Good morning. How are you?
Dobro jutro. Kako ste? Ovdje je sjajno, zar ne?
(Audience) Good.
It's been great, hasn't it? I've been blown away by the whole thing. In fact, I'm leaving.
Sve ovo ovdje me potpuno oduševilo. Zapravo, dosta mi je, odlazim.
(Laughter)
Kroz konferenciju se provlače tri teme,
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.
koje su važne za ono o čemu želim govoriti. Prvo je nevjerojatna ljudska kreativnost u svim prezentacijama koje smo vidjeli i kod svih sudionika. Tolika raznovrsnost i širina. Drugo je da nas to dovodi u situaciju da nemamo pojma kamo će nas sve to dovesti u budućnosti. Nemamo pojma kako će se to razviti.
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.
Mene jako zanima obrazovanje - zapravo, svatko je zainteresiran za obrazovanje. Zar ne? Ovo mi se čini vrlo zanimljivim. Ako ste na domjenku i kažete da radite u školstvu – doduše, ako radite u školstvu, onda niste često na domjencima.
(Laughter)
If you work in education, you're not asked.
Ne pozivaju vas.
(Laughter)
I nikad vam ne uzvraćaju pozive. Zanimljivo. To mi je čudno.
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?"
No, ako vas pozovu, i netko vas pita: “Čime se bavite?” a vi odgovorite da radite u školstvu, vidite kako problijede. Vidite kako se pitaju:
(Laughter)
“O Bože, zašto ja?! Moja jedina slobodna večer u tjednu.”
"My one night out all week."
(Laughter)
Ali ako ih pitate za njihovo obrazovanje,
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.
pribiju vas na križ. Jer to je jedna od onih stvari koje su duboko u čovjeku, koje su mu jako važne, zar ne? Poput vjere, novca i takvih stvari. Obrazovanje mi je jako važno, mislim da nam je svima. Ono nam je svima iskonski važno, dijelom jer očekujemo da će nas ono odvesti u tu budućnost, koju još ne možemo pojmiti. Razmislite, djeca koja kreću u školu ove godine ići će u mirovinu 2065. Nitko nema pojma – usprkos svim stručnjacima koje smo slušali ovih dana – kako će svijet izgledati za pet godina. A ipak se očekuje da ih obrazujemo za taj svijet. Mislim da je nepredvidljivost golema.
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.
I treće je, svi smo se složili, koliko nevjerojatnu sposobnost za inovaciju imaju djeca. Na primjer, Sirena je sinoć bila zapanjujuća, zar ne? Što sve ona može! Ona jest iznimna, ali ne mislim da je iznimka u dječjem svijetu. Ovdje se radi o osobi nevjerojatne predanosti koja je talentirana. A ja mislim da sva djeca imaju ogromnu nadarenost. A mi ju odbacujemo. Vrlo nemilosrdno.
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.
Želim govoriti o obrazovanju i želim govoriti o kreativnosti. Vjerujem da je kreativnost danas jednako važna u obrazovanju kao i pismenost. I trebamo se prema njoj jednako odnositi.
(Applause)
Hvala vam.
Thank you.
(Applause)
That was it, by the way. Thank you very much.
To je to. To je sve. Hvala vam.
(Laughter)
So, 15 minutes left.
Dakle, imam još 15 minuta. No dobro. Rođen sam…
(Laughter)
"Well, I was born ... "
(Laughter)
Nedavno sam čuo prekrasnu priču – volim ju pričati –
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."
o djevojčici na satu crtanja. Bilo joj je šest godina i sjedila je otraga, crtajući i nikad nije previše obraćala pažnju – kaže učiteljica – osim na tom satu crtanja. Učiteljica je bila time očarana, otišla je do nje i upitala: “Što crtaš?” “Crtam Boga” odgovori djevojčica. “Ali nitko ne zna kako Bog izgleda” začudi se učiteljica. “Sad će vidjeti.”
(Laughter)
reče djevojčica.
When my son was four in England -- actually, he was four everywhere, to be honest.
Kad je moj sin imao četiri godine u Engleskoj – zapravo, imao je četiri godine bilo gdje.
(Laughter)
Strogo govoreći, ma kamo da je išao, imao je četiri.
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?
Glumio je u priči o Isusovom rođenju. Sjećate li se priče? Ne, bilo je to važno.
