Bon dia. Com esteu? Està sent genial, no?
Good morning. How are you?
He quedat impressionat per tot això. De fet, crec que me'n vaig. (Riures) Hi ha hagut tres temes principals, dels que s'ha parlat en les conferències, els quals em semblen rellevants pel que he vingut a explicar. Un és la extraordinària evidència de la creativitat humana en totes les presentacions que hem tingut i en tota la gent de per aquí. Ha quedat patent la varietat de la creativitat i l'abast que pot tenir. El segon és que això ens posa en un lloc on no tenim ni idea del que pot passar, pel que fa al futur, Ni idea de quin paper tindrà.
(Audience) Good. It's been great, hasn't it? I've been blown away by the whole thing. In fact, I'm leaving. (Laughter) There have been three themes running through the conference, which are relevant to what I want to talk about. One is the extraordinary evidence of human creativity in all of the presentations that we've had and in all of the people here; just the variety of it and the range of it. The second is that it's put us in a place where we have no idea what's going to happen in terms of the future. No idea how this may play out.
Jo estic interessat en l'educació realment, trobo que tothom té interés en l'educació. No? Ho trobo molt interessant. Si estàs en un sopar de celebració, i dius que treballes en educació de fet, no acostumes estar en celebracions, francament, si et dediques a l'educació.
I have an interest in education. Actually, what I find is, everybody has an interest in education. Don't you? I find this very interesting. If you're at a dinner party, and you say you work in education -- actually, you're not often at dinner parties, frankly.
(Riures) Ningú t'ho pregunta. I ningú mai no et respon preguntant-te, curiosament. És una mica estrany per a mi. Però si ho ets, i li dius a algú, sabeu, solen dir, "A què et dediques?" i tu dius que et dediques a l'educació, i pots veure com la sang se'ls hi envà de la cara. Es queden com, "Déu meu," sabeu, "Perquè jo? Si només surto una nit a la setmana." (Riures)
(Laughter) If you work in education, you're not asked. (Laughter) And you're never asked back, curiously. That's strange to me. But if you are, and you say to somebody, you know, they say, "What do you do?" and you say you work in education, you can see the blood run from their face. They're like, "Oh my God. Why me?" (Laughter)
Però si els hi preguntes sobre la seva educació, llavors no paren de parlar-te'n. Per que és una d'aquelles coses que arriba fons en les persones, no creieu? Com la religió, els diners i altres coses. Tinc un gran interés en l'educació, i penso que tots el tenim. Tenim un enorme interés vital en ella, en part per que és l'educació qui ens porta a un futur que no podem imaginar. Si ho penseu, els nens que comencen l'escola aquest any es retiraran l'any 2065. Ningú té ni idea a pesar de tots els experts que han passat per aquí els últims quatre dies de com serà el món ni tan sols d'aquí a cinc anys. I, tot i així, suposadament hem d'estar preparant els nens per aquest món. La impredibilitat, penso, és extraordinària.
"My one night out all week." (Laughter) But if you ask about their education, they pin you to the wall, because it's one of those things that goes deep with people, am I right? Like religion and money and other things. So I have a big interest in education, and I think we all do. We have a huge vested interest in it, partly because it's education that's meant to take us into this future that we can't grasp. If you think of it, children starting school this year will be retiring in 2065. Nobody has a clue, despite all the expertise that's been on parade for the past four days, what the world will look like in five years' time. And yet, we're meant to be educating them for it. So the unpredictability, I think, is extraordinary.
I el tercer tema és que tots ens hem posat d'acord, a pesar de tot, en dir que les extraordinàries capacitats que els nens tenen les seves capacitats per la inovació. Em refereixo a... la Sirena, ahir a la nit, va ser meravellós, no creieu? Només veure el que podia fer. Va estar excepcional, però penso que ella no és, per dir-ho així excepcional dins el col·lectiu infantil. El que és és una persona amb un extraordinària dedicació que ha trobat un talent. I la meva idea és que, tots els nens tenen talents increïbles. I que nosaltres els malgastem, de mala manera. Així doncs, vull parlar sobre educació i vull parlar sobre creativitat. El meu punt de vista és que la creativitat és ara tan important en l'educació com llegir o escriure, i li hauríem de donar un tracte semblant. (Aplaudiments) Gràcies. Això és tot, per cert.
