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.
我准备谈一下我自己, 我很少这么做,有很多原因。 其一是我更喜欢谈论一些我不知道的事情。 另外,我正从自恋中恢复过来。 (笑声) 我原本并不知道自己是一个自恋狂。 我认为自恋狂意味着你爱你自己。 后来别人告诉我,完全不爱自己也是自恋。 这比爱自己更令人沮丧。 这是没有回报的自爱。 (笑声) 我大概无法承受旧病复发。
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.
但我还是想来解释一下 我是如何设计自己与众不同的喜剧品牌的, 因为我曾经用过很多不同的方式。 我起步于即兴创作。 采用一种特别的即兴创作形式,叫做剧场游戏。 它有一条规则, 我认为那是一条对社会道德来说非常伟大的规则。 它规定不可以否认其他人的现实存在, 你的创作必须在其之上。
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."
当然,我们生活在一个 充满与他人现实生活矛盾的社会里。 一切都和矛盾有关, 这也是我认为我为何对矛盾如此敏感的原因。 我能到处看到它。 比如投票。有件事情让我一直很好奇, 在公众意见投票中, 对任何问题都不知道如何应答的美国人 总是占到2%。 75%的美国人 认为阿拉斯加是加拿大的一部分。 但只有2%的人不知道 阿根廷政府瓦解将对国家货币基金组织的货币政策带来什么影响。 (笑声) 这多么具有矛盾意味啊。 再比如我在《纽约时报》上读到的: ”佩戴一块精致的手表体现你的社会阶层。 购买我们的手表突显卓越的品味。“ (笑声) 还有我在《加州律师》杂志上看到 一篇对安然公司律师们颇具意义的文章。 ”监狱求生:该做的和不该做的“ (笑声) ”不要使用空洞夸张的词汇。“ (笑声) ”学习大家都会的通用语言。“ (笑声) 耶!通用这个语言吧。
(Laughter)
(笑声)
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.
我想如果我谈论科学却不懂数学 这也是一种矛盾。 要知道,因为,噢顺便我要感谢一下卡门主任, 他指出原因之一 存在于文化之中 那就是妇女和少数民族并没有跨入科学和技术领域 比方说我不从事数学领域的原因是 我同时学习数学和阅读。 因此当你6岁时,你在阅读《白雪公主和7个小矮人》。 一切立刻变得明朗起来, 世界上只存在两种男人, 侏儒和白马王子。 找到王子的几率是1比7. (笑声) 这就是为什么小女孩们不爱数学的原因。它令人太沮丧了。
(Laughter)
(笑声)
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.
当然,说到科学 我可能会像几天前那个晚上一样 使一些对我的演讲感到不安的科学家, 非常愤慨。 我以为使用后现代这个词不会有什么问题。 然而他们变得非常焦虑。 其中一位,我想他真的很想 同我认真地辩论一番。 而我不喜欢正儿八经的辩论。 我不赞成辩论, 因为辩论都和矛盾、对立有关, 而且是由各自不同的价值观引发的。
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 --
我质疑牛顿科学的价值体系。 比方说理性,你应当在一场辩论中保持理性。 而理性是建立在 如今克里斯蒂·海夫纳(花花公子首席执行官)所说的 头脑和身体分离的基础上的。你们知道吗? 头脑是好的,身体是不好的。 头脑是自我,身体是本能。 当我说“我”的时候,正如勒奈·笛卡尔说的那样, “我思故我在” —— 我们指的是头脑。 而正如大卫·李·罗斯在《我只是个牛郎》中所唱的, “我没有好身材。” 你正是那样获得理性的。 那就是为什么许多幽默 都是身体在反驳头脑 这就是为什么你能有关于上厕所的和性的幽默 这就是为什么拉斯皮尼兄弟, 在性器官方面打败了理查德。 然而我们笑是因为, 他不仅是身体,但也是——
Voice offstage: Richard.
观众席:理查德
Emily Levine: Richard. What did I say? (Laughter) Richard. Yes but it's also the head, the head of the conference.
理查德,我说什么来着? (笑声) 理查德。当然,但是也是头儿。 是TED的头儿。
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.
这是另一种幽默方式—— 像阿特·包可华(著名幽默家)开美国头头们的玩笑, 但我确定他没身体幽默挣那么多钱 (笑声) 然而,这让我们珍惜你又崇拜你。
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.
