候在一家雜貨店打工的時(shí)候遇到的同事可以分成兩類人：一類是想賺點(diǎn)小錢的學(xué)生，另一類是不滿生活際遇的成年人。那些成年人雖然覺(jué)得 自己有很高遠(yuǎn)的夢(mèng)想，卻發(fā)現(xiàn)被現(xiàn)實(shí)綁住了手腳。而那些成年人之所以難以抽身就是因?yàn)樗麄?0歲選擇了這一行，他們以為這只是暫時(shí)的，可是卻沒(méi)能離開過(guò)。”

作為一位就要邁入30的20多歲青年人，小編也深刻感受到所謂成長(zhǎng)，所謂積累，因人而異，卻不因時(shí)代而不同。縱使每個(gè)人生長(zhǎng)的環(huán)境不同，可利用的資源不一，只要嘗試，仍然有不少的道路積累自己的“身份資本(Identity Capital)”,今天的你，做了什么嗎？