Good morning. How are you?
Dobro jutro. Kako se počutite? Čudovito je bilo, mar ne?
(Audience) Good.
It's been great, hasn't it? I've been blown away by the whole thing. In fact, I'm leaving.
Mene je kar odnesla cela zadeva. Pravzaprav kar odhajam. (Smeh)
(Laughter)
Tri teme so bile, kajne,
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.
ki so se prepletale skozi konferenco in se nanašajo na to, o čemer bi rad govoril. Prva je izjemen dokaz človeške kreativnosti, ki smo jo videli v vseh predstavitvah in ljudeh tukaj. Že sama raznolikost in razpon le-te. Druga je, da smo postavljeni v položaj, ko nimamo pojma kaj se bo zgodilo v prihodnosti. Nimamo pojma. Brez ideje, kakšen bo razplet.
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.
Zanima me izobraževanje -- pravzaprav, ugotavljam, da vse zanima izobraževanje. Se vam ne zdi tako? To se mi zdi zelo zanimivo. Če si na slavnostni večerji in poveš, da delaš v izobraževanju -- – pravzaprav, če delaš v izobraževanju, roko na srce, nisi pogosto na slavnostnih večerjah.
(Laughter)
If you work in education, you're not asked.
(Smeh) Nisi povabljen.
(Laughter)
In, zanimivo, nikoli nisi povabljen nazaj. To se mi zdi 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?"
Ampak če si, in rečeš nekomu, saj veste, vprašajo te: "Kaj delaš?" ti odgovoriš, da delaš v izobraževanju, lahko opaziš kako pobledijo.
(Laughter)
"O moj bog," saj veste, "zakaj ravno jaz? Na moj edini prosti večer ta teden." (Smeh)
"My one night out all week."
(Laughter)
Ampak, če jih povprašaš po njihovi izobrazbi,
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.
te pribijejo na križ. Ker to je ena od reči, ki je ljudem sveta, imam prav? Kot vera, denar in drugo. Močno me zanima izobraževanje in mislim, da zanima nas vse. Zelo nas zanima, delno zato, ker nas bo ravno izobraževanje privedlo v to prihodnost, ki je ne moremo doumeti. Če pomislite, otroci, ki bodo šli v šolo letos, se bodo upokojevali leta 2065. Nikomur se ne sanja -- navkljub vsej strokovnosti, ki smo jo razkazovali zadnje štiri dni -- kako bo svet videti čez pet let. In vendar naj bi jih izobraževali za takrat. Ta nepredvidljivost, menim, je izjemna.
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.
In tretja stvar, o kateri smo se vsi strinjali, je res izjemna sposobnost, ki jo imajo otroci -- njihove sposobnosti za inoviranje. Kaj hočem reči, Sirena prejšno noč je bila biser, kajne? Že samo videti česa je sposobna. Izjemna je, ampak mislim, da ni, če se tako izrazim, izjema v svetu otrok. Je oseba z neobičajno predanostjo, ki je našla talent. In moje mnenje je, da imajo vsi otroci neverjetne talente. In mi jih precej neusmiljeno zapravljamo.
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.
Torej, želim govoriti o izobraževanju in želim govoriti o kreativnosti. Moja trditev je, da je dandanes kreativnost v izobraževanju prav tako pomembna kot pismenost in bi jo morali obravnavati na isti način.
(Applause)
(Aplavz) Hvala. To je bilo mimogrede to.
Thank you.
(Applause)
That was it, by the way. Thank you very much.
Res lepa hvala. (Smeh) Še petnajst minut je ostalo.
(Laughter)
So, 15 minutes left.
Torej, rodil sem se -- ne. (Smeh)
(Laughter)
"Well, I was born ... "
(Laughter)
Pred kratkim sem slišal čudovito zgodbo -- rad jo govorim --
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 majhni deklici, ki je bila pri likovnem pouku. Imela je šest let in sedela je zadaj in risala. Učiteljica je rekla, da je ta mala deklica le redkokdaj sodelovala, a takrat je. Navdušena je učiteljica šla do nje in rekla: "Kaj boš narisala?" In deklica je rekla: "Rišem sliko Boga." In učiteljica je rekla: "Ampak nihče ne ve, kako Bog izgleda." In deklica je rekla: "Kmalu bodo."
(Laughter)
(Smeh)
When my son was four in England -- actually, he was four everywhere, to be honest.
