Good morning. How are you?
Bo día. Como estades? Está sendo estupendo, verdade?
(Audience) Good.
It's been great, hasn't it? I've been blown away by the whole thing. In fact, I'm leaving.
Impresionoume moitísimo todo isto. De feito, vou marchar. (Sorrisos)
(Laughter)
Houbo tres temas, verdade?
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.
repetíndose ao longo da conferencia, que son relevantes para o que que quero dicir. Un é a proba extraordinaria da creatividade humana en todas as presentacións que tivemos e en toda a xente que está aquí. Simplemente a variedade e a amplitude da mesma. O segundo é que isto nos sitúa nun lugar no que non temos a menor idea do que vai acontecer, en termos do futuro. Nin idea sobre como isto vai evoluir.
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.
A min interésame a educación -- de feito, o que noto é que todo o mundo está interesado na educación. Non credes? Penso que isto é moi interesante. Se estás nunha cea dunha festa, e dis que traballas na educación -- realmente, non estás moito en festas, francamente, se traballas na educación.
(Laughter)
If you work in education, you're not asked.
(Sorrisos) Non vos convidan.
(Laughter)
E nunca voltades a ser convidados, curiosamente. Non o entendo.
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?"
Mais se estivérades e lle dixérades a alguén, é dicir, eles preguntan, "A que te adicas?" e respondes que traballas na educación, podes ver o sangue escapar da súa cara. Están pensando:
(Laughter)
"Meu deus,", xa sabedes, "Por que eu? A única noite que saio en toda a semana." (Sorrisos)
"My one night out all week."
(Laughter)
Mais se preguntas sobre a súa educación,
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.
arrincónanche contra a parede. Porque é unha desas cousas que a xente leva no máis fondo, estou no certo? Como a relixión, o diñeiro e outras cousas. Teño moito interese na educación, e penso que todos o temos. Temos un enorme interese persoal nela, en parte porque é a educación o que se supón que nos levará nese futuro que non podemos comprender. Se o pensades, os nenos que comezan a escola este ano retiraranse no 2065. Ninguén ten nin idea - a pesar de todo o coñecemento que leva desfilado nos últimos catro días - de como vai ser o mundo dentro de cinco anos. E a pesar diso suponse que estamos educándoos para iso. Así que o impredecíbel, penso, é extraordinario.
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.
E a terceira parte disto é que todos estivemos dacordo, a pesar de todo, sobre as capacidades realmente extraordinarias que teñen os nenos - as súas capacidades para a innovación. Quero dicir, Sirena a pasada noite foi unha marabilla, non si? Simplemente ver o que ela pode facer. E ela é excepcional, pero eu penso que non o é, por dicilo dalgún xeito, non é excepcional entre todos os nenos. O que tedes aí é unha persoa de dedicación extraordinaria que atopou un talento. E a miña teoría é, que todos os nenos teñen talentos fantásticos. E dilapidámolos, sen piedade.
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.
Así que quero falar sobre educación e quero falar sobre creatividade. A miña teoría é que a creatividade é tan importante na educación como a alfabetización, e deberíamos darlle o mesmo status.
(Applause)
(Aplausos) Grazas. Iso era todo, por certo.
Thank you.
(Applause)
That was it, by the way. Thank you very much.
Moitas grazas. (Sorrisos) Ben, quedan 15 minutos.
(Laughter)
So, 15 minutes left.
Ben, eu nacín... non. (Sorrisos)
(Laughter)
"Well, I was born ... "
(Laughter)
Escoitei unha gran historia recentemente -- encántame contala --
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."
dunha nena pequena que estaba nunha lección de debuxo. Tiña seis anos e estaba ao fondo, debuxando, e a mestra díxo que esta neniña case nunca atendía, e nesta clase de debuxo fíxoo. A mestra estaba fascinada e achegouse a ela e dixo, "Que estás a debuxar?" E a nena dixo, "Estou debuxando unha imaxe de Deus." E a mestra dixo, "Pero ninguén sabe como é Deus." E a nena dixo, "Saberán nun minuto."
(Laughter)
(Sorrisos)
When my son was four in England -- actually, he was four everywhere, to be honest.
