Good morning. How are you?
Dobro jutro.
(Audience) Good.
Kako ste?
It's been great, hasn't it?
(Publika) Dobro.
I've been blown away by the whole thing. In fact, I'm leaving.
Ovo je sjajno, zar ne? Mene je sve ovo raspametilo. U stvari, odlazim.
(Laughter)
(Smeh)
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.
Tri teme se provlače kroz ovu konferenciju, a povezane su sa onim o čemu želim da pričam. Jedna od njih je neverovatna ljudska kreativnost prisutna u svim prezentacijama koje smo čuli i u svim osobama ovde. Raznolikost te kreativnosti i njen opseg. Drugo, ona nas je dovela do toga da nemamo pojma šta će se desiti u budućnosti. Nemamo pojma kako će se sve ovo odviti.
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 interesuje obrazovanje. Zapravo, smatram da obrazovanje interesuje svakoga. Ne mislite li tako? To mi je vrlo zanimljivo. Ako ste na zabavi i kažete da radite u prosveti... Zapravo, ne idete često na zabave.
(Laughter)
(Smeh)
If you work in education, you're not asked.
Ako radite u prosveti,
(Laughter)
niste pozvani.
(Smeh)
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?"
I začudo nikad vas ne pozivaju ponovo, to mi je veoma čudno. Ali ako odete na zabavu i neko vas pita: "Čime se bavite?" i odgovorite da radite u prosveti, vidite kako im lice prebledi. Sigurno misle: "O, bože, zašto baš ja?"
(Laughter)
(Smeh)
"My one night out all week."
"Moj jedini slobodan dan u nedelji."
(Laughter)
(Smeh)
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.
Ali ako ih pitate za njihovo obrazovanje, neće vas pustiti na miru. Jer, to je jedna od stvari koje su duboko u ljudima. Jesam li u pravu? Kao religija, novac i druge stvari. Mene obrazovanje veoma interesuje, a mislim i sve nas. Svi mi imamo ogroman lični interes za obrazovanje, delom zbog toga što upravo obrazovanje treba da nas odvede u tu budućnost koju ne možemo da nazremo. Razmislite - deca koja ove godine kreću u školu penzionisaće se 2065. Niko nema predstavu, uprkos svim stručnim mišljenjima iznetim ovde tokom protekla četiri dana, kako će svet izgledati za pet godina. I pored toga, trebalo bi da ih obrazujemo za taj svet. Stoga, mislim da je nepredvidivost neverovatna.
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 činjenica, oko koje se svi ipak slažemo, da deca poseduju neverovatne kapacitete. Inovativne kapacitete. Serena sinoć je bila pravo čudo, zar ne? Kad samo vidimo šta sve ume. Ona jeste posebna, ali mislim da nije posebna u čitavom detinjstvu. Ona je osoba izuzetne posvećenosti koja je otkrila svoj talenat. Ja smatram da sva deca imaju neverovatne talente. A mi ih traćimo i to 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 da pričam o obrazovanju i želim da pričam o kreativnosti. Smatram da je kreativnost u obrazovanju podjednako važna kao i pismenost, i trebalo bi da joj damo isti status.
(Applause)
(Aplauz)
Thank you.
(Applause)
That was it, by the way. Thank you very much.
E pa, to bi bilo sve.
(Laughter)
Najlepše vam hvala.
So, 15 minutes left.
(Smeh)
(Laughter)
Dakle, još 15 minuta.
(Smeh)
"Well, I was born ... "
Pa, ja sam rođen... ne.
(Laughter)
(Smeh)
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."
Nedavno sam čuo fantastičnu priču - i obožavam da je pričam - o devojčici na času likovnog. Ima šest godina i sedela je u pozadini i crtala. Učiteljica je rekla da ona gotovo nikad nije obraćala pažnju, sem na času likovnog. Učiteljica je bila fascinirana njome, prišla joj je i upitala: "Šta to crtaš?" Devojčica je odgovorila: "Crtam sliku boga." Učiteljica je onda rekla: "Ali niko ne zna kako bog izgleda." I devojčica odgovori: "Sad će da saznaju."
(Laughter)
(Smeh)
When my son was four in England -- actually, he was four everywhere, to be honest.
