I am going to talk about myself, which I rarely do, because I -- well for one thing, I prefer to talk about things I know nothing about. And secondly, I'm a recovering narcissist. (Laughter) I didn't know I was a narcissist actually. I thought narcissism meant you loved yourself. And then someone told me there is a flip side to it. So it's actually drearier than self-love; it's unrequited self-love. (Laughter) I don't feel I can afford a relapse.
Govoriću o sebi, što retko radim jer, kao prvo, volim da govorim o stvarima o kojima ne znam ništa. A drugo, ja sam narcis na oporavku. (Smeh) U stvari, nisam znala da sam narcis. Mislila sam da narcizam znači da volite sebe. A onda mi je neko rekao da postoji i drugi aspekt toga. On je u stvari depresivniji od ljubavi prema sebi; to je neuzvraćena ljubav prema sebi. (Smeh) Osećam da ne smem sebi da dozvolim recidiv.
But I want to, though, explain how I came to design my own particular brand of comedy because I've been through so many different forms of it. I started with improvisation, in a particular form of improvisation called theater games, which had one rule, which I always thought was a great rule for an ethic for a society. And the rule was, you couldn't deny the other person's reality, you could only build on it.
Ali želim da objasnim kako sam napravila svoj lični brend komedije jer sam prošla kroz mnoge njene različite forme. Počela sam sa improvizacijom u posebnoj formi improvizacije, zvanoj pozorišne igre, koje imaju jedno pravilo za koje sam oduvek mislila da je sjajno pravilo za moral društva. Pravilo je bilo da ne možete osporiti realnost druge osobe već samo nadgrađivati je.
And of course we live in a society that's all about contradicting other peoples' reality. It's all about contradiction, which I think is why I'm so sensitive to contradiction in general. I see it everywhere. Like polls. You know, it's always curious to me that in public opinion polls the percentage of Americans who don't know the answer to any given question is always two percent. 75 percent of Americans think Alaska is part of Canada. But only two percent don't know the effect that the debacle in Argentina will have on the IMF's monetary policy -- (Laughter) seems a contradiction. Or this ad that I read in the New York Times: "Wearing a fine watch speaks loudly of your rank in society. Buying it from us screams good taste." (Laughter) Or this that I found in a magazine called California Lawyer, in an article that is surely meant for the lawyers at Enron. "Surviving the Slammer: Do's and Don'ts." (Laughter) "Don't use big words." (Laughter) "Learn the lingua franca." (Laughter) Yeah. "Lingua this, Frankie."
Naravno, živimo u društvu koje stalno protivreči realnostima drugih ljudi. Stalno protivreči, što mislim da je razlog zbog čega sam tako osetljiva na protivrečnost u globalu. Vidim je svuda. Kao ankete. Uvek mi je bilo zanimljivo da u anketama javnog mnjenja procenat Amerikanaca koji ne zna odgovor ni na jedno pitanje je uvek dva procenta. 75 procenata Amerikanaca misli da je Aljaska deo Kanade. Ali da samo dva procenta ne zna koji će efekat imati krah u Argentini na monetarnu politiku MMF-a - (Smeh) izgleda kao protivrečnost. Ili ovaj oglas koji sam pročitala u Njujork Tajmsu: "To što nosite dobar sat govori puno o vašem položaju u društvu. To što ga kupujete od nas govori još više o dobrom ukusu." (Smeh) Ili ovo što sam našla u časopisu "Kalifornijski advokat" u članku koji je sigurno namenjen advokatima Enrona. "Preživeti zatvor: šta se sme, a šta ne". (Smeh) "Ne koristite velike reči." (Smeh) "Naučite lingua franca." (Smeh) Da. "Lingua ovo, Frenki."
(Laughter)
(Smeh)
And I suppose it's a contradiction that I talk about science when I don't know math. You know, because -- and by the way to I was so grateful to Dean Kamen for pointing out that one of the reasons, that there are cultural reasons that women and minorities don't enter the fields of science and technology -- because for instance, the reason I don't do math is, I was taught to do math and read at the same time. So you're six years old, you're reading Snow White and the Seven Dwarves, and it becomes rapidly obvious that there are only two kinds of men in the world: dwarves and Prince Charmings. And the odds are seven to one against your finding the prince. (Laughter) That's why little girls don't do math. It's too depressing.