还有一种矛盾存在于这个国家的理性当中。 那便是,我们尊重头脑的同时, 我们也十分反精英。 我知道是因为我读了纽约时报 安.兰登基金会在911之后, 发了一整页广告 他们说:“这个国家要面对的问题, 不在于伊拉克或者伊朗 而是大学教授和他们的爪牙” (笑声) 所以我又回过头去读《源泉》 (笑声) 我不知道你们中的多少人读过, 而我可不是一个虐恋的专家 (笑声) 不过也请允许我随意给你们阅读第217页中的一段
"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."
那个主人的方式, 享受着她那痛苦又轻蔑的迷恋 是她所希望的那种着迷。 当他们在床上躺在一起的时候, 那是,就好像那必须是,这种方式所需要的自然状态, 一种暴力的方式。 是一种恨得咬牙切齿的方式。它是那么不堪忍受。 不是一种呵护,而且一股痛楚。 痛苦是一种激情的行为。
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."
所以你们就能想象, 我读纽约客的时候有多吃惊了, 里面提到(前任)联邦储备署主席阿兰.格林斯潘 把安.兰德称为自己的精神导师。 (笑声) 这就好像发现你的外婆是个施虐狂。 (笑声) 我们不得不看约翰·埃德加·胡佛(原联邦调查局局长)穿裙子,就已经够糟糕了。 现在我们还要去想象阿兰.格林斯潘 穿着皮衣,屁股上纹着 “现在鞭打通货膨胀!”
(Laughter)
(笑声)
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.
当然安.兰德,安.兰德 是以一种名为“客观主义”的哲学著称的。 反映出了另一种牛顿物理的价值观: 那就是客观存在。 “客观存在”基本上, 是由和S和M一样的方式构成的。 就是主观征服客观。 这就你证实自己的方法。 你让你成为了那个主动的发声者。 而客观是那个被动的沉默者
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.
我真的被那个氧气的广告迷住了。 我不知道你们是否知道这个, 可能现在也不是这样了吧,但是 在我们国家许多的护理站里, 根据杰西卡.本杰明的书里说,一直到最近, 男孩儿们的摇篮边,都写着 “我是一个男孩儿。” 而在女孩摇篮边的标记则写, “这是一个女孩儿”,耶~ 所以“被动”是在文化上, 就已经映射到女孩儿们身上的。
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.
而这种情况,像我去年说的那样,仍在继续 有一个调查证实了—— 这个调查来自时代周刊, 只有男人被问到,“你是否曾经, 和你不喜欢的女人发生过关系?” 好吧,是这样的。 那么,其中58% 我觉得这个数字有点水份, 因为好多男人,只要听见你问, “你曾经发生过性行为……” “是的!” 他们甚至都不听完剩下的半句话。 (笑声) 当然,他们其中还有2%不知道他们是不是有过…… (笑声) 这是我尝试四个“回笼”笑话 的第一个。
(Laughter)
(笑声)
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.
而这个主体--客体的问题, 是我很感兴趣的一部分内容。 因为这就是,坦率的说,我相信政治正确性的原因。 我真的信。而且我觉得它的影响力可能会过大。 我想铃灵兄弟(历史上著名马戏团)可能有点儿过火了, 当他们在《纽约时报》上的广告里说, “我们对我们亚洲的大象同伴们, 在感情上和物质上,都有终身的承诺。” (笑声) 可能是过了。但是你知道—— 我不认为, 一个有色人种取笑白种人, 和一个白人取笑有色人种是一回事。 或者女人取笑男人和男人取笑女人一样…… 又或者是穷人开富人的玩笑,和反过来……
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)
我觉得我们可以开富人的玩笑,但是不能取笑穷人。 这就是为什么我没有取笑 肯尼思·莱(安然丑闻主角)和他那美丽的太太。 (笑声) 同时被四个法院判罪有意思吗? (笑声) 而我真的从克林顿的性丑闻里, 吸取了教训。 或者我喜欢叫它,“美好的旧时光”。 (笑声) 当我认识的人,他们认为自己是自由主义者, 或者其它的政治信仰, 当他们取笑珍妮弗.花和波拉.琼斯的时候 其实,他们也是在取笑自己, 说自己是拖车废物或者是白色废物。 这好象是,我认为,一种无伤大雅的偏见, 人们也不会因此受伤。 直到人们像我一样读到一个《洛杉矶时报》的广告, “出售:白色废物压缩机。” (笑声)
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.