And the third part of this is that we've all agreed, nonetheless, on the really extraordinary capacities that children have -- their capacities for innovation. I mean, Sirena last night was a marvel, wasn't she? Just seeing what she could do. And she's exceptional, but I think she's not, so to speak, exceptional in the whole of childhood. What you have there is a person of extraordinary dedication who found a talent. And my contention is, all kids have tremendous talents, and we squander them, pretty ruthlessly. So I want to talk about education, and I want to talk about creativity. My contention is that creativity now is as important in education as literacy, and we should treat it with the same status. (Applause)
Thank you.
Moltes gràcies. (Riures) així, em sobren 15 minuts.
(Applause) That was it, by the way. Thank you very much.
Bé, Jo vaig neixer... no. (Riures)
(Laughter) So, 15 minutes left.
(Laughter)
"Well, I was born ... "
Vaig escoltar una història fantàstica fa poc -m'encanten les històries- d'una nena que estava en una classe de dibuix. Tenia sis anys, estava asseguda al final de la classe, dibuixant, i la professora deia que la nena quasi mai prestava atenció, i que, a la classe de dibuix sí que en prestava La professora estava fascinada i va anar a veure-la al seu lloc i li va preguntar: "Què dibuixes?" I la nena va respondre: "Estic dibuixant un retrat de Déu." I la professora va dir: "Però si ningú sap com és Déu." I la nena li va contestar: "Ho sabran en un minut." (Riures)
(Laughter) I heard a great story recently -- I love telling it -- of a little girl who was in a drawing lesson. She was six, and she was at the back, drawing, and the teacher said this girl hardly ever paid attention, and in this drawing lesson, she did. The teacher was fascinated. She went over to her, and she said, "What are you drawing?" And the girl said, "I'm drawing a picture of God." And the teacher said, "But nobody knows what God looks like." And the girl said, "They will in a minute." (Laughter)
Quan el meu fill tenia quatre anys, a Anglaterra - de fet ell tenia quatre anys a tot arreu, sent sincer. (Riures) Si som estrictes, allà on anés, tenia quatre anys. Ell estava a la representació del Naixement. Recordeu la història? No, va ser gran.
When my son was four in England -- actually, he was four everywhere, to be honest. (Laughter) If we're being strict about it, wherever he went, he was four that year. He was in the Nativity play. Do you remember the story?
Va ser una gran història. El Mel Gibson en va fer tota la sèrie. Potser heu vist: "Cavalcada II." Però el James feia el paper del Joseph,
(Laughter) No, it was big, it was a big story. Mel Gibson did the sequel, you may have seen it.
(Laughter)
cosa que ens emocionava molt. Consideravem que era un dels papers més importants. Vam omplir l'auditori de samarretes que posaven: "James Robinson ÉS Joseph!" (Riures) No feia falta que parlés, però sabeu el moment en que venen els tres reis d'orient. Que porten regals, porten or, encens i mirra. Això va passar de veritat. Estàvem allà asseguts i jo vaig pensar que s'havien equivocat, però vam parlar amb ell al final i li vam dir: "Tot ha sortit bé?" I ell va contestar: "Sí, perquè, ho he fet malament?" Ho havien canviat, això era tot. Fos com fos, els tres nens van entrar, nens de quatre anys amb tovalloles al cap, i van deixar les caixes a terra, i el primer noi va dir: "Jo et porto or." el segon va dir: "Jo et porto mirra." i el tercer va dir: "En Cens t'envia això." (Riures)
"Nativity II." But James got the part of Joseph, which we were thrilled about. We considered this to be one of the lead parts. We had the place crammed full of agents in T-shirts: "James Robinson IS Joseph!" (Laughter) He didn't have to speak, but you know the bit where the three kings come in? They come in bearing gifts, gold, frankincense and myrrh. This really happened. We were sitting there, and I think they just went out of sequence, because we talked to the little boy afterward and said, "You OK with that?" They said, "Yeah, why? Was that wrong?" They just switched. The three boys came in, four-year-olds with tea towels on their heads. They put these boxes down, and the first boy said, "I bring you gold." And the second boy said, "I bring you myrrh." And the third boy said, "Frank sent this." (Laughter)
El que tenen en comú aquests exemples és que els nens van tenir el control. Si no ho saben, s'ho inventen. No és cert? No tenen por d'equivocar-se. Amb això no vull dir que equivocar-se sigui el mateix que ser creatiu. El que sabem és que, si no estàs preparat per equivocar-te, mai trobaràs res original. Si no estàs preparat per equivocar-te. I, quan es fan grans, la majoria de nens han perdut aquesta capacitat. Tenen por d'estar equivocats. I nosaltres dirigim les nostres empreses així, per cert. Estigmatizem els errors. També, ara, tractem així el sistema d'educació nacional, on els errors son el pitjor que un pot fer. I el resultat és que estem educant a la gent en detriment de les seves capacitats creatives. Picasso va dir un cop que tots els nens neixen artistes. El problema és concervar-se artista quan creixem. Crec profundament que no creixem creativament, perdem creativitat mentres creixem. Més aviat, l'educació ens en separa Perquè passa això?