Kad je moj sin imao četiri godine u Engleskoj... U stvari, iskreno, svuda je imao četiri godine.
(Laughter)
(Smeh)
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?
Kuda god da je išao te godine, imao je četiri godine. Glumio je u komadu o rođenju Isusovom. Sećate li se te priče?
(Laughter)
(Smeh)
No, it was big, it was a big story. Mel Gibson did the sequel, you may have seen it.
Veoma je poznata. Mel Gibson je snimio drugi deo, možda ste ga gledali.
(Laughter)
(Smeh)
"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."
"Rođenje Isusovo II". Džejms je dobio ulogu Josifa. Svi smo bili jako uzbuđeni. Smatrali smo ovu ulogu jednom od glavnih. Našu kuću su preplavili agenti u majicama s natpisom: "Džejms Robinson jeste Josif!" (Smeh) Nije morao ništa da priča, ali znate onaj deo kada dolaze tri mudraca? Sa sobom nose poklone. Donose zlato, tamjan i smirnu. Ovo se zaista desilo. Sedeli smo tamo i mislim da su pomešali red izlaska na scenu, jer smo ga pitali posle toga: "Je l' tebi to OK?" On reče: "Da. Jesam pogrešio?" Jednostavno su se zamenili, to je to. Uglavnom, tri dečaka su došla, četvorogodišnjaci sa peškirima na glavama, spustili su kutije na zemlju i prvi dečak je rekao: "Ja ti donosim zlato." Drugi je rekao: "Ja ti donosim smirnu." A treći je rekao: "Frenk ti šalje ovo."
(Laughter)
(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.
Ovim stvarima je zajedničko to što će deca pokušati. Ako ne znaju nešto, probaće. Nisam li u pravu? Deca se ne plaše da pogreše. Ne želim da kažem da je pogrešiti isto što i biti kreativan. Ali znam da, ako nisi spreman da pogrešiš, nikad nećeš smisliti ništa originalno. Ako nisi spreman da pogrešiš. Dok odrastu, većina dece izgubi tu sposobnost. Plaše se da ne pogreše nešto. A mi ovako upravljamo kompanijama. Osuđujemo greške. I u našem državnom obrazovnom sistemu pogrešiti je najgora stvar koju možeš da uradiš. I kao rezultat toga, mi obrazujemo ljude da izgube svoje kreativne sposobnosti.
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?
Pikaso je jednom rekao da su sva deca rođeni umetnici. Problem je ostati umetnik kroz odrastanje. Ja žarko verujem u sledeće: mi ne razvijamo kreativnost, nego je postepeno gubimo. Ili, obrazovaćemo se da budemo nekreativni. Zašto je to tako?
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.
Do pre pet godina sam živeo u Stratfordu na Avonu. Iz Stratforda smo se preselili u Los Anđeles. Možete misliti kako je to glatka tranzicija bila.
(Laughter)
(Smeh)
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?
U stvari, živeli smo u mestu zvanom Sniterfild, nedaleko od Stratforda, gde je rođen Šekspirov otac. Da li vam neverovatna misao prolazi kroz glavu? Meni da. Ne možete da zamislite da je Šekspir imao oca, zar ne? Zato što ne možete da zamislite Šekspira kao dete. Šekspira kao sedmogodišnjaka. Nikad mi to nije palo na pamet. Jednom je morao imati sedam godina i biti na času engleskog. (Smeh)
(Laughter)
How annoying would that be?
Kako bi to bilo iritirajuće.
(Laughter)
(Smeh)
"Must try harder."
"Mora malo više da se potrudi."
(Laughter)
(Smeh)
Being sent to bed by his dad, to Shakespeare, "Go to bed, now!" To William Shakespeare. "And put the pencil down!"
Otac ga šalje u krevet... "Šekspire, na spavanje. Sad!" Vilijamu Šekspiru.
(Laughter)
"I ostavi tu olovku.
"And stop speaking like that."
I prestani da pričaš tako."
(Laughter)
(Smeh)
"It's confusing everybody."
"Sve nas zbunjuje."
(Laughter)
(Smeh)
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.