I pretpostavljam da je protivrečno da ja pričam o nauci kad ne znam matematiku. Jer, znate - i uzgred, mnogo sam zahvalna Dinu Kejmenu koji je istakao da jedan od razloga, da postoje kulturni razlozi da žene i manjine ne ulaze u oblasti nauke i tehnologije - jer, na primer, razlog što ja ne znam matematiku je taj što su me učili da radim matematiku i čitam u isto vreme. I kad imate šest godina čitate Snežanu i sedam patuljaka i brzo postaje očigledno da postoje samo dve vrste muškaraca na svetu: patuljci i prinčevi. I šanse su sedam prema jedan u korist toga da nećete naći princa. (Smeh) Zato devojčice ne znaju matematiku. Suviše je depresivna.
(Laughter)
(Smeh)
Of course, by talking about science I also may, as I did the other night, incur the violent wrath of some scientists who were very upset with me. I used the word postmodern as if it were OK. And they got very upset. One of them, to his credit, I think really just wanted to engage me in a serious argument. But I don't engage in serious arguments. I don't approve of them because arguments, of course, are all about contradiction, and they're shaped by the values that I have questions with.
Naravno, govoreći o nauci mogu takođe, kao što sam uradila prošle noći, da navučem na sebe žestok gnev nekih naučnika koje sam veoma naljutila. Upotrebila sam izraz "postmoderan" kao da je to u redu. I oni su se vrlo uzbudili. Jedan od njih je, ja mislim, samo hteo da me uvuče u ozbiljnu raspravu. Ali ja ne ulazim u ozbiljne rasprave. Ne odobravam ih jer u raspravama se, naravno, radi o protivrečnostima i njih oblikuju vrednosti koje dovodim u pitanje.
I have questions with the values of Newtonian science, like rationality. You're supposed to be rational in an argument. Well rationality is constructed by what Christie Hefner was talking about today, that mind-body split, you know? The head is good, body bad. Head is ego, body id. When we say "I," -- as when Rene Descartes said, "I think therefore I am," -- we mean the head. And as David Lee Roth sang in "Just a Gigolo," "I ain't got no body." That's how you get rationality. And that's why so much of humor is the body asserting itself against the head. That's why you have toilet humor and sexual humor. That's why you have the Raspyni Brothers whacking Richard in the genital area. And we're laughing doubly then because he's the body, but it's also --
Dovodim u pitanje vrednosti njutnovske nauke, kao, na primer, racionalnost. Trebalo bi da budete racionalni u raspravi. Racionalnost je sastavljena od onoga o čemu je govorila Kristi Hefner danas, od te podeljenosti telo-um. Glava je dobra, telo loše. Glava je ego, telo je id. Kad kažemo "ja" - kao što je rekao Rene Dekart "Mislim, dakle postojim" - mislimo na glavu. I kao što je Dejvid Li Rot pevao u "Samo žigolo" ("Just a Gigolo"): "Ja nemam telo". Tako dobijate racionalnost. Zato je tako mnogo humora u vezi sa davanjem prednosti telu u odnosu na glavu. Zato imate klozetski humor i seksualni humor. Zato imate braću Raspini koji udaraju Ričarda u predeo genitalija. I onda se duplo smejemo jer on je telo, ali je takođe -
Voice offstage: Richard.
Glas izvan bine: Ričard.
Emily Levine: Richard. What did I say? (Laughter) Richard. Yes but it's also the head, the head of the conference.
Emili Levin: Ričard. Šta sam rekla? (Smeh) Ričard. Da, ali je takođe i glava, glava konferencije.
That's the other way that humor -- like Art Buchwald takes shots at the heads of state. It doesn't make quite as much money as body humor I'm sure -- (Laughter) but nevertheless, what makes us treasure you and adore you.
To je drugi način na koji humor - kao što Art Buhvald gađa šefa države. To ne zarađuje, sigurna sam, toliko para kao telesni humor - (Smeh) ali ipak čini da vas čuvamo i obožavamo.