(Laughter)
No, it was big, it was a big story. Mel Gibson did the sequel, you may have seen it.
Mel Gibson je snimio nastavak. Možda ste ga vidjeli: “Priča o Isusovom rođenju 2.”
(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."
No, James je dobio ulogu Josipa, što je nas oduševilo. Za nas je to bila jedna od glavnih uloga. Kod nas je sve bilo puno agenata s majicama "James Robinson JE Joseph!" Nije trebao govoriti, ali znate onaj dio gdje dolaze tri kralja. Ulaze noseći darove: zlato, tamjan i smirnu. To se zbilja dogodilo. Gledali smo ih i mislim da su se zabunom zamijenili. Poslije smo razgovarali s dječakom i pitali ga: “Ti si s time zadovoljan?” A on je odgovorio: “Aha. Zašto, Nešto nije u redu?” Oni su se jednostavno zamijenili. No, tri dječaka ulaze, četverogodišnjaci s ručnicima na glavi i stavljaju kutije na pod. Prvi dječak kaže: “Donosim vam zlato”. Drugi dječak kaže: “Donosim tamjan”.
(Laughter)
A treći dječak kaže: „Ovo je poslao Frank.” (umjesto "frankincense")
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.
Ono što je svemu tome zajedničko je to da će djeca pokušati, riskirat će. Ako ne znaju kako, izmislit će. Zar ne? Oni se ne boje pogriješiti. Ne želim reći da je griješiti isto što i biti kreativan. Ali, ono što znamo jest da, ako niste spremni pogriješiti, nikad nećete smisliti nešto originalno. Nikad nećete smisliti nešto originalno, ni kad odrastete. Ako niste spremni pogiješiti. Kad odrastu, većina djece je već izgubila tu sposobnost. Počeli su se bojati pogriješiti. A tako upravljamo i svojim organizacijama. Osuđujemo pogreške. I vodimo obrazovni sustav tako kao da je pogreška najgora stvar koju možemo napraviti. Rezultat je da oblikujemo ljude IZVAN, mimo njihovih kreativnih sposobnosti. Picasso je jednom rekao
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?
da su sva djeca rođeni umjetnici. Problem je kako ostati umjetnikom dok odrastaš. Čvrsto vjerujem da odrastanjem ne postajemo kreativni(ji), već sve manje kreativni. Obrazujemo se da ne budemo kreativni. Zašto je tome tako? Do prije pet godina živio sam u Stratford-on-Avon
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.
Od tamo smo se preselili u Los Angeles. Možete zamisliti kako je to glatko prošlo. Zapravo,
(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?
živjeli smo u mjestu Snitterfield. A tamo je rođen Shakespeare-ov otac. Jel' vas zapanjila nova pomisao? Mene jest. Nikad niste razmišljali o tome da je Shakespeare imao oca. Zar ne? Zar ne? Jer ne razmišljamo o tome da je Shakespeare bio dijete. Shakespeare od sedam godina? Nikad mi to nije palo na pamet. Mislim, jednom je morao imati sedam godina. I bio je na nečijim satovima engleskog, zar ne? Nije li to nezgodno?
(Laughter)
How annoying would that be?
“Moraš se više truditi!” korio ga je otac
(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!"
pred spavanje. “U krevet sad.” reče otac Williamu Shakespeare-u. „I prestani pisati. I prestani govoriti tako čudno.
(Laughter)
"And stop speaking like that."
(Laughter)
"It's confusing everybody."
Zbunjuješ ljude."
(Laughter)
Dakle, preselili smo se iz Stratford-a u Los Angeles
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.
i zapravo želim samo nešto reći o toj promjeni. Moj sin se nije htio seliti. Imam dvoje djece. On sada ima 21, a kćer 16. Nije se htio seliti u Los Angeles. Sviđalo mu se tamo, ali imao je djevojku u Engleskoj. Sara je bila ljubav njegovog života. Poznavao ju je mjesec dana. Zamislite, imali su četvrtu godišnjicu,
(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 --
jer to je dugo vrijeme kad imaš 16. No, bio je prilično uzrujan u avionu. „Nikad neću naći drugu djevojku poput Sare” A, iskreno rečeno, nama je to bilo drago, jer je ona bila glavni razlog
(Laughter)
because she was the main reason we were leaving the country.
našeg odlaska iz Engleske.