Nego... Iz Stratforda smo se preselili u Los Anđeles. Hteo bih da kažem koju reč o preseljenju. Moj sin nije želeo da ide. Imam dvoje dece. Sin sad ima 21 godinu, a ćerka 16. Nije želeo da se preseli u Los Anđeles. Grad mu se dopadao, ali je imao devojku u Engleskoj. To je bila ljubav njegovog života. Sara.
(Laughter)
Znali su se mesec dana.
Mind you, they'd had their fourth anniversary,
(Smeh)
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 --
Molim te, proslavili su četvrtu nedelju zajedno. Jer, to je dosta vremena kad ti je 16. Bio je jako uzrujan u avionu, i rekao je: "Nikad više neću naći devojku kao Sara." Iskreno, mi smo bili prilično zadovoljni tom pomisli.
(Laughter)
(Smeh)
because she was the main reason we were leaving the country.
Ona je bila glavni razlog što odlazimo iz zemlje.
(Laughter)
(Smeh)
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?
Jedna stvar koja vas zapanji kad se preselite u Ameriku i kada putujete po svetu. Svaki obrazovni sistem na Zemlji ima istu hijerarhiju školskih predmeta. Svaki. Kuda god da odete. Pomislili biste da je drugačije, ali nije. Na vrhu su matematika i jezici, zatim društvene nauke i na dnu su umetnosti. Svuda na Zemlji. I u svakom sistemu, takođe postoji hijerarhija umetnosti. Likovno i muzičko obično imaju viši status u školama nego gluma i ples. Na ovoj planeti ne postoji obrazovni sistem u kome deca svakodnevno uče da plešu kao što uče matematiku. Zašto? Zašto ne? Ja mislim da je to vrlo važno. Mislim da je matematika vrlo bitna, ali je i ples. Deca igraju sve vreme ako im dozvolite, svi to radimo. Svi mi imamo tela, zar ne?
(Laughter)
Da nisam propustio neki sastanak?
(Smeh)
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.
Šta se zapravo dešava? Kako deca odrastaju, mi ih obrazujemo od struka naviše. A onda se fokusiramo na njihove glave. I to naginjući blago ka jednoj strani.
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.
Ako biste kao vanzemaljac posetili obrazovni sistem i pitali: "Čemu služi obrazovanje?" Morali biste da zaključite da, ako pogledate ko zapravo dobija nešto time, ko radi sve ono što treba da se odradi, ko dobija sve pozitivne poene, ko su pobednici... Morali biste da zaključite da je cela svrha obrazovanja, širom sveta, stvaranje fakultetskih profesora. Nije li tako? Oni su ti koji su na vrhu. Ja sam bio jedan od njih, pa eto ti sad.
(Laughter)
(Smeh)
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.
Meni su profesori dragi, ali ne treba da ih smatramo vrhuncem ljudskog dostignuća. Oni su samo jedan oblik života. Samo još jedan oblik života. Ali su prilično zanimljivi. I to kažem od milja prema njima. Iz mog iskustva, ima nečeg interesantnog u vezi sa njima. Naravno ne svi, ali najčešće, oni žive u svojim glavama. Oni žive tamo gore i to blago na jednoj strani. Bukvalno rečeno, oni su odvojeni od svojih tela. Oni smatraju da su im tela prevozno sredstvo za njihove glave.
(Laughter)
(Smeh)
Don't they? It's a way of getting their head to meetings.
Zar ne? Oni tako prevoze svoje glave na sastanke.
(Laughter)
(Smeh)
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.
Ako želite pravi dokaz bestelesnog iskustva, idite na konferenciju akademskih profesora i onda poslednje veče banite u diskoteku.
(Laughter)
(Smeh)
And there, you will see it. Grown men and women writhing uncontrollably, off the beat.
I tamo ćete videti, odrasle muškarce i žene kako se nekotrolisao mlate bez imalo ritma.
(Laughter)
(Smeh)
Waiting until it ends, so they can go home and write a paper about it.
Čekajući kraj da odu kući i napišu naučni rad o tome.
(Laughter)
(Smeh)
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.