What these things have in common is that kids will take a chance. If they don't know, they'll have a go. Am I right? They're not frightened of being wrong. I don't mean to say that being wrong is the same thing as being creative. What we do know is, if you're not prepared to be wrong, you'll never come up with anything original -- if you're not prepared to be wrong. And by the time they get to be adults, most kids have lost that capacity. They have become frightened of being wrong. And we run our companies like this. We stigmatize mistakes. And we're now running national education systems where mistakes are the worst thing you can make. And the result is that we are educating people out of their creative capacities. Picasso once said this, he said that all children are born artists. The problem is to remain an artist as we grow up. I believe this passionately, that we don't grow into creativity, we grow out of it. Or rather, we get educated out of it.
Jo vaig viure a Stratford-on-Avon fins fa cinc anys. De fet, ens vem traslladar de Stratford a Los Angeles. Així que ja us podeu imaginar quin canvi va suposar això. (Riures) De fet,
So why is this? I lived in Stratford-on-Avon until about five years ago. In fact, we moved from Stratford to Los Angeles. So you can imagine what a seamless transition this was.
vivíem en un lloc que es deia Snitterfield, sortint de Stratford, que és on el pare de Shakespeare va néixer. Us ha sorprés un pensament? A mi sí que em va passar. Havíeu pensat mai que Shakespeare tingués pare? No oi? Perquè tampoc imagineu a Shakespeare quan era nen, oi? El Shakespeare quan tenia set anys? Jo mai havia pensat en això. Vull dir, ell va tenir set anys en algún moment. Ell va anar a la classe d'anglès d'algú, no? Havia de ser una situació estranya, no?
(Laughter) Actually, we lived in a place called Snitterfield, just outside Stratford, which is where Shakespeare's father was born. Are you struck by a new thought? I was. You don't think of Shakespeare having a father, do you? Do you? Because you don't think of Shakespeare being a child, do you? Shakespeare being seven? I never thought of it. I mean, he was seven at some point. He was in somebody's English class, wasn't he?
(Riures) "T'has d'esforçar més". Que el seu pare l'enviés al llit, sabeu,
(Laughter) How annoying would that be?
(Laughter)
"Must try harder."
al Shakespeare, "Ves a dormir, ara," al William Shakespeare, "i deixa estar el llapís d'un cop. I deixa de parlar així. Confons a tothom."
(Laughter) Being sent to bed by his dad, to Shakespeare, "Go to bed, now!" To William Shakespeare. "And put the pencil down!"
(Laughter)
"And stop speaking like that."
(Riures)
(Laughter) "It's confusing everybody."
