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.
我將談一下我自己 我很少這樣做,因為我 -- 一方面,更喜歡談論我所不了解的事 其次,我是一個正在復原的自戀狂。 (笑聲) 其實以前我不知道我是自戀狂。 我認為自戀是代表愛自己。 後來,有人告訴我它其實有另外一個意思。 而且比愛自己更令人沮喪。 它是指對自己單相思。 (笑聲) 我覺得我無法承受這種舊疾復發
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.
但我想說的是 我是怎麼創建我獨特的喜劇品牌的 因為我經歷過太多不同類型的喜劇。 我起步於即興創作。 即興創作中有一種特殊的形式叫劇場遊戲。 它有一個規則, 而且我認為這個規則是對社會很好的一個道德規範, 那就是,你不能夠否認他人現實的世界, 你只能基於此再行創作。
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."
當然,我們活在一個充滿著 與他人存在矛盾的社會。 這一切都和矛盾有關 這也是為什麼我對矛盾這麼敏感的緣故 它無所不在。 例如投票,讓我覺得好奇的是 在公開的調查裡 在任何題目中不知道答案的美國人 總是佔百分之二 百分之七十五的美國人 認為阿拉斯加是加拿大的一部分 但只有百分之二的人不知道 阿根廷政府垮臺對國際貨幣基金組織政策的影響 (笑聲) 這是很矛盾的。 或者說我在《紐約時報》上看到的這則廣告: “配戴一款精緻的手錶展現了你的社會地位 向我們購買手錶體現你的品味。” (笑聲) 還有我在《加州律师》雜誌上看到的這篇文章, 這絕對是寫給安然公司(Enron)的律師看的: 《監獄存活須知》 (笑聲) “不要使用過大空泛的字眼” (笑聲) 學一些通用的語言。 (笑聲) 是的,說些通俗話吧。
(Laughter)
(笑聲)
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.
而我認為這有些矛盾 我不了解數學,卻談論科學 因為,順道一提我非常感謝狄恩卡門(Dean Kamen) 他指出女性和少數族群 較少涉入科學和技術領域 其中一個原因有文化的因素在内 是因為,舉例來說,我不擅長數學的原因是 我被教導著要同時學習數學與閱讀 當你六歲時,你閱讀著《白雪公主與七個小矮人》 越來越顯而易見 只有兩種男人存在於世界上 小矮人與白馬王子 而你找到白馬王子的機率是一比七 (笑聲) 這就是為何小女孩不愛算術,因爲太令人沮喪了。
(Laughter)
(笑聲)
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.
當然,談論科學 也可能,像我某個晚上的演講一樣 讓某些科學家產生了一些憤怒的情緒 他們對我感到非常不高興 我使用了“后現代”這個詞,我以爲不會有什麽問題的, 他們非常的沮喪 其中的一個科學家,他真的很想要與我辯論 某個嚴肅的論點 但我不和人在嚴肅的議題上爭論 我不贊同爭論 因為爭論本身,當然,都跟矛盾有關。 並且他們是由價值觀來塑造的
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 --
我對於牛頓科學的價值產生懷疑 例如理性,你在一個爭論中必須是要理性的 不過,理性是被建造在 如Christie Hefner所談及的 心靈跟身體是分離之上 頭腦是好的,身體是壞的 頭腦是自我,身體是本我 當我們說我--如勒內 笛卡爾說 我思故我在 我們指的是頭腦 當David Lee Roth 唱著"我只是個牛郎" "我不是沒有好身材" 這正是你如何得到理性的 這也正是為何有這麼多的幽默 都是身體自身在反抗頭腦 這也是為何有洗手間笑話和黃色笑話 這也是為何Raspyni Brothers(同是喜劇演員) 在性方面打敗了理查 我們大聲笑著 因為他既是身體,但也是--
Voice offstage: Richard.
理查(另外一個人說)
Emily Levine: Richard. What did I say? (Laughter) Richard. Yes but it's also the head, the head of the conference.
我剛說了什麼? (笑聲) 理查,是的,但同時也是 TED TALK的發起人
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.
這是幽默展現的另一種方式 正像Art Buchwald 挖苦美國領袖一樣 但我確定它沒有比身體幽默來的收入多 (笑聲) 但即便如此,這讓我們珍視你並崇拜你
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.