There's also a contradiction in rationality in this country though, which is, as much as we revere the head, we are very anti-intellectual. I know this because I read in the New York Times, the Ayn Rand foundation took out a full-page ad after September 11, in which they said, "The problem is not Iraq or Iran, the problem in this country, facing this country is the university professors and their spawn." (Laughter) So I went back and re-read "The Fountainhead." (Laughter) I don't know how many of you have read it. And I'm not an expert on sadomasochism. (Laughter) But let me just read you a couple of random passages from page 217.
Takođe postoji protivrečnost u racionalnosti u ovoj zemlji, a to je da bez obzira što toliko cenimo glavu, vrlo smo antiintelektualni. Ovo znam jer sam čitala u Njujork Tajmsu, Fondacija Ajn Rend je imala oglas preko cele strane posle 11. septembra u kojem je stajalo: "Problem nisu Irak ili Iran, problem sa kojim se suočava ova zemlja, su univerzitetski profesori i njihovo potomstvo." (Smeh) Pa sam se onda vratila i pročitala: "Fontana" (Smeh) Ne znam koliko vas ju je pročitalo. Ja nisam stručnjak za sado-mazohizam. (Smeh) Ali da vam pročitam par nasumičnih pasusa sa strane 217.
"The act of a master taking painful contemptuous possession of her, was the kind of rapture she wanted. When they lay together in bed it was, as it had to be, as the nature of the act demanded, an act of violence. It was an act of clenched teeth and hatred. It was the unendurable. Not a caress, but a wave of pain. The agony as an act of passion."
"Čin gospodara koji ju je bolno prezrivo uzeo, bio je ona vrsta ekstaze koju je želela. Dok su zajedno ležali u krevetu bio je to, kao što je morao biti, kao što je priroda čina zahtevala, čin nasilja. Bio je to čin stegnutih zuba i mržnje. Bilo je nepodnošljivo. Ne milovanje, već talas bola. Agonija kao čin strasti."
So you can imagine my surprise on reading in The New Yorker that Alan Greenspan, Chairman of the Federal Reserve, claims Ayn Rand as his intellectual mentor. (Laughter) It's like finding out your nanny is a dominatrix. (Laughter) Bad enough we had to see J. Edgar Hoover in a dress. Now we have to picture Alan Greenspan in a black leather corset, with a butt tattoo that says, "Whip inflation now."
Tako da možete zamisliti moje iznenađenje kad sam pročitala u Njujorkeru da Alan Grinspen, predsednik Federalnih rezervi, tvrdi da mu je Ajn Rend intelektualni mentor. (Smeh) To je kao da otkrijete da je vaša dadilja domina. (Smeh) Nije dovoljno što smo morali da vidimo Džej Edgara Huvera u haljini. Sad moramo da zamišljamo Alana Grinspena u crnom kožnom korsetu, sa tetovažom na zadnjici koja kaže: "Smanjite inflaciju odmah."
(Laughter)
(Smeh)
And Ayn Rand of course, Ayn Rand is famous for a philosophy called Objectivism, which reflects another value of Newtonian physics, which is objectivity. Objectivity basically is constructed in that same S&M way. It's the subject subjugating the object. That's how you assert yourself. You make yourself the active voice. And the object is the passive no-voice.
A Ajn Rend je naravno, poznata po filozofiji zvanoj objektivizam, koja prikazuje drugu vrednost njutnovske fizike, a to je objektivnost. Objektivnost je u suštini izgrađena na isti taj sado-mazo način. Subjekat se potčinjava objektu. Tako se potvrđujete. Činite od sebe aktivni glas. A objekat je pasivni ne-glas.
I was so fascinated by that Oxygen commercial. I don't know if you know this but -- maybe it's different now, or maybe you were making a statement -- but in many hospital nurseries across the country, until very recently anyway, according to a book by Jessica Benjamin, the signs over the little boys cribs read, "I'm a boy," and the signs over the little girls cribs read, "It's a girl." Yeah. So the passivity was culturally projected onto the little girls.
Bila sam fascinirana reklamom za Oksidžen. Ne znam da li znate ovo ali - možda je sada drugačije ili je to možda bila izjava - ali u mnogim porodilištima širom zemlje sve donedavno, po knjizi Džesike Bendžamin, na tablama iznad krevetaca dečaka je pisalo: "Ja sam dečak", a iznad krevetaca devojčica je pisalo: "To je devojčica." Da. Tako je pasivnost kulturno projektovana na devojčice.