Com deia, ens vam mudar de Startford a Los Angeles, i només vull dir una cosa sobre la transició, de fet. El meu fill no volia venir. Tinc dos fills. Ell té 21 anys i la meva filla en té 16. Ell no volia venir a Los Angeles. Li agradava la idea, pero tenia una nòvia a Anglaterra. Era l'amor de la seva vida, la Sarah. La coneixia des de feia un mes. Mira, ara haurien celebrat el seu quart aniversari,
(Laughter) Anyway, we moved from Stratford to Los Angeles, and I just want to say a word about the transition. Actually, my son didn't want to come. I've got two kids; he's 21 now, my daughter's 16. He didn't want to come to Los Angeles. He loved it, but he had a girlfriend in England. This was the love of his life, Sarah. He'd known her for a month.
per que això és molt temps quan tens 16 anys Sigui com sigui, estava molt enfadat a l'avió, i deia: "Mai trobaré una altra noia com la Sarah." I nosaltres estavem contents de sentir això, francament, per que ella era la principal raó per la qual marxàvem del país.
(Laughter) Mind you, they'd had their fourth anniversary, because it's a long time when you're 16. He was really upset on the plane. He said, "I'll never find another girl like Sarah." And we were rather pleased about that, frankly --
(Riures)
(Laughter) because she was the main reason we were leaving the country.
Però hi ha una cosa que et xoca quan et mudes a Amèrica i quan viatges pel món: cada sistema educatiu al món the la mateixa jerarquia de assignatures. Tots. No importa on vagis. Penses que seran diferents, però no és així. A dalt hi ha sempre les matemàtiques i les llengues després venen les humanitats, i al final les arts. A qualsevol lloc del món. I també a quasi tots els sistemes educatius, existeix una jerarquia dins de les arts. Les arts plàstiques i la música tenen, generalment, una importancia major que el teatre i la dansa. No hi ha cap sistema educatiu al planeta que ensenyi dansa cada dia als nens de la mateixa manera que s'ensenyen matemàtiques. Perquè? Perquè no? Penso que és una pregunta important. Les matemàtiques són molt importants, però la dansa també. Els nens ballen tota l'estona si se'ls deixa, tots ho fem. Tots tenim cossos, no? Em deixo alguna cosa? (Riures) Veritablement, el que passa és que
(Laughter) But something strikes you when you move to America and travel around the world: every education system on earth has the same hierarchy of subjects. Every one. Doesn't matter where you go. You'd think it would be otherwise, but it isn't. At the top are mathematics and languages, then the humanities. At the bottom are the arts. Everywhere on earth. And in pretty much every system, too, there's a hierarchy within the arts. Art and music are normally given a higher status in schools than drama and dance. There isn't an education system on the planet that teaches dance every day to children the way we teach them mathematics. Why? Why not? I think this is rather important. I think math is very important, but so is dance. Children dance all the time if they're allowed to, we all do. We all have bodies, don't we? Did I miss a meeting?
quan els nens es fan grans, comencem a educar-los progressivament de cintura cap amunt. I ens acabem centrant en els seus caps. I principalment en un costat.
(Laughter) Truthfully, what happens is, as children grow up, we start to educate them progressively from the waist up. And then we focus on their heads.
Si anessis a visitar el sistema educatiu com un extraterrestre i preguntessis "Perquè serveix, l'educació pública?" La conclusió seria -miran't-ne els resultats, que qui realment té èxit segons el sistema, és qui fa tot el que se suposa que s'ha de fer, qui s'emporta tots els punts positius, els guanyadors- Penso que hauríem de concloure que el propòsit de l'educació pública arreu del món és produir professors universitaris. No? Són la gent que surt a dalt de tot. I jo solia estar allà, allà. (Riures) I m'agraden els professors d'universitat, però sabeu,
And slightly to one side. If you were to visit education as an alien and say "What's it for, public education?" I think you'd have to conclude, if you look at the output, who really succeeds by this, who does everything they should, who gets all the brownie points, who are the winners -- I think you'd have to conclude the whole purpose of public education throughout the world is to produce university professors. Isn't it? They're the people who come out the top. And I used to be one, so there. (Laughter)
no hauríem de tenir-los tant ben considerats, com un exemple de superació humana. Són només una altra opció de vida, una altra opció de vida. Però són curiosos, I dic això amb tot l'afecte cap a ells. Hi ha una cosa molt curiosa sobre els professors universitaris per la meva experiència - no tots, però normalment- viuen dins els seus caps. Viuen allà dalt, i lleugerament en un costat. No tenen cos, sabeu? quasi literalment. Veuen el seu cos com una forma de transport pels seus caps, no?