然而,理性的矛盾還是存在於這個國家 那就是當我們尊重頭腦時 我們同時也是反菁英的 我知道這點是因為我在紐約時報上讀到 安.蘭德基金會用一個全幅廣告 在911過後 寫道"問題並非在伊拉克或伊朗 這個國家要面對的問題 是大學教授們與他們的爪牙" (笑聲) 所以我回去再次重讀《泉源》(Ayn Rand著) (笑聲) 我不知道你們有沒有看過這本書 我不是受虐的專家 (笑聲) 但讓我為你們讀在217頁的隨意的幾個片段
"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."
"主人在行為上 痛苦與藐視的對她佔有 這正是她想要的那種狂喜 當他們一起躺在床上時 好像天經地義,這種本質是 一種暴力的舉動 這種舉動具有咬牙切齒的恨意,並且是令人無法忍受的 它並不是一種愛撫,而是一連串的痛苦 這種痛楚是一種激情的行動"
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."
所以你可以想像我有多吃驚 當我在《紐約客》上讀到 Alan Greenspan 美國聯邦準備理事會主席 聲稱Ayn Rand是他的智慧導師 (笑聲) 這就好像發現了你保母是虎姑婆一樣。 (笑聲) 這就好像是看到了約翰‧胡佛(前聯邦調查局局長)穿裙子一樣 現在我們還得去想像Alan Greenspan(現任美國聯準會主席) 穿著黑色皮革馬甲,屁股上有著刺青然,說著 “快鞭打通貨膨脹吧!”
(Laughter)
(笑聲)
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.
當然,Ayn Rand 是非常有名的一個哲學是客觀主義, 剛好對照了牛頓物理學的另一個價值 就是客觀性 客觀性基本上是被建立 在和S(被虐) 與M(虐人)同等的方式上 它是主觀征服客觀 這也是你如何聲稱你自己 你讓自己成為主動語態 而客觀是被動語態
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.
我對Oxygen的廣告極有興趣 我不知道你們知不知道但-- 或許現在不同了,或許你心裡也有想法 但在許多醫院的幼兒室裡 直到最近,根據潔西卡-班傑明書上說的 小男孩嬰兒床旁的牌子寫著 "我是一個男孩。" 而小女孩的則是寫著 "它是一個女孩。" 是的 這種被動性將文化意涵 投射到了小女孩身上
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.
而這持續發生著,去年 有個調查證實了 由時代雜誌舉辦了一個調查 受測者只有男性,他們被問到"是否曾和你不喜歡的 女性有過性行為?" 當然,是的 百分之58回答是 我認為這是太過誇張 因為很多男人,如果你只有問 "你是否曾有過性..." "有!" 他們根本不等問題問完 (笑聲) 當然,還有百分之2的人根本不知道他們是否曾-- (笑聲) 這是第一個回籠笑話。 我打算說四個。
(Laughter)
(笑聲)
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.
所以主觀-客觀這東西, 也是我非常關注的 因為這也是為何我相信政治正確的原因 我相信, 我覺得它會太過分。 我覺得Ringling Brothers他們就太過了 在《紐約時報》雜誌裡他們放了一個廣告 “我們對我們的亞洲象夥伴 有終身情感上與經濟上的承諾。” (笑聲) 或許太過分,但你知道-- 我認為 有色人種取笑白種人 和白種人取笑有色人種是不一樣的 就像女性取笑男性與男性取笑...也是不一樣 或者窮人取笑富人和富人取笑窮人...
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)
我認為你可以開擁有者的玩笑,但不能開貧乏者的玩笑 這也是為什麼你沒有看到我取笑 肯尼思 萊 還有他迷人的妻子 (笑聲) 剩下四棟房子有什麼可笑的? (笑聲) 我真的學到了一課 在柯林頓的性醜聞時期 或者,我稱他們為,美好的舊日時光 (笑聲) 當人們認為他們自己是自由主義者 或者其它政治信仰時 取笑珍妮佛 或者 寶拉瓊斯(柯林頓緋聞女友) 基本上他們在取笑是 住拖車的窮人或白人垃圾 這看起來是一個無傷大雅的偏見 你並不是真的在傷害誰 直到你像我一樣,在《洛杉磯時報》上讀到 ”出售:白色垃圾(白人垃圾)壓縮機“ (笑聲)
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.