Ko je bil moj sin star štiri, v Angliji -- pravzaprav je bil štiri povsod, če sem pošten. (Smeh)
(Laughter)
Če smo natančni, je bil star štiri, kamorkoli je šel tisto leto.
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?
Igral je v Jaslicah. Se spomnite zgodbe? No, bila je velika.
(Laughter)
No, it was big, it was a big story. Mel Gibson did the sequel, you may have seen it.
Bila je velika zgodba. Mel Gibson je posnel nadaljevanje. Morda ste ga videli: "Jaslice II." Ampak James je dobil vlogo Jožefa,
(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."
nad čemer smo bili navdušeni. Smatrali smo jo za eno vodilnih vlog. Gledališče smo napolnili z agenti v majicah z napisom: "James Robinson JE Jožef!" (Smeh) Ni mu bilo treba govoriti, in saj se spomnite, ko v zgodbo vstopijo Sveti trije kralji. Prinesejo darila. Prinesejo zlato, kadilo in miro. To se je res zgodilo. Sedeli smo tam in gledali in mislim, da so zamenjali vrstni red, ker, ko smo kasneje govorili s fantom in ga vprašali, "Se ti to zdi v redu?" Rekel je: "Ja, zakaj, je bilo to narobe?" Samo zamenjali so se, to je bilo to. Kakorkoli že, fantje pridejo noter, štiriletniki z brisačami na glavah, odložijo škatle in prvi reče, "Prinašam vam zlato." In drugi reče: "Prinašam vam miro."
(Laughter)
In tretji fant pravi: "Pri nas se je kadilo." (Smeh)
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.
Tem rečem je skupno to, da bodo otroci poizkusili nove reči. Če ne vedo, bodo poizkusili. Imam prav? Ne bojijo se, da bo kaj narobe. Pozor, ne trdim, da je motiti se ista stvar kot biti kreativen. Kar vemo pa je, da če se nisi pripravljen zmotiti, ne boš nikoli naredil nič originalnega. Če se nisi pripravljen zmotiti. In do takrat, ko odrastejo, otroci večinoma izgubijo to pripravljenost. Bojijo se narediti napako. In mimogrede, tako vodimo naša podjetja. Napake ožigosamo. In naši izobraževalni sistemi delujejo tako, da so napake najslabša stvar, ki jo lahko narediš. In rezultat je, da ljudi odučimo kreativnosti. Picasso je nekoč rekel:
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?
rekel rekel je, da se vsi otroci rodijo umetniki. Problem je ostati umetnik, ko odrasteš. V to verjamem z vso strastjo: kreativnosti ne pridobimo z odraščanjem, z odraščanjem jo izgubimo. Ali še raje, odučeni smo kreativnosti. Torej, zakaj je tako? Živel sem v Stradford-on-Avon do pred približno petimi leti.
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.
V bistvu, smo se preselili iz Stradforda v Los Angeles. Torej si lahko predstavljate kako gladek prehod je bil to. (Smeh) Pravzaprav
(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?
smo živeli v kraju Snitterfield, čisto blizu Stratforda, kjer je bil rojen Shakespeareov oče. Vas preseneti ta nova misel? Mene je. Ponavadi ne razmišljaš o Shakespeareu kot človeku z očetom, mar ne? Ker ne razmišljaš o Shakespeareu kot otroku, mar ne? Shakespeare pri sedmih? Jaz nisem nikoli pomislil na to. Ampak, nekoč je bil star sedem. Nekdo ga je učil angleščine, mar ne? Kako neprijetno je moralo biti to?
(Laughter)
How annoying would that be?
(Smeh) "Bodi bolj priden." Oče ga je pošiljal spat,
(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!"
saj veste, rekel mu je, "Takoj pojdi v posteljo," Williamu Shakespeareu, "in odloži svinčnik. In ne govori tako. Vse zmedeš.«
(Laughter)
"And stop speaking like that."
(Laughter)
"It's confusing everybody."
(Smeh)
(Laughter)
Kakorkoli že, preselili smo se iz Stratforda v 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.
in pravzaprav bi rad rekel samo besedo o prehodu. Sin ni hotel iti. Imam dva otroka. On je zdaj 21, hči pa 16. On ni hotel iti v Los Angeles. Všeč mu je bil, a je imel punco v Angliji. To je bila ljubezen njegovega življenja, Sarah. Poznal jo je cel mesec. Pazite, sedaj bi imela četrto obletnico,
(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 --
ker se čas vleče, ko si 16. Kakorkoli že, bil je res razburjen na letalu in je rekel: "Nikoli ne bom našel take punce kot Sarah." In to nam je bilo kar všeč, če sem odkrit, ker je bila ona glavni razlog za naš odhod.