And I like university professors, but, you know, we shouldn't hold them up as the high-water mark of all human achievement. They're just a form of life. Another form of life. But they're rather curious. And I say this out of affection for them: there's something curious about professors. In my experience -- not all of them, but typically -- they live in their heads. They live up there and slightly to one side. They're disembodied, you know, in a kind of literal way. They look upon their body as a form of transport for their heads.
(Riures) És el mitjà per portar els seus caps a reunions. Si voleu evidències reals de experiències extra-corporals, per cert, aneu a alguna conferència acadèmica i visiteu la discoteca l'última nit. (Riures) I allà ho veureu, homes i dones
(Laughter) Don't they? It's a way of getting their head to meetings. (Laughter) If you want real evidence of out-of-body experiences, by the way, get yourself along to a residential conference of senior academics and pop into the discotheque on the final night. (Laughter)
movent-se incontrolablement, completament fora de ritme esperant fins que acaba la festa per poder anar a casa a escriure'n un article.
And there, you will see it. Grown men and women writhing uncontrollably, off the beat. (Laughter)
Ara, el nostre sistema educatiu es regeix per la idea de la habilitat acadèmica.
Waiting until it ends, so they can go home and write a paper about it.
I existeix una raó. El sistema va ser inventat -a tot el món, no hi havia un sistema públic d'educació, realment, fins al segle XIX. Es va configurar per satisfer les necessitats de la industrialització. Així doncs, la seva estructura està basada en dues idees. Número u, que les assignatures més útlis per a treballar són les més importants. Segurament us van forçar a deixar de fer coses a l'escola, quan éreu nens, coses que us agradaven, al·legant que mai us servirien per aconseguir una feina. No és així? No facis música, no seràs mai un músic; no facis art, mai seràs un artista. Consell benintencionat -això sí, completament equivocat. Tot el món està embarcat en una revolució. La segona és la habilitat acadèmica, la qual ha esdevingut dominant sobre la nostra visió de intel·ligència, perquè les universitats dissenyen el sistema a la seva semblança. Si ho penseu, tot el sistema d'educació pública de tot el món és un prolongat procés d'entrada a la universitat. i la conseqüència és que molts grans talents, gent brillant i creativa pensen que no tenen talent, perquè la cosa en la què destaquen a l'escola no és valorada, i, tot al contrari, és estigmatitzada. I penso que no ens podem permetre continuar per eixa via
(Laughter) Our education system is predicated on the idea of academic ability. And there's a reason. Around the world, there were no public systems of education, really, before the 19th century. They all came into being to meet the needs of industrialism. So the hierarchy is rooted on two ideas. Number one, that the most useful subjects for work are at the top. So you were probably steered benignly away from things at school when you were a kid, things you liked, on the grounds you would never get a job doing that. Is that right? "Don't do music, you're not going to be a musician; don't do art, you won't be an artist." Benign advice -- now, profoundly mistaken. The whole world is engulfed in a revolution. And the second is academic ability, which has really come to dominate our view of intelligence, because the universities design the system in their image. If you think of it, the whole system of public education around the world is a protracted process of university entrance. And the consequence is that many highly talented, brilliant, creative people think they're not, because the thing they were good at at school wasn't valued, or was actually stigmatized. And I think we can't afford to go on that way.
En els pròxims 30 anys, segons la UNESCO, a nivell mundial, es gradurà més gent que en tota la hisòria. Més gent, i es tracta de la combinació de tot el que hem parlat - tecnologia i el seu efecte de transformació sobre el treball, i demografia i l'enorme explosió de població. De cop, els títols no valdran res. No creieu? Quan jo era estudiant, si tenies una carrera, tenies una feina. I si no la tenies era perquè no la volies. I jo no en volia cap, francament (Riures) Però ara, joves amb títulacions
In the next 30 years, according to UNESCO, more people worldwide will be graduating through education than since the beginning of history. More people. And it's the combination of all the things we've talked about: technology and its transformational effect on work, and demography and the huge explosion in population. Suddenly, degrees aren't worth anything. Isn't that true? When I was a student, if you had a degree, you had a job. If you didn't have a job, it's because you didn't want one. And I didn't want one, frankly.
es queden sovint a casa jugant a videojocs, perquè ara necessites un màster on abans es demanava una carrera, i ara necessites un doctorat per l'altra. Es tracta d'un procés d'inflació acadèmica. I indica que tota l'estructura de l'educació trontolla sota els nostres peus. Necessitem repensar radicalment, la nostra visió sobre la intel·ligència.