(Laughter)
No nešto vas iznenadi kad se preselite u Ameriku
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?
ili kad putujete svijetom. Svi obrazovni sustavi na svijetu ima istu hijerarhiju predmeta. Svi. Bez obzira u kojoj zemlji. Očekujete da će biti drukčije, a nije. Na vrhu su matematika i jezici, onda društveni predmeti, a na dnu umjetnost. Svugdje na svijetu, i skoro u svakom sustavu, postoji hijerarhija i u umjetnostima. Likovni i glazbeni odgoj uobičajeno imaju viši status od glume i plesa. Ne postoji obrazovni sustav na svijetu koji djecu poučava plesu svaki dan na isti način kao što ih poučava matematici. Zašto? Zašto ne? Mislim da je to jako važno. Mislim da je matematika jako važna, ali je i ples. Djeca plešu cijelo vrijeme, ako im dozvolimo. Svi bismo mi to radili, da smijemo. Svi imamo tijela, zar ne? Ili sam nešto propustio? Iskreno, ono što se dešava je to da,
(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.
kako djeca odrastaju, sve više ih obrazujemo od pojasa na više. A onda se koncentriramo na njihove glave. I to pretežito samo na jednu stranu (mozga, lijevu). Kad bi vanzemaljac posjetio naš obrazovni sustav
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.
i pitao: “Koja mu je svrha?”, mislim da bi zaključak bio – gledajući rezultate: tko u njemu zaista uspijeva, tko napravi sve što se od njega traži, tko dobiva pohvale i nagrade, tko je pobjednik – mislim da bismo morali zaključiti da je cijela svrha javnog obrazovanja u cijelom svijetu proizvesti sveučilišne profesore, zar ne? Oni su ti koji u svemu tome (jedini) uspijevaju. I ja sam bio jedan od njih, znate.
(Laughter)
Ja volim sveučilišne profesore, ali znate,
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.
ne bismo ih trebali smatrati krajnjim postignućem ljudske vrste. Oni su samo oblik života, jedan oblik života. I ima nešto čudno u vezi s njima, a kad to kažem, kažem iz ljubavi prema njima. Iz svog iskustva mogu reći da je nešto čudno sa sveučilišnim profesorima - ne svima, ali tipično – oni žive u svojoj glavi. Oni žive ovdje gore, i pomalo samo na jednoj strani (lijevoj). Nekako su odvojeni od tijela, pomalo na doslovan način. Svoje tijelo smatraju transportnim sredstvom za svoju glavu, zar ne?
(Laughter)
Don't they? It's a way of getting their head to meetings.
To je način da njihove glave stignu na sastanke.
(Laughter)
Usput budi rečeno, ako želite pravi dokaz vantjelesnog iskustva,
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.
otiđite za vrijeme neke konferencije uvaženih profesora u diskoteku, završne večeri.
(Laughter)
Tamo ćete vidjeti odrasle muškarce i žene
And there, you will see it. Grown men and women writhing uncontrollably, off the beat.
kako se nekontrolirano migolje, izvan ritma,
(Laughter)
čekajući da to prođe kako bi otišli kući i napisali referat o tome.
Waiting until it ends, so they can go home and write a paper about it.
Naš je obrazovni sustav zasnovan na ideji o akademskim sposobnostima.
(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.
I za to postoji razlog. Cijeli je sustav konstruiran … U cijelom svijetu, prije 19-tog stoljeća nisu postojale javne škole. Svrha zbog koje su uspostavljene je da zadovolje potrebe industrijalizacije. Hijerarhijska podjela predmeta počiva na dvije ideje.
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.
Kao prvo, na vrhu su predmeti koji će vam biti najpotrebniji na radnom mjestu. Zbog toga su vas vjerojatno u školi dobronamjerno usmjeravali od onih stvari koje su vam se sviđale, s objašnjenjem da vjerojatno nećete naći posao radeći njih. Zar ne? Pusti glazbu, nećeš biti glazbenik. Pusti slikanje, nećeš biti slikar. Dobronamjeran savjet – ali danas suštinski promašen. Jer cijeli je svijet danas u velikom u preokretu.
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.