And this still goes on as I think I told you last year. There's a poll that proves -- there was a poll that was given by Time magazine, in which only men were asked, "Have you ever had sex with a woman you actively disliked?" And well, yeah. Well, 58 percent said yes, which I think is overinflated though because so many men if you just say, "Have you ever had sex ... " "Yes!" They don't even wait for the rest of it. (Laughter) And of course two percent did not know whether they'd had -- (Laughter) That's the first callback, of my attempted quadruple.
I ovo je i dalje tako, kao što sam vam rekla, mislim prošle godine. Postoji anketa koja pokazuje - anketa koju je dao časopis Tajm, u kojoj su pitali samo muškarce: "Jeste li ikada imali seks sa ženom prema kojoj ste ispoljavali otvorenu netrpeljivost?" i, da. 58 procenata je reklo da jeste, što mislim da je prenaduvano jer toliko muškaraca, ako samo pitate: "Jeste li imali seks..." "Da!" Ne sačekaju čak ni ostatak pitanja. (Smeh) I naravno, dva procenta nije znalo da li su imali - (Smeh) To je prva od četiri šale u pokušaju.
(Laughter)
(Smeh)
So this subject-object thing, is part of something I'm very interested in because this is why, frankly, I believe in political correctness. I do. I think it can go too far. I think Ringling Brothers may have gone too far with an ad they took out in the New York Times Magazine. "We have a lifelong emotional and financial commitment to our Asian Elephant partners." (Laughter) Maybe too far. But you know -- I don't think that a person of color making fun of white people is the same thing as a white person making fun of people of color. Or women making fun of men is the same as men making fun of women. Or poor people making fun of rich people, the same as rich people.
Ovaj odnos subjekat-objekat je deo nečega što me veoma zanima jer ovo je ono zbog čega verujem u političku korektnost. Verujem. Mislim da mogu da odem tako daleko. Mislim da su braća Ringling možda preterali sa oglasom koji su dali u Njujork Tajmsu. "Imamo doživotnu emocionalnu i finansijsku obavezu prema našim partnerima azijskim slonovima." (Smeh) Možda preterano. Ali znate - ne mislim da je isto kada obojena osoba ismeva belce i kada belac ismeva obojene. Ili da je isto kad žene ismevaju muškarce i kad muškarci ismevaju žene. Ili siromašni koji ismevaju bogate, isto kao bogati...
I think you can make fun of the have but not the have-nots, which is why you don't see me making fun of Kenneth Lay and his charming wife. (Laughter) What's funny about being down to four houses? (Laughter) And I really learned this lesson during the sex scandals of the Clinton administration or, Or as I call them, the good ol' days. (Laughter) When people I knew, you know, people who considered themselves liberal, and everything else, were making fun of Jennifer Flowers and Paula Jones. Basically, they were making fun of them for being trailer trash or white trash. It seems, I suppose, a harmless prejudice and that you're not really hurting anybody. Until you read, as I did, an ad in the Los Angeles Times. "For sale: White trash compactor." (Laughter)
Mislim da možete ismevati ono što se ima ali ne ono što se nema i zbog toga ne vidite mene da ismevam Keneta Leja i njegovu simpatičnu ženu. (Smeh) Šta je smešno u tome da budete srozani na četiri kuće? (Smeh) A stvarno sam naučila ovu lekciju tokom seks skandala Klintonove administracije ili kako ih ja zovem, dobrih starih dana. (Smeh) Kada su ljudi koje znam, ljudi koji smatraju sebe liberalnim i sve ostalo, pravili šale na račun Dženifer Flauers i Pole Džons. U suštini, ismevali su ih zbog toga što su belci seljaci ili odrpanci. Pretpostavljam da to izgleda kao bezazlena predrasuda i da nikoga stvarno ne povređujete. Dok ne pročitate, kao što sam ja učinila, oglas u Los Anđeles Tajmsu. "Na prodaju sabijač belog đubreta." (Smeh)
So this whole subject-object thing has relevance to humor in this way. I read a book by a woman named Amy Richlin, who is the chair of the Classics department at USC. And the book is called "The Garden of Priapus." And she says that Roman humor mirrors the construction of Roman society. So that Roman society was very top/bottom, as ours is to some degree. And so was humor. There always had to be the butt of a joke. So it was always the satirist, like Juvenal or Martial, represented the audience, and he was going to make fun of the outsider, the person who didn't share that subject status.