(Laughter) But now kids with degrees are often heading home to carry on playing video games, because you need an MA where the previous job required a BA, and now you need a PhD for the other. It's a process of academic inflation. And it indicates the whole structure of education is shifting beneath our feet. We need to radically rethink our view of intelligence.
Sabem tres coses sobre la intel·ligència. Primer, és diversa. Pensem sobre el que ens envolta de tantes maneres com la nostra experiència ens permet. Pensem visualment, pensem en so, pensem mitjançant el nostre cos. Pensem en termes abstractes, pensem en moviment. Segon, la intel·ligència és dinàmica. Si observem les interaccions en el cervell humà, com vam escoltar ahir en diferents presentacions, la intel·ligència és meravellosament interactiva. El cervell no està dividit en compartiments. De fet, la creativitat -que es defineix com el procés de tenir idees originals que tenen valor- més aviat arriba a través de la interacció de diferents maneres de veure les coses.
We know three things about intelligence. One, it's diverse. We think about the world in all the ways that we experience it. We think visually, we think in sound, we think kinesthetically. We think in abstract terms, we think in movement. Secondly, intelligence is dynamic. If you look at the interactions of a human brain, as we heard yesterday from a number of presentations, intelligence is wonderfully interactive. The brain isn't divided into compartments. In fact, creativity -- which I define as the process of having original ideas that have value -- more often than not comes about through the interaction of different disciplinary ways of seeing things.
El cervell és intencional -per cert, hi ha un feix de nervis que uneix les dues meitats del cervell anomenat corpus callosum. És més gruixut en les dones. Seguint amb el que deia la Helen ahir, Jo penso que és per això que les dones són millors fent moltes tasques alhora. Perquè ho son, no? Hi ha una branca de recerca que s'hi dedica, però jo ho sé per experiència personal. Si la meva dona està preparant el dinar a casa - cosa que no passa sovint, afortunadament. (Riures) però sabeu, ella està fent -no, ella és bona en moltes altres coses- però si està cuinant, sabeu,
By the way, there's a shaft of nerves that joins the two halves of the brain, called the corpus callosum. It's thicker in women. Following off from Helen yesterday, this is probably why women are better at multitasking. Because you are, aren't you? There's a raft of research, but I know it from my personal life. If my wife is cooking a meal at home, which is not often ... thankfully. (Laughter)
ella pot estar parlant per telèfon, parlant amb els nens, pintant el sostre, operant a cor obert per allà. Si jo cuino, la porta està tancada, els nens son fora, el telèfon està despenjat, i si ella entre m'enfado. Li dic: "Terry, si us plau, estic intentant fregir un ou aquí. Deixa'm concentrar." (Riures)
No, she's good at some things. But if she's cooking, she's dealing with people on the phone, she's talking to the kids, she's painting the ceiling -- (Laughter) she's doing open-heart surgery over here. If I'm cooking, the door is shut, the kids are out, the phone's on the hook, if she comes in, I get annoyed. I say, "Terry, please, I'm trying to fry an egg in here."
(Laughter)
De fet, sabeu aquella vella reflexió filosòfica que diu, si un arbre cau en un bosc i ningú el sent, ha passat? Algú se'n enrecordarà? Vaig veure una samarreta genial fa poc que deia: "Si un home diu el que pensa en un bosc, i no hi ha cap dona que l'escolti, estarà igualment equivocat?" (Riures)
"Give me a break." (Laughter) Actually, do you know that old philosophical thing, "If a tree falls in a forest, and nobody hears it, did it happen?" Remember that old chestnut? I saw a great T-shirt recently, which said, "If a man speaks his mind in a forest, and no woman hears him, is he still wrong?"