所以这个客体——主体的问题, 是这样和幽默联系上的。 我读过一个叫艾米.里希林的女人写的一本书, 她是加州大学古典学院的院长。 书名叫“普里阿普斯的花园”。 她说到罗马式幽默, 反映了罗马社会的结构。 罗马社会当时是非常严格地至上而下的, 和我们(现在的社会)在某种程度上很像。 所以幽默也相像。 我们总有个关于屁股的笑话。 说所以总是像 朱文利和马歇尔这样的讽刺作家, 代表着听众, 而他们会取笑一个不相干的人, 这个人没有那种主观的身份
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.
而相声当然, 相声演员应该控制观众。 多次大声的质疑是一种, 尝试去确定 演员有能力控制观众, 和克服质疑的张力。 当我是相声演员的时候,我擅长这个。 但我一直都不喜欢它, 因为它控制了交流的时间。 同样地,参与一个严肃的讨论, 某种程度上,也决定了讨论的内容, 决定了你要说什么。 我就在找一个, 没有这种东西的形式。 我想要有一种更多互动的方式。 我知道现在这词已经被 网络营销者给滥用了。
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!
我告诉你们,我现在真是很怀念以前的电话促销员。 (笑声) 是真的。因为你至少还有一点机会,你知道吗? 事实上,我以前总挂他们电话。 但是我在《亲爱的艾比》那读到,那太粗鲁了。 所以下一次有人打电话来, 我让他自圆其说到一半,我就说, “您的声音真性感。” (笑声) 结果他挂了我的电话!
(Laughter)
(笑声)
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.
但是互动使得观众, 能够改变你要表演的东西, 而也也能改造他们对世界的想法。 这个就是我真正在找的。 我就某种程度上,开始分析, 我在做的到底是什么。 我读到一本“变戏法的人创造了这个世界”,作者刘易斯.海德 感觉像是被精神分析了。 他把什么都阐述明白了。 来到这个会上, 我意识到这里大多数的人 都有着这些共同的特质。 因为变戏法的人, 其实是一个转变的催化剂。 变戏法的人是转变的动因。 而我将要描述的特质, 是让转变有可能发生 的特质。 而其中一种就是跨越界限。 我想,这事实上是个激怒科学家们的东西。 不过我喜欢跨过界限。 我说过的,我喜欢谈论些自己一窍不通的东西。
(Phone Ringing)
(电话铃响)
I hope that's my agent, because you aren't paying me anything.
我希望那个是我经理人, 因为你都没付钱给我。
(Laughter)
(笑声)
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.
而我觉得,谈论些我不知道的事情是好事儿, 你知道吗?因为我会给它带来一种全新的观点, 我能看到的矛盾, 未必你也能看到。 就拿哑剧来做例子, 或者是他把自己叫做哑剧演员。 他是个自私的哑剧演员。 他就说我必须对他表示尊敬, 因为他花了将近18年, 学习怎么去演好哑剧。 我就说,“哦,所以你知道,只有笨人才会去学。” (笑声) 学说话才花两三年。
(Laughter)
(笑声)
(Applause)
(掌声)
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.
就像你们知道的,这就是, 引号,客观存在,引号,的问题了。 当你周围的人, 都跟你用同样的词汇说话, 或者和你的使用同样的假设。 你就开始认为那是真实的世界。 就像经济学家,你知道,他们对“理性”下的定义是, “我们的一切行为是为了自己的经济利益。” 那么,看看迈克尔.哈雷, 或者丁.卡门, 又或者我的祖母,
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."
她做事总是为了别人的利益, 无论那些人希不希望她这么做。 (笑声) 而如果真有殉难的“奥林匹克”竞赛, 我祖母又会故意输掉比赛。 (笑声) “不不,你把奖杯拿走吧。 你还年轻,我老了,谁还会看到啊? 而我呢?我很快就要死了”
(Laughter)
(笑声)
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,
所以,这是其中一个——跨越界限。 那个中间人, 弗里茨·朗,他是叫这个名字吗? 他也说过他是个中间人。 这恰恰是变戏法的特质。 而另外一个是,不对立策略 而这不是矛盾, 你不会否认别人的现实世界, 你会发现悖论, 你会让不同的现实世界同时存在。
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."