(Laughter)
because she was the main reason we were leaving the country.
(Smeh)
(Laughter)
Ampak nekaj spoznaš, ko se preseliš v Ameriko
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?
in ko potuješ po svetu: vsak izobraževalni sistem na svetu ima isto hierarhijo predmetov. Vsak. Ni važno kam greš. Mislil bi si da bo kaj drugače, pa ni. Na vrhu so matematika in jeziki, potem humanistični predmeti in na dnu umetnost. Povsod na Zemlji. In prav tako je v vsakem sistemu, hierarhija tudi znotraj umetnosti. Grafična umetnost in glasba sta v šolah običajno nad dramatiko in plesom. Na svetu ni izobraževalnega sistema, ki bi vsak dan učil otroke plesati, kot jih učimo matematike. Zakaj? Zakaj ne? Menim, da je precej pomembno. Mislim, da je matematika zelo pomembna, ampak ples tudi. Otroci plešejo ves čas, če jim je dovoljeno, z nami vsemi je tako. Vsi imamo telesa, mar ne? Sem morda izpustil sestanek? (Smeh) Po pravici povedano,
(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.
ko otroci odraščajo, jih progresivno vedno bolj izobražujemo od pasu navzgor. In potem se fokusiramo na njihove glave. In bolj na eno stran. Če bi kot nezemljan opazovali izobraževanje
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.
in bi se vprašali: "Kaj je namen javnega izobraževanja?", mislim, da bi morali zaključiti -- če pogledaš rezultat, kdo res uspeva v njem, kdo opravi vse zadane naloge, kdo zbere vse točke, kdo so zmagovalci -- mislim, da bi morali zaključiti, da je namen javnega izobraževanja po celem svetu izdelovati univerzitetne profesorje. Oni so ljudje, ki so najboljši. In jaz sem bil eden od njih, da veste. (Smeh)
(Laughter)
In rad imam univerzitetne profesorje, ampak veste,
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 bi jih smeli povzdigovati kot najvišjo možno točko človekovega razvoja. So le oblika življenja, ena od oblik življenja. Ampak so precej zanimivi in to pravim iz naklonjenosti do njih. Nekaj zelo zanimivega je na njih po mojih izkušnjah -- ne prav vsi, ampak po večini pa -- živijo v svojih glavah. Živijo tam gori in malce na eno stran. Razteleseni so veste, na nekako dobeseden način. Na svoja telesa gledajo, kot na transport za svoje glave, kajne?
(Laughter)
Don't they? It's a way of getting their head to meetings.
(Smeh) Kot način, da spravijo svoje glave na sestanke.
(Laughter)
Mimogrede, če hočete dokaze o izventelesnih doživetjih,
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.
pojdite na akademsko konferenco izkušenih profesorjev, in se prikažite na zabavi zadnjo noč.
(Laughter)
(Smeh) In tam boste videli odrasle ljudi,
And there, you will see it. Grown men and women writhing uncontrollably, off the beat.
kako brez ritma nekontolirano trzajo,
(Laughter)
čakajoč konec, da gredo lahko domov in napišejo članek o tem.
Waiting until it ends, so they can go home and write a paper about it.
Naš izobraževalni sistem temelji na ideji akademskih sposobnosti.
(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.
In za to je razlog. Sistem je bil izumljen –na svetu, pred 19. stoletjem v resnici ni bilo pravega javnega izobraževalnega sistema. Vsi so bili ustvarjeni za zadovoljevanje potreb indistrualizma. Hierarhija temelji na dveh idejah.
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.
Prva je, da so najpomembnejši uporabni predmeti. Tako so vas v šoli verjetno odvračali od stvari, ki so vam bile všeč, z argumentom, da ne boste nikoli dobili službe na tem področju. Drži? Ne igraj inštrumentov, ne boš postal glasbenik; ne ukvarjaj se z umetnostjo, ne boš umetnik. Nedolžni nasveti – zdaj popolnoma napačni. Ves svet je potopljen v revolucijo.
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.
In druga stvar je akademska sposobnost, ki je prevladala v našem pojmovanju inteligence, ker so univerze zasnovale sistem po svoji podobi. Če pomislite, je celoten sistem javnega izobraževanja po svetu, raztegnjen proces vstopa v univerzo. In posledica je, da mnogo talentiranih, briljantnih, kreativnih ljudi misli, da to niso, ker stvar, ki jim je šla dobro v šoli, ni bila cenjena, ali pa je bila celo stigmatizirana. Menim, da si ne moremo privoščiti, da nadaljujemo na ta način.