所以這主觀-客觀的議題 跟幽默之間的關係是這樣的 我讀了Amy Richlin的著作 她是南加州古典系的系主任 那本書名為《男性繁殖神(Priapus)的花園》 而她指出羅馬式幽默其實 反映了羅馬的社會結構 所以羅馬社會從上到下 和我們有某種程度的相似 就和幽默一樣 總是有梗 所以總是有諷刺作家, 像Juvenal 或Marshall這些人 娛樂觀眾 開他人的玩笑 取笑那些沒有在同等主觀地位上的人
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.
獨角喜劇更是如此 獨角喜劇演員要更能控制住觀眾 在一堆質問中,張力的產生是指 確認 喜劇演員是否能夠控制的住 一堆來挑釁、亂入的人 當我是獨角喜劇演員時,這部份我掌控的很好 但我很討厭這點,因為那 支配著互動的關係 就像是在嚴肅的爭論裡 內容被決定好了是一樣的 你被決定好要說什麼 而我在尋找一個形式 是沒有這部份的 所以我想要的是更互動的 當然這個字現在是有爭議性的 網路行銷者經常使用這個字
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!
我真懷念以前的電話推銷員,我等等再解釋 (笑聲) 我真的懷念,因為你至少還有個機會。你知道嗎? 我以前經常掛斷他們的電話 但後來我在Dear Abby的專欄上看到那是非常沒禮貌的 所以下次有推銷員打來 我先讓他高談闊論一番然後我說 “你的聲音性感極了” (笑聲) 他竟然掛我電話!
(Laughter)
(笑聲)
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.
但互動允許觀眾 影響你下一步就像 你帶給他們的感受是一樣的 這是我正在尋找的 而我開始分析自己 到底在做什麼的時候 我看到了Lewis Hyde的一本書,叫做《喜劇表演者形塑這個世界》 它就好像是精神治療一般 赤裸裸的暴露 然後今天在這裡 我了解大部分的人 都享有某種共同的特質 因為喜劇演員是 一個產生變化的媒介(agent) 喜劇演員就是一個變化的媒介 我所要描述的這個特質 就是能夠讓他 改變的特質 其中的一項就是越界 我想這就是,事實上惹怒了那些科學家 但我喜歡越界 我喜歡,正如我說,談論那些我不知道的事物
(Phone Ringing)
(電話聲響起)
I hope that's my agent, because you aren't paying me anything.
我希望那是我的經紀人(agent) 因為你沒有給我任何報酬
(Laughter)
(笑聲)
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.
正如我所想,談論我不知道的事物是好的 因為我帶來的是一種全新的觀點 我可以看見這種矛盾 是或許你所無法看見的 像有一次,一個默劇 據他稱他自己為"默劇演員”/“自私”(meme“默劇演員”與mean“自私吝嗇”同音) 他是一個非常自私的默劇演員 他說我必須尊重他些 因為他花了18年 去成為一個優秀的默劇演員 而我說,嗯,你知道愚蠢的人才會這樣做吧 (笑聲) 因為學會講話只需要兩年的時間
(Laughter)
(笑聲)
(Applause)
(鼓掌)
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.
你知道,這就是 所謂的“客觀性”的問題所在 當你四周都是 和你使用著相同詞彙的人 或者和你有同樣想法的人 你就會覺得這是真實世界 像經濟學家,大家知道,他們的對理性的定義是 在經濟上我們都是利己主義的 然而,看看Michale Hawley 或者Dean Kamen(發明機械手臂) 或者是我祖母
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."
我祖母總是為他人付出 不管別人需不需要 (笑聲) 如果他們有殉難的奧林匹克競賽 我祖母一定會故意輸掉 (笑聲) "不,你拿獎吧。 你還年輕,我已經老了,誰會看到這個獎 我拿它幹嘛,我半隻腳都已踏進棺材裡了“
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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,
這正是越界的例子之一 有個 叫Fritz Lanting的人說 他自己就是個中間人 這正是喜劇演員的特質 另外一個是不反抗策略 這和矛盾剛好是相反的 你否認了他人存在的現實 你自相矛盾 你允許多個現實存在共存
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."