我想这就是另一种哲学架构了。 我不确定这叫什么。 我举的例子是我在一个珠宝店看到的牌子, 上面说,“您在等的时候,耳洞就已经扎好了。” (笑声) 另外的情况都让人胆战心惊。 (笑声) “噢,不,谢谢您了。我让它们好好呆着。谢谢了。 我还有事儿呢,我会大概5点左右来取, 可以吗? 啊?啊?什么?我听不见啦。”
(Laughter)
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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)
这又是另一个变戏法的特质: 聪明的运气。 路易斯·卡恩(著名建筑师)说意外的方式, 是一种变戏法的素质。 变戏法的人有一种以不变应万变的头脑。 我将会对科学家们说,那就是, 他们能够轻松地看待 他们原有的想法, 所以他们能留给新想法以空间。 或者能看到矛盾,隐藏的问题 等等。 我不是开玩笑的。 我只是把科学家放到他们的位置上。 (笑声)
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.
不过这就是我想我喜欢做出改变的原因, 在于建立联系。 相比起矛盾, (联系)是我更愿意看到的。 就像,你们把壁虎的脚趾叫什么? 你知道的,那些壁虎的脚趾, 蜷缩和直的,像迈克尔.莫舜的手指。 我爱这些联系。
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.
就像我会读到牛顿宇宙学里面的, 物体的两大特性, 牛顿的宇宙学里面物体都有俩特性—— 一个是空间占有。物质占有空间。 我想,你越重要,你占的空间就越大, 这就解释了SUV的现象。 (笑声) 另一特性就是“不可渗透性”。
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.
好,在古罗马时期,不可渗透性, 是“雄性,男子气概”的标准。 “男子气概”需要, 你是一个积极主动的穿入者。 而在经济学里,有一个积极的生产者, 和一个消极的消费者。 这就解释了为什么生意上 老是要“渗透”新市场。 是啊,我的意思是我们强迫中国, 开放她的市场。 这种感觉爽吧? (笑声) 而现在我们反而被“渗透”了。 你知道那些生物技术的公司真的进入我们体内, 在我们的基因上插上了小旗。 你知道我们被他们入侵了。 我怀疑,那是讨厌我们的人干的。 (笑声) 这是第二个回笼的笑话。 当然你们明白了,非常感谢你们! 我还有好多要说呢。
(Laughter)
(笑声)
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 --
而我希望,当我建立联系的时候, 能使人们的思维走捷径。 你知道, 使人们不按照惯例去联想, 使人们重新建立联系。 它实际上,当人们提到对认可的冲击, 它实际上是重新认可,重新联系你所想的。 我本来有个笑话的,我忘了, 不好意思,快想起来了, 这是个关于一个女人的笑话——
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?"
你们听过一个关于女人和她妈妈一起开车的笑话吗? 她的妈妈年纪比较大了。 她妈妈完全无视红灯,冲了过去 她女儿不想说什么。 她不想说,“你太老了,不适合开车。” 她妈妈又冲了第二个红灯。 她女儿就尽量巧妙地说, “妈妈,你意识到你冲了两个红灯了吗?” 那个妈妈说,“噢!我在开车吗?”
(Laughter)
(笑声)
And that's the shock of recognition at the shock of recognition. That completes the quadruple.
而这就是对认识的冲击里, 对认识的冲击。 这就完成了4个回笼笑话。
(Laughter)
(笑声)
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.
我只是想再说两件事情。 一个是,变戏法的人的另一种个性—— 就是他们必须学会面对, 这种艰难的困境。 他必须泰然自若。 你知道对我来说, 最大的障碍是—— 组织我的表演, 让它可以是有准备的也可以是即兴的。 在这些因素中间寻找平衡, 总是危险的。 因为你可能在即兴的时候,暗示得太多 但是太有准备了,又不能给意外的发生, 留下空间。
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.
我在想昨天莫什.萨夫迪 关于“美丽”所说的。 因为在海德的书里,他说, 有时候变戏法的人可能会倒向美丽的一边。 不过,要做到的话, 你必须先丧失其他的特质, 因为一旦你追求的是美, 那你就已经在追求一个完成了的东西。 你就在追求, 占有空间和时间的东西。 它是一个真实的物体。 能看到美的东西总是很棒的。 但是如果你不这么做, 如果你一直让意外发生着, 那你就有可能得到一个波长。 我总喜欢把我做的事情看做一个概率波。 当你去追求美的时候,这段概率的波, 就会变成一种可能性。 而我却喜欢探索所有这些可能性, 并希望你可以在你的听众的波长上。
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.
最后一个关于变戏法的人的特质, 就是他没有一个家 他一直都在路上。 我想在最后对你说,理查德, 在TED你创造了一个家。 谢谢你邀请我加入。 非常感谢。
(Applause)
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