Good morning. How are you?
Dobré ráno. Ako sa máte? Bolo to skvelé, že?
(Audience) Good.
It's been great, hasn't it? I've been blown away by the whole thing. In fact, I'm leaving.
Celé ma to dorazilo. Vlastne, odchádzam. (Smiech)
(Laughter)
Mali sme tu tri témy,
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.
počas konferencie, ktoré sa týkajú toho, o čom chcem hovoriť. Jedna je neobyčajný dôkaz ľudskej tvorivosti vo všetkých týchto prezentáciách a vo všetkých ľuďoch, ktorí tu sú. Tá rôznorodosť a jej rozsah. Po druhé, v tomto mieste nevieme, čo sa bude diať z hľadiska budúcnosti. Nevieme, ako sa to skončí.
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.
Zaujíma ma vzdelanie, vlastne zisťujem, že všetkých zaujíma vzdelanie. Vás nie? Zdá sa mi to veľmi zaujímavé. Ak ste na večierku a poviete, že pracujete v školstve, vlastne často nie ste na večierkoch, ak pracujete v školstve.
(Laughter)
If you work in education, you're not asked.
(Smiech) Nikto vás nepozýva.
(Laughter)
A nikto vás znova nepozve, čo je zvláštne.
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?"
Ale ak tam ste a niekomu poviete, viete, že sa spýtajú: "Čo robíte?" a vy poviete, že pracujete v školstve, a sledujete, ako im mizne krv z tváre. Pomyslia si:
(Laughter)
"Ó Bože, prečo ja? Môj jediný voľný večer za celý týždeň." (Smiech)
"My one night out all week."
(Laughter)
Ale ak sa spýtate na ich vzdelanie,
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.
pritlačia vás k stene, pretože to je jedna z vecí, ktoré im idú do kostí, že? Ako náboženstvo a peniaze a iné veci. Vzdelanie ma veľmi zaujíma, a myslím, že nás všetkých. Veľmi nás zaujíma, čiastočne preto, že vzdelanie nás má vziať do budúcnosti, ktorú nechápeme. Ak sa nad tým zamyslíte, deti, ktoré tento rok začínajú školu pôjdu do dôchodku v 2065-tom. Nikto nevie -- napriek všetkým znalostiam predvedeným za posledné štyri dni -- ako bude svet vyzerať o päť rokov. A napriek tomu máme na to vzdelať. Tá nepredvídateľnosť je nevídaná.
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.
A tretia časť je, že sme všetci súhlasili, že deti majú mimoriadne schopnosti inovovať. Včera večer bola Sirena zázrak. Len skúšajúc, čo dokáže. Je výnimočná, no nemyslím si, že je výnimočná v porovnaní s ostatnými deťmi. Máte tu človeka s výnimočným odhodlaním, ktorý má talent. A ja tvrdím, že všetky deti majú náramné talenty. A my nimi mrháme, dosť nemilosrdne.
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.
Chcem hovoriť teda o vzdelávaní a o tvorivosti. Tvrdím, že tvorivosť je rovnako dôležitá ako gramotnosť a mali by sme ju dať na rovnakú úroveň.
(Applause)
(Potlesk) Ďakujem.
Thank you.
(Applause)
That was it, by the way. Thank you very much.
Ďakujem veľmi pekne. (Smiech) Takže, zostalo nám 15 minút.
(Laughter)
So, 15 minutes left.
Takže, narodil som sa...nie. (Smiech)
(Laughter)
"Well, I was born ... "
(Laughter)
Nedávno som počul skvelý príbeh - rád ho poviem -
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 malom dievčatku, ktoré malo hodinu kreslenia. Mala šesť rokov a sedela vzadu a kreslila, a učiteľka povedala, že toto malé dievča len zriedka dávalo pozor, ale na tejto hodine dávalo. Užasnutá učiteľka k nej podišla a povedala: "Čo kreslíš?" A dievča na to: "Kreslím Boha." A učiteľka odvetila: "Ale nikto nevie, ako Boh vyzerá." A dievča povedalo: "O chvíľu uvidia."
(Laughter)
(Smiech)
When my son was four in England -- actually, he was four everywhere, to be honest.