我覺得這裡還有一種哲學建構 我不太確定它被稱為什麼 但有一次我在珠寶店看到一個標誌 上面寫道"等人時,耳洞已經穿好了" (笑聲) 這樣的選擇真讓人不敢想像 (笑聲) "不,謝謝。我把我的耳朵留在這裡好了,真感謝你 我還有些事要做,我等等再把他們拿回去 五點左右可以嗎? 啥?啥?什麼?我聽不見!”
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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)
另外一個喜劇演員的特質是 幸運 意外,Louis Kahn曾說過意外 是喜劇演員的另外一項特質 喜劇演員的心靈是為了突發狀況而準備的 我會對科學家們說 喜劇演員是有能力 看輕自己的想法的 所以他才能夠容納新的想法 或者是發現矛盾之處、隱藏問題 在他的想法裡 這部份我沒有開玩笑 我只想要消遣一下科學家 (笑聲)
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.
但這是為何我喜歡改變 就是利用創造關連去產生改變 這是我想要知道的 矛盾之外的東西 例如,你們怎麼稱呼壁虎的腳趾的? 你知道的,壁虎的趾頭 像Michael Moschen那樣或彎或直的手指 我愛關連
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.
像我讀在牛頓宇宙說中 物質兩種特性中的一種 牛頓宇宙說中物質具有兩種特性 一個是空間佔有性,事物會佔據空間 我想你得事務越多,你使用的空間也愈多 這解釋了SUV(運動休旅車)現象 (笑聲) 還有另外一個特性是無法穿透性
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.
在古羅馬,主動交配 是衡量男子氣概的標準 男子氣概取決於 成為一個主動者(在性方面) 在經濟方面,這裡有主動的生產者 及被動的消費者 這解釋了為何生意總是 需要一直『進入』新市場 嗯,我指為何我們要強迫中國 開放她的市場 那感覺多好阿,是吧? (笑聲) 而現在換我們被『進入』了 你知道生技公司正在『進入』我們 並在我們的基因上插上他們的旗幟 換我們被『進入』了 而且我懷疑是某些不喜歡我們的人做的 (笑聲) 這是我第二次向前回應 當然你知道的,謝謝大家 但我還沒講完
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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 --
我希望的是,當我創造了這些關連 會成為人們思維的捷徑 讓你不要照著一貫的 思路來思考 而是幫你重新整理思路 從字面上來看當人們說到認知的衝擊時 其實是重新認知,並且重構思路 -- 我本來有個關於這個的笑話,但我忘記了 抱歉,我現在比較像 那個笑話裡的女人 --
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?"
你們有聽過有一個女人跟她母親一起開車的笑話嗎? 母親年紀大了 母親有次闖了紅燈 女兒沒說什麼 因為她不想說 "妳太老,不適合開車" 這樣的話 然後母親再次闖了紅燈 女兒盡量巧妙地說 "媽,妳知道妳剛闖了第二個紅燈了嗎" 然後母親回答"喔!我在開車嗎?"
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And that's the shock of recognition at the shock of recognition. That completes the quadruple.
這就是在重新認知的衝擊上 對於重新認知的衝擊 四次向前回應都說完了。
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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.
還有兩件事情我要說的 其一是,另一個喜劇演員的特性是 喜劇演員必須 在一線之間 保持平衡 對我而言最大的瓶頸是 做我做的 就是建構表演 在準備充分的與毫無預備中 在這之中找尋一個平衡點 總是危險的 因為你可能會朝毫無預備的那個方向傾斜 但如果準備太充分 就沒有辦法讓意外發生了
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.
我之前在想Moshe Safdie昨日說的 關於美 因為在他書上,他說 有時喜劇演員有時候太沉浸在美麗中 但這樣做你必須 捨棄其他的特質 因為一旦當你愛上了美麗 你就愛上了一個完成品 你愛上了一個 佔據空間並且佔據時間的東西 它是真實的 看到美好的東西是很棒的 但如果你不這麼做 但如果你繼續允許意外發生 你就有進入一個波長的可能 我喜歡想像自己是一個機率波 當你愛上美好時,這個機率波 只瓦解在一種可能性上 而我想要尋求所有可能性 和觀眾的波長達成一致
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.
最後一個關於喜劇演員的特質是 他沒有家 他總是四處流浪 我想對Richard說 你在TED創建了一個家 謝謝你邀請我來 非常感謝
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