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.
Po podatkih UNESCO-a, bo v naslednjih 30 letih po svetu diplomiralo več ljudi, kot jih je od začetka zgodovine. Več ljudi in kombinacija vseh stvari, o katerih smo govorili -- tehnologija, način kako le-ta spreminja delo in demografija in velik porast prebivalstva.
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.
Naenkrat diplome niso več vredne nič. Kaj ni res? Ko sem bil študent, če si imel diplomo, si imel službo. Če nisi imel službe, je bilo to zato, ker je nisi hotel. In če sem odkrit, jaz je nisem hotel. (Smeh) Ampak otroci danes z diplomami se pogosto
(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.
vračajo domov igrat videoigre, ker zdaj potrebuješ magisterij za delo, ki je prej zahtevalo diplomo, in doktorat za drugo. To je proces akademske inflacije. Nakazuje, da se nam celotna struktura izobraževanja trese pod nogami. Temeljito moramo premisliti naše dojemanje inteligence.
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 inteligenci vemo tri stvari. Prvič, raznolika je. O svetu razmišljamo na vse načine, s kakršnimi ga dojemamo. Razmišljamo vizualno, razmišljamo v zvoku, razmišljamo kinestetično. Razmišljamo v abstraktnih izrazih, razmišljamo v gibih. Drugič, inteligenca je dinamična. Če pogledaš interakcije človeških možganov, kot smo slišali v več predstavitvah včeraj, je inteligenca čudovito interaktivna. Možgani niso razdeljeni v oddelke. V bistvu je kreativnost – ki jo definiram kot proces proizvodnje originalnih idej, ki imajo neko vrednost -- bolj pogosto kot ne produkt mešanja več različnih načinov gledanja na 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.
Možgani so namenoma – mimogrede, obe polovici možganov povezuje snop živcev, ki se imenuje corpus callosum. Debelejši je pri ženskah. Če nadaljujem, kjer je ostala Helen včeraj, mislim, da so ženske zato boljše pri opravljanju več stvari naenkrat. Ker ste, mar ne? Cel kup raziskav to potrjuje, ampak jaz to vem iz mojega osebnega življenja. Če moja žena kuha doma -- kar se ne zgodi pogosto. Na srečo. (Smeh) Ampak veste, ona dela -- ne, dobra je pri nekaterih stvareh --
(Laughter)
ampak če kuha, veste,
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 --
govori s ljudmi po telefonu, govori z otroki, barva strop,
(Laughter)
izvaja operacije na odprtem srcu.
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."
Če jaz kuham, so vrata zaprta, otroci so zunaj, telefon je odložen, če vstopi, se razburim. Rečem ji: "Terry, prosim, mar ne vidiš da skušam ocvrti jajce. Daj mi mir" (Smeh)
(Laughter)
"Give me a break."
(Laughter)
Pravzaprav, poznate tisto staro filozofsko vprašanje,
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?"
če drevo pade v gozdu in ga nihče ne sliši, je res padlo? Se spomnite tistega miselnega oreha? Zadnjič sem videl dobro majico, na kateri je pisalo: "Če moški izrazi svoje mnenje v gozdu in ga nobena ženska ne sliši, se še vedno moti?" (Smeh)
(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.
In tretja stvar o inteligenci je, da je izrazita. Ta trenutek pišem novo knjigo, kateri bo naslov "Epiphany" in bo temeljila na seriji intervjujev z ljudmi, o tem, kako so odkrili svoj talent. Očaran sem nad tem, kako so ljudje prišli do tja. Za to knjigo me je v resnici spodbudil pogovor s čudovito žensko, za katero večina ljudi verjetno nikoli ni slišala. Ime ji je Gillian Lynne, ste že slišali zanjo? Nekateri ste. Koreografinja je in vsi poznajo njeno delo. Bila je koreografinja pri mjuziklih "Cats" in "Phantom of the Opera". Čudovita je. Včasih sem bil član upravnega odbora Kraljevega baleta v Angliji, kot lahko vidite.