Tako da cela ova stvar subjekat-objekat ima značaj za humor na ovaj način. Pročitala sam knjigu žene koja se zove Ejmi Ričlin, koja je šef katedre za klasiku na Univerzitetu južne Kalifornije. A knjiga se zove "Prijapov vrt". Ona kaže da se humor starog Rima ogleda u gradnji rimskog društva. Tako da je rimsko društvo bilo vrlo "odozgo nadole" kao i naše u nekoj meri. I takav je bio humor. Uvek je morala da postoji zadnjica šale. Uvek je tu bio satiričar, kao Juvenal ili Marcijal, koji je predstavljao publiku i on je trebalo da ismeva onoga ko je izvan, osobu koja nije delila isti status subjekta.
And in stand-up of course, the stand-up comedian is supposed to dominate the audience. A lot of heckling is the tension of trying to make sure that the comedian is going to be able to dominate, and overcome the heckler. And I got good at that when I was in stand up. But I always hated it because they were dictating the terms of the interaction, in the same way that engaging in a serious argument determines the content, to some degree, of what you're talking about. And I was looking for a form that didn't have that. And so I wanted something that was more interactive. I know that word is so debased now by the use of it by Internet marketers.
I u stend apu, naravno, stend ap komičar treba da dominira publikom. Puno agresivnog izazivanja stvara napetost u pokušaju da se vidi da li će komičar biti sposoban da dominira i porazi izazivača. Bila sam dobra u tome kad sam radila stend ap. Ali uvek sam to mrzela, jer su oni diktirali uslove interakcije, isto onako kao kad ulaženje u ozbiljnu raspravu određuje sadržaj do nekog stepena, onoga o čemu govorite. A ja sam tražila formu u kojoj toga nema. Želela sam nešto što je interaktivnije. Znam da je ta reč sada srozana upotrebom od strane internet trgovaca.
I really miss the old telemarketers now, I'll tell you that. (Laughter) I do, because at least there you stood a chance. You know? I used to actually hang up on them. But then I read in "Dear Abby" that that was rude. So the next time that one called I let him get halfway through his spiel and then I said, "You sound sexy." (Laughter) He hung up on me!
Stvarno mi nedostaju stari prodavci preko telefona. (Smeh) Da, jer tamo ste barem imali neke šanse. Znate? Ja sam im obično spuštala slušalicu. Ali onda sam pročitala u kolumni "Draga Ebi" da je to nepristojno. Tako da sledeći put kad je jedan pozvao pustila sam ga da dođe do pola svoje priče i rekla: "Zvučiš seksi". (Smeh) On je spustio slušalicu meni!
(Laughter)
(Smeh)
But the interactivity allows the audience to shape what you're going to do as much as you shape their experience of the world. And that's really what I'm looking for. And I was sort of, as I was starting to analyze what exactly it is that I do, I read a book called "Trickster Makes This World," by Lewis Hyde. And it was like being psychoanalyzed. I mean he had laid it all out. And then coming to this conference, I realized that most everybody here shared those same qualities because really what trickster is is an agent of change. Trickster is a change agent. And the qualities that I'm about to describe are the qualities that make it possible to make change happen. And one of these is boundary crossing. I think this is what so, in fact, infuriated the scientists. But I like to cross boundaries. I like to, as I said, talk about things I know nothing about.
Ali interaktivnost omogućava publici da oblikuje ono što ćete vi uraditi isto onoliko koliko vi oblikujete njihov doživljaj sveta. I to je zapravo ono što tražim. Kako sam počela da analiziram šta je tačno ono što radim, pročitala sam knjigu "Prevarant stvara ovaj svet" od Luisa Hajda. I kao da sam bila na psihoanalizi. Sve je izložio. I onda, dolazeći na ovu konferenciju, shvatila sam da uglavnom svi ovde imaju ove iste kvalitete jer prevarant je zapravo agent promene. Prevarant je agent promene. I kvaliteti koje ću sada opisati su kvaliteti koji omogućavaju da se desi promena. Jedan od njih je prelaženje granice. Mislim da je ovo to što je tako razbesnelo naučnike. Ali ja volim da prelazim granice. Volim, kao što sam rekla, da govorim o stvarima o kojima ne znam ništa.