Drugo je akademska sposobnost, koja dominira našim pogledom na inteligenciju, jer su sveučilišta dizajnirala sustav prema sebi. Kad razmislite, cijeli sustav javnog obrazovanja u svijetu je produljeni proces sveučilišnog sustava. Posljedica toga je da mnogi jako talentirani, briljantni, kreativni ljudi misle da oni to nisu, jer ono u čemu su bili dobri u školi nije bilo cijenjeno ili je čak bilo osuđivano. Mislim da si ne možemo više priuštiti da tako ostane.
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.
U slijedećih 30 godina, prema UNESCO-u, više će ljudi u svijetu diplomirati nego u cjelokupnoj povijesti do tada. Više ljudi. A to je posljedica onoga o čemu smo ovdje govorili – tehnologije i njenog utjecaja na preobrazbu načina rada, demografije i eksplozivnog rasta stanovništva.
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.
Odjednom, diplome i titule više ništa ne znače. Zar nije tako? Kad sam ja bio student, ako si imao diplomu, imao si posao. Ako nisi imao posao, to je bilo zato što ga nisi htio. A ja ga zapravo nisam htio. Ali danas djeca s diplomom
(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.
idu natrag kući igrati video igre, jer im treba magisterij tamo gdje je nekad bila dovoljna diploma, a doktorat gdje je trebao magisterij. To je proces akademske inflacije. On pokazuje da se cijeli sustav obrazovanja izmiče ispod naših nogu. Moramo radikalno promijeniti naš pogled na inteligenciju.
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.
O inteligenciji znamo tri stvari. Prvo, ona je raznovrsna. O svijetu razmišljamo na sve načine na koji ga doživljavamo. Razmišljamo vizualno, kroz zvuk, kroz dodir. Razmišljamo apstraktno i u pokretu. Drugo, inteligencija je dinamična. Ako pogledamo interakcije ljudskog mozga, kao što smo čuli jučer u nekoliko prezentacija, inteligencija je čudesno interaktivna. Mozak nije podijeljen na odjeljke. Zapravo, kreativnost – koju ja definiram kao sposobnost imanja originalnih ideja koje imaju vrijednost – najčešće se ispoljava u interakciji različitih načina „viđenja” stvari.
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.
Postoji snop živaca koji povezuje dvije moždane polutke koji se zove “corpus callosum”. Kod žena je deblji. Na osnovi onog što je Helen rekla jučer, to je vjerojatno uzrok da su žene bolje u “multi taskingu” – obavljanju više poslova istovremeno. Zar nije tako? Postoje istraživanja, ali ja to znam iz osobnog iskustva. Kad moja supruga kuha – što nije često, hvala bogu. No, kad kuha - ne, ona je dobra u nekim stvarima-
(Laughter)
ali kad kuha,
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 --
istovremeno razgovara telefonom, govori djeci, boji strop
(Laughter)
i izvodi operaciju na otvorenom srcu. Istovremeno.
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."
Kad ja kuham, vrata su zatvorena, djeca su vani, telefon je isključen, a ako ona uđe, ja se uzrujam i kažem: “Terry, molim te, zar ne vidiš da pokušavam ispeći jaje? Ostavi me na miru.”
(Laughter)
"Give me a break."
(Laughter)
Zapravo, sjećate li se onog starog filozofskog pitanja:
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?"
"Ako drvo padne u šumi, a nitko to nije čuo, je li se to stvarno dogodilo?" Sjećate li se starog kestena? Nedavno sam vidio sjajnu majicu na kojoj je pisalo: “Ako muškarac govori što misli u šumi, a žena ga ne čuje, je li on i dalje u krivu?”
(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.
Treća stvar vezana uz inteligenciju jest da je ona upečatljiva, posebna. Upravo pišem knjigu s naslovom “Bogojavljenje”, koja se zasniva na seriji intervjua s ljudima o tome kako su otkrili svoj talent. Fasciniran sam time kako su ljudi došli do toga. Knjiga je potaknuta razgovorom s predivnom ženom za koju mnogi možda nikad nisu čuli. Zove se Gillian Lynne. Jeste li čuli za nju? Neki jesu. Ona je koreograf i svi poznaju njena djela. Stvorila je mjuzikle “Mačke” i “Fantom u operi”. Ona je predivna. Nekad sam bio u upravi Kraljevskog baleta, u Engleskoj, kao što možete vidjeti.