(Laughter)
Kakorkoli že, ko sva z Gillian nekega dne imela kosilo, sem ji rekel:
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 plesalka?" In odgovorila je, da je bilo zanimivo, ko je bila v šoli, je bila res brezupna. In šola, v 30ih, je pisala njenim staršem pismo: "Mislimo, da ima Gillian motnjo učenja." Ni se mogla koncentrirati ali sedeti pri miru. Mislim, da bi danes temu rekli ADHD. Mar ne bi? Ampak to so bila 30ta, in ADHDja še niso izumili. Ni bil razpoložljivo stanje. (Smeh)
(Laughter)
Ljudje niso vedeli, da ga lahko imajo.
People weren't aware they could have that.
šla je k specialistu. Bila je v s hrastom obloženi sobi.
(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.
Tam je bila s svojo materjo in odpeljali in posadili so jo na stol na koncu sobe, kjer je 20 minut sedela na svojih rokah, medtem ko je nek moški govoril z njeno mamo o vseh problemih, ki jih je Gillian imela v šoli. Na koncu pogovora -- ker je motila ljudi, vedno zamujala z domačo nalogo in tako dalje, majhen otrok pri osmih -- na koncu je doktor prisedel k Gillian in rekel: "Gillian, tvoja mama mi je povedala veliko stvari in sedaj moram zasebno govoriti z njo." Rekel je: "Počakaj tukaj, kmalu bova nazaj." in sta šla ter jo pustila.
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."
Ampak ko sta zapuščala sobo, je prižgal radio na svoji mizi. In ko sta zapustila sobo je rekel njeni mami: "Samo opazujte jo." In v trenutku, ko sta zapustila sobo, pravi, je bila na nogah in plesala. Opazovala sta jo nekaj minut, potem pa se je doktor obrnil k njeni mami in rekel: "Gospa Lynne, Gillian ni bolna, plesalka je. Odpeljite jo v plesno šolo."
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.
Vprašal sem jo: "Kaj se je zgodilo?" Odgovorila je: "Peljala me je. Ne znam povedati, kako čudovito je bilo. Vstopili sva v neko sobo in bila je polna ljudi, kot sem jaz. Ljudi, ki niso mogli sedeti pri miru. Ljudi, ki so se morali premikati, da so mislili." Ki so se morali premikati, da so mislili. Plesali so balet, plesali so step, plesali so jazz, plesali so moderne plese, plesali so sodobne plese. Končno je šla na avdicijo za Kraljevo baletno šolo, postala je solistka in imela čudovito kariero pri Kraljevi baletni šoli. Sčasoma je diplomirala na Kraljevi baletni šoli in ustanovila svoje podjetje, Gillian Lynne Dance Company, spoznala Andrew Lloyd Weberja. Odgovorna je za nekaj najbolj uspešnih produkcij glasbenih predstav v zgodovini, v njenem delu so uživali milijoni in ona je multimilijonarka. Nekdo drug
(Applause)
bi ji morda dal zdravila in ji rekel, naj se pomiri.
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.
Torej mislim -- (Aplavz) Kar mislim, da je na koncu pomembno, je tole: Al Gore je prejšnji večer govoril o ekologiji in revoluciji, ki jo je sprožila Rachel Carson. Verjamem, da je naše edino upanje za prihodnost privzeti novo pojmovanje ekologije čoveka, kjer bomo obnovili naše pojmovanje bogastva človeških zmožnosti. Naš izobraževalni sistem je izkoriščal naše ume tako, kot mi izkoriščamo odprte kope: v iskanju določene surovine. In za prihodnost to ne bo v redu. Premisliti moramo osnovne principe, po katerih izobražujemo svoje otroke.
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.
Obstaja čudovit citat Jonasa Salka, ki je rekel: "Če vsi insekti izginejo z Zemlje, se bo v 50 letih končalo vse življenje na Zemlji. Če ljudje izginejo z Zemlje, bodo v 50 letih vse oblike življenja na Zemlji vzcvetele" In prav ima.
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 proslavlja dar človeške domišlije. Sedaj moramo biti previdni, da bomo modro uporabili ta dar in da se bomo izognili nekaterim scenarijem, o katerih smo govorili. In edini način, da to naredimo je, da prepoznamo naše kreativne sposobnosti kot bogastvo, kakršno dejansko je, in da vidimo naše otroke kot upanje, karšno dejansko so. In naša naloga je, da jih izobrazimo kot celostna bitja, da se bodo lahko soočili s prihodnostjo. Mimogrede -- mi morda ne bomo videli te prihodnosti, ampak oni jo bodo. In naša je, da jim pomagamo narediti nekaj iz nje. Najlepša vam hvala.
Thank you very much.
(Applause)