(Phone Ringing)
(Telefon zvoni)
I hope that's my agent, because you aren't paying me anything.
Nadam se da je to moj agent jer me vi ne plaćate ništa.
(Laughter)
(Smeh)
And I think it's good to talk about things I know nothing about because I bring a fresh viewpoint to it, you know? I'm able to see the contradiction that you may not be able to see. Like for instance a mime once -- or a meme as he called himself. He was a very selfish meme. And he said that I had to show more respect because it took up to 18 years to learn how to do mime properly. And I said, "Well, that's how you know only stupid people go into it." (Laughter) It only takes two years to learn how to talk.
I mislim da je dobro da pričam o stvarima o kojima ne znam ništa jer donosim novu tačku gledišta na to, zar ne? Mogu da vidim kontradikciju koju vi možda ne možete. Kao na primer pantomimičar jednom - ili mim, kako je nazivao sebe. Bio je vrlo egocentričan mim. Rekao je da treba da pokažem više poštovanja jer mu je trebalo 18 godina da nauči kako da radi pantomimu pravilno. A ja sam rekla: "Pa, tako znate da se samo glupi bave time." (Smeh) Potrebno je samo dve godine da se nauči da se govori.
(Laughter)
(Smeh)
(Applause)
(Aplauz)
And you know people, this is the problem with quote, objectivity, unquote. When you're only surrounded by people who speak the same vocabulary as you, or share the same set of assumptions as you, you start to think that that's reality. Like economists, you know, their definition of rational, that we all act out of our own economic self-interest. Well, look at Michael Hawley, or look at Dean Kamen, or look at my grandmother.
I znate ljudi - ovo je problem sa "objektivnošću". Kad ste samo okruženi ljudima koji govore istim rečnikom kao vi ili dele iste pretpostavke sa vama, počinjete da mislite da je to realnost. Kao ekonomisti, na primer, njihova definicija racionalnog je da svi radimo u skladu sa svojim ekonomskim samointeresom. Pa pogledajte Majkla Houlija ili Dina Kejmena ili moju babu.
My grandmother always acted in other people's interests, whether they wanted her to or not. (Laughter) If they had had an Olympics in martyrdom, my grandmother would have lost on purpose. (Laughter) "No, you take the prize. You're young. I'm old. Who's going to see it? Where am I going? I'm going to die soon."
Moja baba je uvek radila u korist drugih ljudi bilo da su oni to hteli ili ne. (Smeh) Da su imali olimpijadu u mučeništvu moja baba bi namerno izgubila. (Smeh) "Ne, vi uzmite nagradu. Vi ste mladi. Ja sam stara. Ko će da je vidi? Gde ja idem? Umreću uskoro."
(Laughter)
(Smeh)
So that's one -- this boundary crossing, this go-between which -- Fritz Lanting, is that his name, actually said that he was a go-between. That's an actual quality of the trickster. And another is, non-oppositional strategies. And this is instead of contradiction. Where you deny the other person's reality, you have paradox where you allow more than one reality to coexist,
Tako da je to - ovo prelaženje granice, ovaj posrednik koji - Fric Lenting, je l' se tako zove, je u stvari rekao da je bio posrednik. To je prava osobina prevaranta. A druga je: neopozicione strategije I ovo je umesto kontradikcije. Kad osporavate realnost druge osobe imate paradoks gde dozvoljavate da postoji više od jedne realnosti,
I think there's another philosophical construction. I'm not sure what it's called. But my example of it is a sign that I saw in a jewelry store. It said, "Ears pierced while you wait." (Laughter) There the alternative just boggles the imagination. (Laughter) "Oh no. Thanks though, I'll leave them here. Thanks very much. I have some errands to run. So I'll be back to pick them up around five, if that's OK with you. Huh? Huh? What? Can't hear you."
mislim da postoji još jedna filozofska konstrukcija. Nisam sigurna kako se zove. Ali moj primer za to je natpis koji sam videla u juvelirnici. Pisalo je: "Uši izbušene dok čekate." (Smeh) Tu alternativa prosto izmiče mašti. (Smeh) "Ne. Hvala, ostaviću ih ovde. Hvala puno. Imam neke poslove da završim. Vratiću se da ih pokupim oko pet, ako vam to odgovara. A? A? Šta? Ne čujem vas."