Cando o meu fillo tiña catro anos en Inglaterra -- de feito tiña catro en todas partes, a verdade. (Sorrisos)
(Laughter)
Se somos estrictos sobre o tema, onde queira que fomos, tiña catro aquel ano.
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?
Estaba na representación da Natividade. Lembrades a historia? Non, foi famosa.
(Laughter)
No, it was big, it was a big story. Mel Gibson did the sequel, you may have seen it.
Foi unha historia famosa. Mel Gibson fixo a secuela. Quizais a vísedes: "Natividade II". Pero a James tocoulle a parte de Xosé,
(Laughter)
"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."
polo que estábamos encantados. Consideramos que era un dos papeis principais. Tíñamos todo o lugar cheo de axentes con camisetas: "James Robinson É Xosé!" (Sorrisos) El non tivo que falar, pero sabedes o momento no que os tres reis magos chegan. Chegan cos agasallos, traen ouro, incenso e mirra. Isto aconteceu realmente. Estabamos sentados aló e penso que se enganaron, porque falamos co neniño despois e dixemos, "Está todo correcto?" E dixo, "Si, por que? Que estivo mal?" Simplemente confundíranse, iso foi todo. De calquera xeito, os nenos entraron -- nenos de catro anos con panos de cociña nas súas cabezas -- e pousaron as caixas no chan, e o primeiro neno dixo, "Traio ouro." E o segundo neno dixo, "Traio mirra."
(Laughter)
E o terceiro neno dixo, "Frank manda isto." (Sorrisos) (en inglés rima con incenso)
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.
O que estas cousas teñen en común é que os nenos van probar sorte. Se non saben, tentarano igual. Non estou no certo? Non teñen medo de estar equivocados. Agora ben, non estou a dicir que estar equivocado sexa a mesma cousa que ser creativo. O que sabemos é, que se non estás preparado para equivocarte, nunca proporás nada orixinal. Se non estás preparado para estar equivocado. E en canto chegan a ser adultos, a maior parte dos nenos perden esa capacidade. Pasaron a ter medo a equivocarse. E diriximos as empresas así, por certo. Estigmatizamos os erros. E temos agora sistemas nacionais de educación onde os erros son a peor cousa que se pode facer. E o resultado é que estamos a educar á xente para que perda as súas capacidades creativas. Picasso dixo isto unha vez.
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. So why is this?
Dixo que todos os nenos nacen artistas. O problema é seguir sendo artista ao medrar. Creo nisto apaixoadamente, que non medramos na creatividade, medramos perdéndoa. Ou mellor dito, somos educados para perdela. E por que acontece isto? Vivín en Stratford-on-Avon ata fai cinco anos.
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.
De feito, mudámonos de Stratford a Los Ángeles. Así que vos podedes imaxinar que transición máis doada foi. (Sorrisos) De feito,
(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?
vivimos nun lugar chamado Snitterfield, xusto ao sair de Stratford, que é onde o pai de Shakespeare naceu. Acábavos de invadir un novo pensamento? A min pasoume. Nunca se pensa que Shakespeare tivese un pai, verdade? Verdade? Porque nunca se pensa que Shakespeare fose un neno, verdade? Shakespeare con sete anos? Nunca pensei niso. Quero dicir, tivo sete anos nalgún momento. Estivo na clase de inglés dalquén, non? Como de molesto sería iso?
(Laughter)
How annoying would that be?
(Sorrisos) "Precisa mellorar." Cando o seu pai o manda a durmir, por exemplo,
(Laughter)
"Must try harder."
(Laughter)
Being sent to bed by his dad, to Shakespeare, "Go to bed, now!" To William Shakespeare. "And put the pencil down!"
a Shakespeare, "Vai á cama, agora," a William Shakespeare, "e deixa o lapiz apoiado. E deixa de falar así. Está confundindo a todo o mundo."
(Laughter)
"And stop speaking like that."
(Laughter)
"It's confusing everybody."
(Sorrisos)
(Laughter)
En calquera caso, movímonos de Stratford a Los Ángeles
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.
e só quero dicir unhas palabras sobre a transición, de feito. O meu fillo non quería vir. Teño dous fillos. El ten 21 agora; a miña filla 16. El non quería vir a Los Ángeles. Encantáballe, pero tiña unha noiva en Inglaterra. O amor da súa vida, Sarah. Coñecíaa dende facía un mes. Tede en conta, que tiveran xa o seu cuarto aniversario,
(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 --
porque é moito tempo cando tes 16. En calquera caso, estaba moi enfadado no avión, e dixo, "Nunca atoparei outra rapaza como Sarah." E estábamos encantados con iso, francamente, porque ela era a principal razón pola que estabamos a deixar o país.