(Laughter)
I la tercera cosa sobre la intel·ligència és, que es diferent. Estic treballant en un nou llibre titulat "Epifania," basat en una sèrie d'entrevistes amb gent que parla sobre com van descobrir el seu talent. Estic fascinat per com arriba la gent a descobrir-lo. Està inspirat en una conversació que vaig tenir amb una dona meravellosa sobre la qual la majoria no hauran sentit a parlar, es deia Gillian Lynne, N'heu sentit a parlar? Alguns sí. Ella era coreògrafa. i tothom coneix la seva feina. Ella va fer "Cats" i "El fantasma de l'opera" Ella és meravellosa. Solia treballar al Royal Ballet, a Anglaterra, com podeu veure. Sigui com sigui, la Gillian i jo vam dinar junts un dia I li vaig preguntar: "Gillian, com vas arribar a ser ballarina?" I ella em va respondre és interessant, quan ella anava a l'escola, estava desesperada. I l'escola, als anys 30, va escriure als seus pares dient: "Pensem que la Gillian té problemes per aprendre". Ella no es podia concentrar, era un sac de nervis. Ara li diagnosticarien hiperacció. No creieu? Però als anys trenta, encara no s'havia inventat l'hiperacció. no era una malaltia coneguda. (Riures) La gent no sabia que es pogués tenir.
And the third thing about intelligence is, it's distinct. I'm doing a new book at the moment called "Epiphany," which is based on a series of interviews with people about how they discovered their talent. I'm fascinated by how people got to be there. It's really prompted by a conversation I had with a wonderful woman who maybe most people have never heard of, Gillian Lynne. Have you heard of her? Some have. She's a choreographer, and everybody knows her work. She did "Cats" and "Phantom of the Opera." She's wonderful. I used to be on the board of The Royal Ballet, as you can see. (Laughter) Gillian and I had lunch one day. I said, "How did you get to be a dancer?" It was interesting. When she was at school, she was really hopeless. And the school, in the '30s, wrote to her parents and said, "We think Gillian has a learning disorder." She couldn't concentrate; she was fidgeting. I think now they'd say she had ADHD. Wouldn't you? But this was the 1930s, and ADHD hadn't been invented at this point. It wasn't an available condition. (Laughter)
Fos com fos, va anar a veure un especialista. En una d'aquestes habitacions amb panells de fusta
People weren't aware they could have that.
hi va anar amb la seva mare, la van asseure en una cadira al fons, va estar asseguda sobre les seves mans durant 20 minuts i l'home va parlar amb la mare sobre tots els problemes que la Gillian tenia a l'escola. I al final - com que ella molestava als altres, mai feia els deures a temps, entre altres coses, una nena petita de vuit anys- al final, el doctor es va asseure al costat de la Gillian i li va dir: "Gillian, la teva mare ja m'ha explicat totes aquestes coses i ara necessito parlar-ne amb ella en privat." li va dir: "Espera'ns aquí, tornarem en un moment." i van marxar. però en sortir de l'habitació, va encendre la radio que hi havia sobre la seva taula. I quan van tornar a l'habitació, el doctor li va dir a la mare: "Només cal mirar-la". En l'instant en que van sortir de l'habitació, ella em va dir que es va posar de peu, movent-se al ritme de la música. La van estar mirant durant uns minuts I el doctor li va dir a la seva mare: "Sra. Lynne, la Gillian no està malalta, és ballarina. Porti-la a una escola de dansa."
(Laughter) Anyway, she went to see this specialist. So, this oak-paneled room, and she was there with her mother, and she was led and sat on this chair at the end, and she sat on her hands for 20 minutes, while this man talked to her mother about all the problems Gillian was having at school, because she was disturbing people, her homework was always late, and so on. Little kid of eight. In the end, the doctor went and sat next to Gillian and said, "I've listened to all these things your mother's told me. I need to speak to her privately. Wait here. We'll be back. We won't be very long," and they went and left her. But as they went out of the room, he turned on the radio that was sitting on his desk. And when they got out of the room, he said to her mother, "Just stand and watch her." And the minute they left the room, she was on her feet, moving to the music. And they watched for a few minutes, and he turned to her mother and said, "Mrs. Lynne, Gillian isn't sick. She's a dancer. Take her to a dance school."