Keď mal môj syn 4 roky v Anglicku -- vlastne, on mal 4 roky všade. (Smiech)
(Laughter)
Všade kam išiel mal toho roku 4 roky.
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?
Hral narodenie Ježíša. Pamätáte si ten príbeh?
(Laughter)
No, it was big, it was a big story. Mel Gibson did the sequel, you may have seen it.
Bol čímsi. Mel Gibson spravil pokračovanie. Možno ste ho videli: "Jasličky II." James však hral Jozefa,
(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."
a my sme boli z toho vzrušení. Považovali sme to za jednu z hlavných rolí. Celú miestnosť sme zaplnili tričkami: "James Robinson JE Jozef!" (Smiech) On nemusel nič povedať, ale tú časť poznáte, keď prídu traja králi. Nesú dary, a donesú zlato, kadidlo a myrhu. Toto sa naozaj stalo. Sedeli sme tam a myslím, že oni nešli v poradí, pretože sme sa potom s tým malým chlapcom rozprávali: "Si spokojný?" A on povedal: "Áno, prečo, bolo to zlé?" Len zamenili poradie. Takže, traja chlapci vošli, štvorroční s uterákmi na hlavách, a položili na zem krabice, a prvý chlapec povedal: "Prinášam ti zlato." A druhý chlapec povedal: "Ja ti prinášam myrhu."
(Laughter)
A tretí chlapec povedal: "Frank poslal toto." (Smiech)
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.
Toto všetko znamená, že deti sa chopia šance. A ak niečo nevedia, skúsia. Je to tak? Neboja sa omylov. Nechcem tým povedať, že mýliť sa je to isté ako byť tvorivý. Ale vieme, že ak nie ste pripravení mýliť sa, nikdy neprídete s niečím originálnym. Ak nie ste pripravení mýliť sa. Kým dospejú, väčšina detí stratí túto schopnosť. Začnú sa báť svojich omylov. A mimochodom, my takto riadime naše firmy. Stigmatizujeme omyly. A riadime národné školstvo, kde omyly sú to najhoršie, čo môžete urobiť. A výsledok je, že vzdelávame ľudí bez ich tvorivých schopností. Picasso raz povedal:
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?
všetky deti sa narodia umelcami. Problém je zostať umelcom ako vyrastáme. Tomuto zapálene verím: nevyrastáme do tvorivosti, odrastáme z nej. Vzdelanie nás od nej odďaľuje. Prečo je to tak? Žil som v Stratforde na Avone až na posledných päť rokov.
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.
Presťahovali sme sa zo Stratfordu do Los Angeles. Viete si predstaviť, aká to bola zmena. (Smiech) Vlastne,
(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?
žili sme v Snitterfielde, na okraji Stratfordu, kde sa narodil Shakespearov otec. Napadlo vás niečo? Mňa áno. Zvyčajne nemyslíte na Shakespearovho otca, že? Pretože nemyslíte na Shakespeara ako na dieťa, že? Sedemročný Shakespeare? Nikdy ma to nenapadlo.. Raz musel mať však sedem rokov. Niekto ho mal v triede na angličtine. Aké otravné to muselo byť?
(Laughter)
How annoying would that be?
(Smiech) "Snaž sa viac." Jeho otec ho posielal do postele
(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!"
hovoriac, "Choď do postele, hneď," "a polož tú ceruzku. A prestaň tak rozprávať. Nikto tomu nerozumie."
(Laughter)
"And stop speaking like that."
(Laughter)
"It's confusing everybody."
(Smiech)
(Laughter)
Presťahovali sme sa zo Stratfordu do 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.
poviem trochu o tom sťahovaní sa. Môj syn nechcel ísť. Mám dve deti. On má teraz 21, moja dcéra má 16. On nechcel ísť do Los Angeles. Páčilo sa mu to, ale mal priateľku v Anglicku. Bola to jeho životná láska, Sarah. Poznal ju mesiac. Ale už mali za sebou štvrté výročie,
(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 --
lebo to je dlhý čas, keď máte 16. V lietadle bol veľmi rozrušený, a povedal: "Nikdy nenájdem také dievča ako Sarah." A nám sa to páčilo, lebo ona bola hlavný dôvod, prečo sme opúšťali krajinu.