(Laughter)
because she was the main reason we were leaving the country.
(Sorrisos)
(Laughter)
Mais algo sorpréndeche cando te trasladas a América
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?
e cando viaxas polo mundo: Todo sistema educativo na terra ten a mesma xerarquía de contidos. Todos. Independentemente de a onde vaias. Un pensaría que sería diferente, pero non o é. No cumio están as matemáticas e as linguas, despois veñen as humanidades, e abaixo de todo as artes. En calquera lugar da terra. E en case calquera sistema tamén, existe unha xerarquía dentro das artes. Arte e música teñen normalmente un estatus superior nas escolas que drama ou baile. Non existe un sistema educativo no planeta que ensine baile todos os días aos nenos do xeito que o facemos cosas matemáticas. Por que? Porque non? Penso que é bastante importante. Penso que as matemáticas son moi importantes, pero tamén o é o baile. Os nenos bailan todo o tempo se se lles deixa, todos facémolo. Todos temos corpos, non? Perdínme unha reunión? (Sorrisos) Sinceramente, o que ocorre é,
(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. And slightly to one side.
que cando os nenos medran, comezamos a educalos progresivamente da cintura para arriba. E entón enfocámonos nas súas cabezas. E un pouco cara a un lado. Se estivésedes visitando a educación, como un extraterrestre,
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.
e dixérades "Para que é, a educación pública?" Penso que teríades que concluir -- se mirades o resultado, a quen realmente triunfa nisto, quenes fan todo o que deberían, quenes levan todos os puntos, os que son os triunfadores -- penso que teríades que concluir que o propósito da educación pública en todo o mundo é producir profesores universitarios. Verdade? Son as persoas que chegan ao cumio. E eu soía ser un, nin máis nin menos. (Sorrisos)
(Laughter)
E gústanme os profesores universitarios, pero sabedes,
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.
non deberíamos consideralos a cota máis alta dos logros da humanidade. Son simplemente un xeito de vida, outro xeito de vida. Pero son bastante curiosos, e digo isto con afecto cara a eles. Hai algo curioso nos profesores, na miña experiencia -- non todos eles, mais típicamente -- viven nas súas cabezas. Viven aí enriba, e lixeiramente cara a un lado. Son incorpóreos, sabedes, dun xeito bastante literal. Consideran o seu corpo un medio de transporte para as súas cabezas, non credes?
(Laughter)
Don't they? It's a way of getting their head to meetings.
(Sorrisos) É un medio para levar ás súas cabezas a reunións.
(Laughter)
Se queredes proba real de experiencias extracorpóreas,
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.
por certo, ide a unha conferencia con aloxamento de académicos senior, e pasade pola discoteca na última noite.
(Laughter)
(Sorrisos) E alí o veredes -- homes e mulleres maduros
And there, you will see it. Grown men and women writhing uncontrollably, off the beat.
retorcéndose incontrolábelmente, fora de ritmo,
(Laughter)
esperando a que remate para poder ir á casa e escreber un artigo sobre iso.
Waiting until it ends, so they can go home and write a paper about it.
O noso sistema educativo está baseado na idea da aptitude académica.
(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.
E hai unha razón. Todo o sistema foi inventado -- en todo o mundo, non había sistemas de educación públicos, realmente, antes do século XIX. Todos nacen para satisfacer as necesidades do industrialismo. De xeito que a xerarquía está enraizada en dúas 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.
Primeiro, que as asignaturas máis útiles para o traballo están no cumio. Así que seguramente mantivéronvos alonxados benévolamente de cousas na escola cando erades nenos, cousas que vos gustaban, coa xustificación de que nunca teríades un traballo facendo iso. É así? Non fagas música, non vas ser un músico; non fagas arte, non vas ser un artista. Consello benigno -- mais profundamente equivocado. O mundo enteiro está sumido nunha revolución.
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.