I jo li vaig preguntar: "I què va passar?" I ella em va dir: "Que ho va fer. I no puc dir-te com de magnífic va ser. Vam entrar en aquella habitació i estava plena de gent com jo. Gent que no es podia estar quieta. Gent que necessitava moure's per pensar." Gent que necessitava moure's per pensar. Feien ballet, tap, jazz, moderna, i contemporània. Amb el temps va aconseguir una audició a la Royal Ballet Scool, va esdevenir solista, i va tenir una excel·lent carrera en la Royal Ballet. Més endevant es va graduar de la Royal Ballet School i va fundar la seva pròpia companyia, la Gillian Lynne Dance Company, i va conèixer a l'Andrew Lloyd Weber. Ella ha sigut la responsable de les produccions més exitoses de la història del teatre musical, ha donat plaer a milions de persones, i és multi-milionaria. Algú altre li hauria receptat medicació i li hauria dit que es calmés.
I said, "What happened?" She said, "She did. I can't tell you how wonderful it was. We walked in this room, and it was full of people like me -- people who couldn't sit still, people who had to move to think." Who had to move to think. They did ballet, they did tap, jazz; they did modern; they did contemporary. She was eventually auditioned for the Royal Ballet School. She became a soloist; she had a wonderful career at the Royal Ballet. She eventually graduated from the Royal Ballet School, founded the Gillian Lynne Dance Company, met Andrew Lloyd Webber. She's been responsible for some of the most successful musical theater productions in history, she's given pleasure to millions, and she's a multimillionaire. Somebody else might have put her on medication and told her to calm down. (Applause)
Ara, penso - (Aplaudiments) Penso el següent: L'Al Gore va parlar l'altra nit sobre ecologia, i la revolució que ha començat la Rachel Carson. Penso que la nostra única esperança per el futur és adoptar una nova concepció de l'ecologia humana, una en la que es comenci a reconstituir la nostra concepció the la riquesa de les capacitats humanes. El nostre sistema educatiu ha destruit les nostres ments d'una manera que fa que ens quedem a la superfície; cosa que es més còmode. I en el futur, no ens servirà. Cal repensar els principis fonamentals sobre els quals basem l'educació dels nens. Hi ha una cita molt bonica d'en Jonas Salk, que diu: "Si tots els insectes desapareguessin de la terra, en 50 anys la vida a la terra acabaria. Si tots els humans desapareguessin de la terra, en 50 anys totes les formes de vida aflorarien." I té raó.
What I think it comes to is this: Al Gore spoke the other night about ecology and the revolution that was triggered by Rachel Carson. I believe our only hope for the future is to adopt a new conception of human ecology, one in which we start to reconstitute our conception of the richness of human capacity. Our education system has mined our minds in the way that we strip-mine the earth for a particular commodity. And for the future, it won't serve us. We have to rethink the fundamental principles on which we're educating our children. There was a wonderful quote by Jonas Salk, who said, "If all the insects were to disappear from the Earth, within 50 years, all life on Earth would end. If all human beings disappeared from the Earth, within 50 years, all forms of life would flourish." And he's right.
El que es celebra a TED és el regal de la imaginació humana. Però hem de ser prudents a l'hora d'utilitzar aquest regal i fer-ho sabiament, i així previndre algunes situacions com les que hem parlat. I la única manera que tenim de fer-ho és veient les nostres capacitats creatives com la riquesa que son, i veure els nens com l'esperança que són. La nostra tasca és educar-los integrament, perquè puguin enfrontar-se al futur. Per cert - pot ser que no veiem aquest futur, però ells sí. I la nostra feina és ajudar-los a fer alguna cosa amb ell. Moltes gràcies.
What TED celebrates is the gift of the human imagination. We have to be careful now that we use this gift wisely, and that we avert some of the scenarios that we've talked about. And the only way we'll do it is by seeing our creative capacities for the richness they are and seeing our children for the hope that they are. And our task is to educate their whole being, so they can face this future. By the way -- we may not see this future, but they will. And our job is to help them make something of it.