(Laughter)
because she was the main reason we were leaving the country.
(Smiech)
(Laughter)
Ale niečo vás ohromí, keď sa presťahujete do Ameriky,
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?
a keď cestujete po svete: každý školský systém na svete má rovnakú hierarchiu predmetov. Každý. Nezáleží na tom, kam idete. Mysleli by ste si, že by to bolo naopak, ale nie je. Na vrchu je matematika a jazyky, potom sú ľudské vedy, a na spodku umenie. Všade na svete. A v každom systéme je hierarchia v umeniach. Umenie a hudba zvyčajne majú vyššie postavenie v škole než divadlo a tanec. Na svete nie je školský systém, kde sa deti každý deň učia tanec rovnako ako sa učíme matematiku. Prečo? Prečo nie? Myslím, že je to dôležité. Myslím, že matematika je veľmi dôležitá ale aj tanec. Deti tancujú stále, ak ich necháme. My všetci tancujeme. Všetci máme telá, nie? Ušlo mi niečo? (Smiech) Stane sa, že
(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.
ako deti rastú, začneme ich učiť progresívne od pása nahor. A potom sa sústredíme na ich hlavy. A trochu viac na jednu stranu. Ak by ste navštívili školstvo ako mimozemšťan,
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.
a spýtali sa: "Načo je štátne vzdelanie?" Museli by ste zhrnúť - ak sa pozriete na výsledok, kto je v tomto naozaj úspešný, kto robí všetko čo má, kto dostane všetky červené body, kto je víťaz -- Museli by ste zhrnúť, že celý cieľ školstva na celom svete je vychovať univerzitných profesorov. To sú ľudia, ktorí sú na vrchu. A ja som jedným bol. (Smiech)
(Laughter)
Mám rád univerzitných profesorov, ale viete,
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.
nemali by sme sa na nich pozerať ako na najvyšší úspech ľudstva. Oni sú len forma života, iná forma života. Sú zvláštni, a hovorím to z náklonnosti k nim. Z mojej skúsenosti je na profesoroch niečo zvláštne. Nie na všetkých, ale zvyčajne žijú vo svojich hlavách. Žijú tam hore a trochu na jednu stranu. Akýmsi doslovným spôsobom sú bez tela. Vnímajú svoje telo ako dopravný prostriedok pre svoju hlavu.
(Laughter)
Don't they? It's a way of getting their head to meetings.
(Smiech) Je to spôsob ako dostať ich hlavy na pracovné stretnutie.
(Laughter)
Ak chcete skutočný dôkaz mimotelového zážitku,
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.
choďte na konferenciu starších akademikov, a v posledný večer usporiadajte diskotéku.
(Laughter)
(Smiech) A uvidíte dospelých mužov a ženy,
And there, you will see it. Grown men and women writhing uncontrollably, off the beat.
ako sa nekontrolovateľne vrtia mimo rytmu,
(Laughter)
čakajúc, kým to skonči, aby mohli ísť domov a písať o tom.
Waiting until it ends, so they can go home and write a paper about it.
Naše školstvo je založené na akademických schopnostiach.
(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.
A to je dôvod. Celý systém bol založený - po celom svete, keď neexistoval žiaden systém štátneho školstva pred 19-tym storočím. Celý boli založený, aby uspokojil potreby industrialiizácie. Takže hierarchia má základ v dvoch myšlienkach.
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.
Poprvé, najlepší pracovníci sú na vrchu. Pravdepodobne ste boli nežne odklonení ako školáci od vecí ktoré ste mali radi, na základe toho, že by ste v tom nikdy nedostali prácu. Je to tak? Nevenuj sa hudbe, nebudeš muzikantom. Nevenuj sa umeniu, nebudeš umelec. Nežná rada - dnes veľmi pomýlená. Celý svet je pohltený revolúciou.
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.