(Laughter)
(Smeh)
And another attribute of the trickster is smart luck. That accidents, that Louis Kahn, who talked about accidents, this is another quality of the trickster. The trickster has a mind that is prepared for the unprepared. That, and I will say this to the scientists, that the trickster has the ability to hold his ideas lightly so that he can let room in for new ideas or to see the contradictions or the hidden problems with his ideas. I had no joke for that. I just wanted to put the scientists in their place. (Laughter)
I još jedna osobina prevaranta je pametna sreća. Te nezgode, o kojima je Luis Kan govorio, to je još jedna osobina prevaranta. Prevarant ima um koji je pripremljen na nepripremljeno. To i, reći ču ovo naučnicima, to da prevarant ima sposobnost da ima površne ideje tako da može da ostavi mesta za nove ili da vidi kontradikcije ili skrivene probleme u svojim idejama. Nemam vic za to. Samo sam htela da stavim naučnike na svoje mesto. (Smeh)
But here's how I think I like to make change, and that is in making connections. This is what I tend to see almost more than contradictions. Like the, what do you call those toes of the gecko? You know, the toes of the gecko, curling and uncurling like the fingers of Michael Moschen. I love connections.
Evo kako ja volim da pravim promene i to je pravljenjem veza. Ovo je nešto što obično vidim skoro i više nego kontradikcije. Kao, kako zovete one prste gekoa? Znate, prsti gekoa, uvijaju se i odvijaju kao prsti Majkla Mošena. Volim povezivanja.
Like I'll read that one of the two attributes of matter in the Newtonian universe -- there are two attributes of matter in the Newtonian universe -- one is space occupancy. Matter takes up space. I guess the more you matter the more space you take up, which explains the whole SUV phenomenon. (Laughter) And the other one though is impenetrability.
Kao što ću pročitati da je jedna od dve osobine materije u njutnovskom univerzumu - postoje dve osobine materije u njutnovskom univerzumu - jedna je zauzimanje prostora. Materija zauzima prostor. Pretpostavljam da što ste više materijalni, to više prostora zauzimate, što objašnjava ceo fenomen velikih luksuznih terenaca. (Smeh) A druga je neprobojnost.
Well, in ancient Rome, impenetrability was the criterion of masculinity. Masculinity depended on you being the active penetrator. And then, in economics, there's an active producer and a passive consumer, which explains why business always has to penetrate new markets. Well yeah, I mean why we forced China to open her markets. And didn't that feel good? (Laughter) And now we're being penetrated. You know the biotech companies are actually going inside us and planting their little flags on our genes. You know we're being penetrated. And I suspect, by someone who actively dislikes us. (Laughter) That's the second of the quadruple. Yes of course you got that. Thank you very much. I still have a way to go.
U starom Rimu neprobojnost je bilo merilo muškosti. Muškost je zavisila od toga da li ste aktivni probijač ili ne. I onda, u ekonomiji postoji aktivni proizvođač i pasivni konzument što objašnjava zašto biznis uvek mora da probija nova tržišta. Mislim, zašto smo naterali Kinu da otvori svoja tržišta. Zar nije to bio dobar osećaj? (Smeh) I sad probijaju nas. Biotehnološke kompanije stvarno ulaze u nas i usađuju svoje male oznake u naše gene. Znate da nas probijaju. I sumnjam da je to neko ko nas otvoreno ne voli. (Smeh) To je druga od četiri šale. Naravno da ste shvatili. Hvala vam puno. Još mi je ostalo.