(Laughter)
Dakle, jednog sam dana ručao s Gillian i pitao sam ju:
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, kako si postala plesačica?” Odgovorila mi je da je to baš zanimljivo, jer je u školi bila beznadežan slučaj. To je bilo u 30-tima i škola je pisala roditeljima: “Mislimo da Gillian ima poremećaj učenja.” Nije se mogla koncentrirati, stalno se vrpoljila. Mislim da se to danas zove ADHD (poremećaj pažnje), zar ne? Ali to je bilo u 30-tima i ADHD tada još nisu izumili. To nije bila raspoloživa dijagnoza.
(Laughter)
Ljudi nisu bili svjesni da smiju imati takvu bolest.
People weren't aware they could have that.
No, majka ju je odvela liječniku specijalisti.
(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.
U toj drvom obloženoj sobi sjedila je na rukama 20 minuta dok je taj čovjek razgovarao s njenom majkom o svim problemima koje je Gillian imala u školi. Uznemiravala je ljude, kasnila je sa zadaćom, itd., osmogodišnjakinja – na kraju je doktor sjeo kraj nje i rekao: “Gillian, slušao sam o svemu što mi je tvoja majka rekla i sad moram s njom razgovarati na samo.” “Pričekaj ovdje, vratit ćemo se brzo.” I na to su izašli i ostavili ju samu.
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."
No, dok su izlazili, doktor je uključio radio na svom stolu. Kad su izašli, rekao je majci: “Samo čekajte i gledajte ju.” Istog trenutka kad su napustili sobu, Gillian je ustala i počela se njihati u ritmu muzike. Promatrali su ju par minuta, a onda se doktor okrenuo majci i rekao joj: “Gospođo Lynne, Gillian nije bolesna, ona je plesačica. Odvedite ju u plesnu školu.”
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.
Pitao sam ju: “I što se tad dogodilo?” Odgovorila mi je: “Odvela me je. Ne mogu vam opisati kako je to bilo predivno. Ušli smo u sobu prepunu ljudi poput mene. Ljudi koji nisu mogli mirno sjediti. Koji su se morali kretati da bi mislili. Plesali su balet, step, jazz, suvremeni ples.” Kasnije je primljena u Kraljevsku baletnu školu, postala je solist i imala prekrasnu karijeru s njima. Kad je diplomirala, osnovala je vlastitu plesnu skupinu i srela Andrew Lloyd Webera. Zaslužna je za neke od najuspješniji kazališnih produkcija u povijesti, podarila je užitak milijunima ljudi i postala multi milijunaš.
(Applause)
Neki drugi liječnik bi joj prepisao lijekove za smirenje.
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.
Ja mislim … Ono što mislim, svodi se na ovo. Al Gore je neku večer govorio o ekologiji i revoluciji koju je pokrenula Rachel Carson. Vjerujem da je naša jedina nada za budućnost da prihvatimo novi koncept ljudske ekologije, onaj koji će obnoviti našu spoznaju o bogatstvu ljudskih sposobnosti. Naš obrazovni sustav iskorištava naše umove na isti način kao što mi ogoljujemo Zemlju radi iskorištavanja nekog (prirodnog) bogatstva. A to nije dobro za našu budućnost. Moramo ponovno osmisliti temeljna načela na kojima obrazujemo svoju djecu.
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.
Jonas Salk je prekrasno rekao: “Kad bi svi kukci nestali s lica Zemlje, za 50 godina nestao bi život sa Zemlje. A kad bi svi ljudi nestali, za 50 godina sve ostale vrste bi procvale.” I on je u pravu.
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.
Ono što TED slavi je dar ljudske mašte. Moramo se potruditi da taj dar koristimo mudro i da spriječimo neke scenarije o kojima smo ovdje govorili. Jedini način da to postignemo je da prepoznamo svo bogatstvo naših stvaralačkih sposobnosti i da u svojoj djeci vidimo nadu koja ona i jesu. Naš je zadatak obrazovati njihovo cijelo biće, tako da bude spremno za tu budućnost. Usput – mi možda nećemo vidjeti tu budućnost, ali oni hoće. A naš je posao da im pomognemo da nešto od toga naprave. Hvala vam.
Thank you very much.
(Applause)