A druhá je akademická schopnosť, ktorá skutočne vládne nad naším pohľadom na inteligenciu, pretože univerzity navrhli systém vo svoj obraz. Ak sa nad tým zamyslíte, celý systém štátneho školstva na svete je dlhý proces univerzitného prijatia. A následok je, že veľa vysoko talentovaných, skvelých, tvorivých ľudí si myslí, že takí nie sú. Pretože veci, v ktorých boli v škole dobrí neboli ocenené, alebo boli stigmatizované. Myslím si, že si nemôžeme dovoliť ísť touto cestou.
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.
Podľa UNESCA v nasledujúcich 30 rokoch vo svete skončí školu viac ľudí ako od začiatku histórie. Viac ľudí, a je to kombinácia všetkého, o čom sme hovorili -- technológia a jej transformačný vplyv na prácu, demografia a obrovský rast populácie.
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.
Naraz diplomy nič neznamenajú. Nie je to pravda? Keď som bol študentom, ak ste mali diplom, mali ste prácu. Ak ste nemali prácu, znamenalo to, že ste ju mať nechceli. Ja som mať nechcel, úprimne. (Smiech) Ale dnes, decká s diplomami
(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.
idú často domov hrať videohry. Pretože potrebujete Magistra, kde ste predtým potrebovali Bakalára a teraz potrebujete doktorát. Je to proces akademickej inflácie. A poukazuje na to, že celá konštrukcia vzdelania sa nám hýbe pod nohami. Musíme radikálne premyslieť, ako sa pozeráme na inteligenciu.
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.
Vieme tri veci o inteligencii. Po prvé, je rozmanitá. Premýšľame o svete všetkými spôsobmi, ktorými ho zažívame. Myslíme vizuálne, myslíme zvukom, kyneticky. Myslíme v abstraktných pojmoch, myslíme v pohybe. Po druhé, inteligencia je dynamická. Ak sa pozriete na interakcie ľudského mozgu, ako sme počuli včera v mnohých prezentáciách, inteligencia je nádherne interaktívna. Mozog je rozdelený do častí. Tvorivosť, ktorú pokladám za proces, ktorý prinesie originálne nápady, ktoré majú význam -- často dosiahneme vďaka vzájomnému pôsobeniu odlišných spôsobov náhľadu na veci.
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.
Mozog je úmyselne -- mimochodom, je tam mostík nervov, ktoré spájajú dve polovice mozgu, nazývaný svorové teleso (corpus callosum). Ženy ho majú hrubšie. Nadväzujúc na Helen zo včerajška, myslím, že to je dôvod prečo ženy môžu lepšie robiť veľa vecí naraz. Pretože môžete, nie? Je na to výskum, ale ja to viem z osobného života. Ak moja žena doma varí, čo sa vďakabohu nestáva často. (Smiech) Nie, ona je dobrá v mnohých veciach,
(Laughter)
ale ak varí,
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 --
rozpráva s niekým cez telefón, hovorí niečo deťom, maľuje strop,
(Laughter)
operuje srdce.
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."
Ak ja varím, dvere sú zavreté, deti sú vonku, telefón je vyvesený, ak ona vstúpi, nahnevám sa. Poviem: "Terry, prosím ťa, snažím sa tu usmažiť vajíčko. Daj mi pokoj." (Smiech)
(Laughter)
"Give me a break."
(Laughter)
Poznáte tú starú filozofiu.
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?"
Ak spadne strom v lese a nikto to nepočuje, stalo sa to? Pamätáte ten starý gaštan? Minule som videl skvelé tričko, na ktorom stálo: "Ak muž povie, čo si myslí v lese, a žiadna žena ho nepočuje, stále je na omyle?" (Smiech)
(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.
A tretia vec o inteligencii je, že je odlišná. Pracujem na novej knihe nazvanej "Zjavenie," ktorá je založená na sérii rozhovorov s ľuďmi o tom, ako objavili svoj talent. Fascinuje ma, ako to ľuďia urobili. Podnietil ma k tomu rozhovor s úžasnou ženou, o ktorej možno veľa ľudí nikdy nepočulo. Volá sa Gillian Lynne. Počuli ste o nej? Niektorí áno. Je choreografka a každý pozná jej dielo. Spravila "Mačky," a "Fantóm Opery." Je skvelá. Kedysi som bol členom rady Kráľovského Baletu v Anglicku, ako môžete vidieť.