(Laughter)
(Smeh)
And what I hope to do, when I make these connections, is short circuit people's thinking. You know, make you not follow your usual train of association, but make you rewire. It literally -- when people say about the shock of recognition, it's literally re-cognition, rewiring how you think -- I had a joke to go with this and I forgot it. I'm so sorry. I'm getting like the woman in that joke about --
I ono čemu se nadam kad pravim ove veze je da napravim kratak spoj u razmišljanju ljudi. Da učinim da ne pratite svoj uobičajeni tok asocijacija, već da prespojite. Bukvalno - kad ljudi govore o šoku od prepoznavanja, bukvalno je pre-poznavanje prespajanje onoga kako razmišljate - imala sam vic u vezi ovoga i zaboravila sam ga. Žao mi je. Postajem kao žena u onom vicu o -
have you heard this joke about the woman driving with her mother? And the mother is elderly. And the mother goes right through a red light. And the daughter doesn't want to say anything. She doesn't want to be like, "You're too old to drive." And the mother goes through a second red light. And the daughter says, as tactfully as possible, "Mom, are you aware that you just went through two red lights?" And the mother says, "Oh! Am I driving?"
znate onaj vic o ženi koja se vozi sa svojom majkom? Majka je starija žena. I prođe kroz crveno svetlo. I ćerka neće da kaže ništa. Neće da kaže nešto kao: "Suviše si stara da voziš." I majka prođe kroz drugo crveno. I ćerka kaže, sa što je moguće više obzira: "Mama, je l' znaš da si upravo prošla kroz dva crvena svetla?" I majka kaže: "Oh! Ja vozim?"
(Laughter)
(Smeh)
And that's the shock of recognition at the shock of recognition. That completes the quadruple.
I to je šok od prepoznavanja u šoku od prepoznavanja. To zaokružuje četvorku.
(Laughter)
(Smeh)
I just want to say two more things. One is, another characteristic of trickster is that the trickster has to walk this fine line. He has to have poise. And you know the biggest hurdle for me, in doing what I do, is constructing my performance so that it's prepared and unprepared. Finding the balance between those things is always dangerous because you might tip off too much in the direction of unprepared. But being too prepared doesn't leave room for the accidents to happen.
Samo želim da kažem još dve stvari. Jedna je, da je još jedna osobina prevaranta to da prevarant mora da hoda po tankoj liniji. Mora da ima ravnotežu. I najveća prepona za mene, u onome što radim, je da osmislim svoj nastup tako da bude i pripremljen i nepripremljen. Pronalaženje ravnoteže između ovih stvari je uvek opasno jer možete otići suviše u smeru nepripremljenog. A ako ste suviše pripremljeni, ne ostaje prostora za nezgode.
I was thinking about what Moshe Safdie said yesterday about beauty because in his book, Hyde says that sometimes trickster can tip over into beauty. But to do that you have to lose all the other qualities because once you're into beauty you're into a finished thing. You're into something that occupies space and inhabits time. It's an actual thing. And it is always extraordinary to see a thing of beauty. But if you don't do that, if you allow for the accident to keep on happening, you have the possibility of getting on a wavelength. I like to think of what I do as a probability wave. When you go into beauty the probability wave collapses into one possibility. And I like to explore all the possibilities in the hope that you'll be on the wavelength of your audience.
Razmišljala sam o onome što je Moše Safdi juče rekao o lepoti jer u njegovoj knjizi Hajd kaže da ponekad prevarant može da uskoči u lepotu. Ali da biste to uradili morate da izgubite sve druge kvalitete, jer jednom kad se nađete u lepoti, ušli ste u svršenu stvar. U nečemu ste što zauzima prostor i živi u vremenu. Realna je stvar. I uvek je sjajno videti lepu stvar. Ali ako to ne radite, ako dozvolite nezgodama da se dešavaju, imate mogućnost da stignete na talasnu dužinu. Volim da mislim o tome kao o talasu verovatnoće. Kad uđete u lepotu talas verovatnoće se urušava u jednu mogućnost. A ja volim da istražujem sve mogućnosti u nadi da ćete biti na istoj talasnoj dužini kao vaša publika.
And the one final quality I want to say about trickster is that he doesn't have a home. He's always on the road. I want to say to you Richard, in closing, that in TED you've created a home. And thank you for inviting me into it. Thank you very much.
I poslednja osobina prevaranta koju želim da pomenem je ta da on nema dom. Uvek je na putu. I želim da vam kažem Ričarde, na kraju, da ste u TED-u stvorili dom. I hvala vam što ste me pozvali u njega. Hvala vam puno.
(Applause)
(Aplauz)