E o segundo é a aptitude académica, que ten chegado a dominar a nosa visión da intelixencia, porque as universidades deseñaron o sistema á súa imaxe. Se o pensades, todo o sistema de educación pública en todo o mundo é un alongado proceso de entrada na universidade. E a consecuencia é que moitas persoas con talento, brillantes e creativas, pensan que non o son, porque a cousa na que destacaban na escola non se valoraba, ou estaba estigmatizada. E penso que non nos podemos permitir ir por ese camiño.
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.
Nos próximos 30 anos, según a UNESCO, vaise graduar máis xente no mundo no sistema educativo da que o fixo dende o comezo da historia. Máis xente, e é a combinación de todas as cousas das que falamos -- a tecnoloxía e o seu efecto transformador no traballo, e a demografía e a enorme explosión da poboación.
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.
De súpeto, os títulos non serven para nada. Non é certo? Cando era un estudante, se tiñas un título, tiñas un traballo. Se non tiñas un traballo era porque non o querías. E eu, non o quería, francamente. (Sorrisos) Mais agora os rapaces con títulos moitas veces
(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.
vanse á casa para seguir a xogar cos videoxogos, porque precisas unha licenciatura onde o traballo anterior precisaba unha diplomatura, e agora precisas un doutoramento para o outro. É un proceso de inflación académica. E indica que toda a estructura educativa está mudando diante do noso nariz. Temos que repensar radicalmente a nosa visión da inteligencia.
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.
Sabemos tres cousas sobre a intelixencia. Unha, que é diversa. Pensamos sobre o mundo de todos os xeitos en que o experimentamos. Pensamos visualmente, pensamos en sóns, pensamos kinestésicamente. Pensamos en termos abstractos, pensamos en movemento. Segunda, que a intelixencia é dinámica. Se miramos as interacións do cerebro humano, tal e como escoitamos onte en varias presentacións, a intelixencia é marabillosamente interactiva. O cerebro non está dividido en compartimentos. De feito, a creatividade -- que eu defino como o proceso de ter ideas orixinais que teñen valor -- a maior parte do tempo maniféstase pola interacción de diferentes xeitos disciplinarios de ver as cousas.
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.
O cerebro é intencionadamente -- por certo, hai un conxunto de nervios que unen as dúas metades do cerebro chamados corpus callosum. É máis groso nas mulleres. Continuando o que dixo Helen onte, penso que isto é probablemente polo que as mulleres son mellores na multi-tarefa. Porque o sodes, non? Hai unha morea de investigación, pero eu seino pola miña vida persoal. Se a miña muller está cociñando na casa -- que non é moi de cotío, por sorte. (Sorrisos) Pero xa sabedes, ela está facendo -- non, ela é boa nalgunhas cousas --
(Laughter)
pero se está cociñando, sabedes,
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 --
está tratanco con xente no teléfono, está falándolles aos nenos, está pintando o teito,
(Laughter)
está facendo ciruxía a corazón aberto aquí.
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."
Se eu estou a cociñar, a porta está pechada, os nenos están fora, o teléfono está colgado, se ela ven eu enfádome. Digo, "Terry, por favor, estou tentando fritir un ovo aquí. Dame un respiro." (Sorrisos)
(Laughter)
"Give me a break."
(Laughter)
De feito, sabedes esa cousa filosófica,
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?"
de que se unha árbore cae no bosque e ninguén a escoita, pasou? Lembrades ese vella historia? Vin unha camiseta estupenda recentemente que dicía, "Se un home di o que pensa nun bosque, e ningunha muller o escoita, está igualmente equivocado?" (Sorrisos)
(Laughter)
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.
E a terceira cousa sobre a intelixencia é, é única. Estou a escreber un novo libro agora chamado "Epifanía," que está baseado nunha serie de entrevistas con xente sobre como descubriron o seu talento. Estou fascinado por como a xente chegou aí. Está realmente provocado por unha conversa que tiven cunha muller marabillosa da que se cadra a maioría da xente nunca escoitou falar, chamada Gillian Lynne, escoitáchedes falar dela? Algúns si. É coreógrafa e todo o mundo coñece o seu traballo. Fixo "Cats," e "A pantasma da ópera." É marabillosa. Eu soía estar no consello do Royal Ballet, en Inglaterra, como podedes ver.
(Laughter)
De calquera xeito, Gillian e eu almorzamos un día e dixen,
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.