(Laughter)
V jeden deň som obedoval s Gillian a povedal som:
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, ako si sa stala tanečnicou?" A ona povedala, že to bolo zaujímavé. Keď bola v škole, bola beznádejná. A zo školy, v 30-tich rokoch, napísali jej rodičom: "Myslíme, že Gillian má poruchu učenia." Nemohla sa sústrediť, vrtela sa. Dnes by povedali, že mala ADHD (porucha sústredenia v dôsledku hyperaktivity). To boli 1930-te roky a ADHD ešte nebola vynájdená. Nebola to dostupná porucha. (Smiech)
(Laughter)
Ľudia nevedeli, že ju môžu mať.
People weren't aware they could have that.
Išla navštíviť odborníka.
(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.
Bola tam so svojou matkou, ktorá ju posadila na stoličku, a ona si sedela na rukách 20 minút, kým sa ten muž rozprával s jej matkou o všetkých problémoch Gillian mala v škole. A na konci všetkého, pretože vyrušovala ľudí, vždy meškala s úlohami, atď. Malé osemročné dieťa -- nakoniec si lekár prisadol k Gillian a povedal: "Gillian, počul som, čo tvoja matka povedala a musím sa s ňou porozprávať osamote." Povedal: "Počkaj tu, hneď sa vrátime." a odišli.
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."
Ako vychádzali z miestnosti, zapol rádio na stole. A keď vyšli z miestnosti, povedal jej matke: "Len sa na ňu pozrite." A v momente, keď vyšli z miestnosti, bola na nohách a hýbala sa do hudby. Niekoľko minút ju pozorovali až sa otočil k jej matke a povedal: "Pani Lynne, Gillian nie je chorá. Ona je tanečnica. Zoberte ju do tanečnej školy."
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.
Povedal som: "Čo sa stalo?" Ona odvetila: "Vzala ma. Nevieš si predstaviť, aké úžasné to bolo. Vstúpili sme do tej miestnosti plnej ľudí ako ja. Ľudí, ktorí nevedeli ticho obsedieť. Ľudí, ktorí sa museli hýbať, aby mohli rozmýšľať." Venovali sa baletu, stepu, džezu, venovali sa moderným tancom. Prijali ju do Kráľovskej Baletnej Školy. Stala sa sólistkou, mala skvelú kariéru v Kráľovskej Baletnej Škole. Ukončila školu a založila si vlastnú spoločnosť - Tanečnú Spoločnosť Gillian Lynne, stretla sa s Andrewom Lloyd Weberom. Je zodpovedná za niektoré z najúspešnejších hudobných divadelných produkcií v histórii, potešila milióny ľudí, a je multi-milionárkou. Niekto iný
(Applause)
by jej možno dal lieky a povedal jej, aby sa utíšila.
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.
Myslím si -- (Potlesk) Al Gore minule rozprával o ekológii, a revolúcii, ktorú začala Rachel Carson. Verím, že naša jediná nádej do budúcna je prijať nový pojem ľudskej ekológie, taký, v ktorom začneme meniť naše chápanie bohatstva ľudských schopností. Náš školský systém nám vydoloval mysle tak, že my dolujeme zo zeme určité suroviny. V budúcnosti nám to bude na nič platné. Musíme premyslieť základné princípy toho, ako vyučujeme naše deti.
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 povedal: "Ak by všetok hmyz zmizol zo Zeme, do 50 rokov by skončil všetok život na Zemi. Ak by ľudia zmizli zo Zeme, do 50 rokov by všetky formy života prekvitali." A má pravdu.
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.
TED oslavuje dar ľudskej predstavivosti. Musíme byť opatrní, aby sme tento dar použili múdro, a aby sme predišli niektorým scenáriám, o ktorých sme hovorili. Dosiahneme to jedine tak, že sa pozrieme na naše tvorivé schopnosti, ich bohatosť, a na naše deti ako nádej, ktorou sú. Našou úlohou je vzdelať ich ucelené bytosti, aby mohli čeliť budúcnosti. Mimochodom, my tú budúcnosť možno neuvidíme, ale oni áno. A našou úlohou je pomôcť im niečo z toho spraviť. Ďakujem veľmi pekne.
Thank you very much.
(Applause)