"Gillian, como chegaches a ser unha bailarina?" E ela dixo que era interesante, que cando estaba na escola, estaba desesperada. E a escola, nos anos 30, escrebeu aos seus pais dicindo, "Pensamos que Gillian ten trastornos de aprendizaxe." Non se podía concentrar, estaba inqueda. Penso que agora dirían que ela tiña déficit de atención (ADHD). Non credes? Pero eran os anos 30, e o ADHD non se inventara ainda. Non era unha enfermidade disponíbel. (Sorrisos)
(Laughter)
A xente non sabía que podían ter iso.
People weren't aware they could have that.
De calquera xeito, ela foi ver este especialista. Entón, un cuarto revestido de carballo,
(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.
e ela estaba aló coa súa nai, guiárona para que se sentara nunha cadeira ao final, e sentouse sobre as súas máns durante 20 minutos mentres este home falaba coa súa nai sobre todos os problemas que Gillian estaba a ter na escola. E ao final de todo -- porque ela estaba a molestar á xente, os seus deberes sempre os facía tarde, etcétera, pequena de 8 anos -- e ao final, o doctor foi e sentouse ao lado de Gillian e dixo, "Gillian, escoitei todas estas cousas que a túa nai me contou, e preciso falar con ela en privado." Dixo, "Espera aquí, voltaremos, non tardaremos moito." e fóronse e deixárona.
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."
Pero ao sair do cuarto, encendeu a radio que estaba apoiada na súa mesa. E candosairon do cuarto, díxolle á súa nai, "Simplemente queda de pé e míraa." E ao minuto de que eles sairan, dixo, ela estaba de pé, movéndose coa música. E miraron por uns minutos e el xirou cara á súa nai e dixo, "Señora Lynne, Gillian non está enferma, é unha bailarina. Lévea a unha escola de baile."
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.
E eu dixen, "E que aconteceu?" E ela dixo, "Fíxoo. E non che podo dicir o marabilloso que era. Entramos naquel cuarto e estaba cheo de xente coma min. Persoas que non podían quedarse quedas. Persoas que se tiñan que mover para pensar." Que tiñan que moverse para pensar. Fixeron ballet, fixeron claqué, fixeron jazz, fixeron baile moderno, fixeron contemporáneo. Ela probou finalmente para a Royal Ballet School, convertiuse nunha solista, tivo unha carreira marabillosa no Royal Ballet. Finalmente licenciouse da Royal Ballet School, formou a súa propia compañía -- a Gillian Lynne Dance Company -- coñeceu a Andrew Lloyd Weber. E é responsable de algunha das produccións de teatro musical máis exitosas da historia, deu placer a millóns, e é multimillonaria. Outro
(Applause)
teríaa medicado e teríalle dito que se calmase.
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.
Agora ben, eu penso... (Aplausos) O que se pode concluir é isto: Al Gore falou a outra noite sobre ecoloxía, e a revolución que fora iniciada por Rachel Carson. Penso que a nosa única esperanza para o futuro é adoptar unha nova concepción de ecoloxía humana, unha na que podamos comezar a reconstituir a nosa concepción da riqueza da capacidade humana. O noso sistema educativo explotou as nosas mentes do xeito no que nós explotamos a terra: na busca dun producto concreto. E para o futuro, non nos servirá. Temos que repensar os principios fundamentais nos que estamos a educar aos nosos nenos. Había
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.
unha marabillosa cita de Jonas Salk, que dixo, "Se todos os insectos desapareceran da terra, en 50 anos a vida na Terra desaparecería. Se todos os seres humanos desapareceran da terra, en 50 anos todo tipo de formas de vida florecerían. E ten razón.
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.
O que TED celebra é o don da imaxinación humana. Temos que ter coidado agora de usar ese don con sabiduría, e de impedir algúns escenarios escenarios dos que falamos. E o único xeito de facer isto é ver as nosas capacidades creativas polo ricas que son, e ver aos nosos fillos pola esperanza que representan. E a nosa tarefa é educar o seu completo ser, para que podan afrontar este futuro. Por certo -- se cadra nós non veremos este futuro, pero eles verano. E o noso traballo é axudarlles a obter proveito del. Moitas grazas.
Thank you very much.
(Applause)