Naš obrazovni sistem počiva na ideji akademske sposobnosti. Razlog za to postoji. Širom sveta, nije postojao državni sistem obrazovanja pre 19. veka. Svi su oni stvoreni kako bi zadovoljili potrebe industrijalizma. A hijerarhija je zasnovana na dvema idejama.
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.
Prvo, predmeti koji su najkorisniji za posao su na vrhu. Tako da su vas možda dobronamerno odvratili od stvari koje ste voleli u školi kao dete, iz tog razloga što se time nikada nećete baviti. Nije li tako? Mani se muzike, nećeš biti muzičar, mani se umetnosti, nećeš biti umetnik. Dobronameran savet - ali sada poptuno pogrešan. Ceo svet je zahvaćen revolucijom.
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.
Druga je ideja akademska sposobnost, koja je ovladala našim shvatanjem inteligencije jer su univerziteti kreirali sistem prema sebi. Ako porazmislite, čitav sistem javnog obrazovanja širom sveta je razvučen poces prijema na fakultet. I kao posledica toga, mnogi veoma talentovani, brilijantni, kreativni ljudi misle da to nisu, jer ono u čemu su bili dobri u školi nije bilo cenjeno ili je čak žigosano. Ne možemo da dozvolimo da nastavimo ovako.
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.
Kako navodi UNESCO, u narednih 30 godina, više ljudi širom sveta će diplomirati na fakultetima nego što je od početka istorije obrazovanja. Više ljudi. A to je kombinacija svega o čemu smo pričali - tehnologije i njenog transformativnog uticaja na poslove, i demografije i ogromnog porasta u populaciji.
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 više ne vrede ništa. Nije li tako? Kada sam ja bio student, ako imaš diplomu, imaš posao. Ako nemaš posao, to je zato što ne želiš da ga imaš. I iskreno rečeno, ja ga nisam želeo.
(Laughter)
(Smeh)
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.
Ali sada, deca sa diplomama često idu kućama da i dalje igraju video igre, jer ti treba master za posao koji je pre zathevao diplomu, a za ovaj drugi ti sad treba doktorat. To je proces akademske inflacije. I pokazuje da nam se čitava struktura obrazovanja potresa pod nogama. Moramo radikalno da promenimo naše shvatanje inteligencije. O inteligenciji znamo tri stvari.
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.
Prvo, ima je više vrsta. O svetu razmišljamo na sve načine na koje ga i doživljavamo. Razmišljamo vizuelno, razmišljamo slušajući i razmišljamo kinestetički. Razmišljamo na apstraktan način, razmišljamo krećući se. Drugo, inteligencija je dinamična. Ako pogledate interakcije ljudskog mozga, kao što smo čuli juče u mnogim prezentacijama, inteligencija je neverovatno interaktivna. Mozak nije podeljen na odeljke. Zapravo, kreativnost, koju ja definišem kao proces stvaranja originalnih ideja koje imaju vrednost, često nastaje putem interakcije različitih načina sagledavanja 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.
Uzgred, postoji snop nerava koji povezuje moždane hemisfere i zove se korpus kalosum. Deblji je kod žena. Da se nadovežem na Helenin govor od juče, to je verovatno razlog zašto su žene bolje u multitaskingu. Vi zaista jeste bolje u tome, zar ne? Postoje mnoga istraživanja, ali ja to znam iz ličnog iskustva. Kada moja žena sprema ručak, što se ne dešava često... hvala bogu.
(Laughter)
(Smeh)
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 --
Ne, neke stvari joj idu od ruke. Ali ako sprema ručak, ona takođe razgovara preko telefona, priča sa decom, kreči plafon -
(Laughter)
(Smeh)
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."
izvodu operaciju na otvorenom srcu. Kada ja spremam ručak, vrata su zatvorena, deca su napolju, telefon je ugašen, ako ona uđe ja se iznerviram. Kažem: "Teri, molim te, pokušavam da ispržim jaje."
(Laughter)
(Smeh)
"Give me a break."
"Ostavi me."
(Laughter)
(Smeh)
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?"
Znate ono staro filozofsko pitanje: ako drvo padne u šumi i niko to ne čuje, da li se to zaista desilo? Sećate li se tog starog kestena? Nedavno sam video super majicu sa natpisom: "Ako čovek u šumi kaže naglas šta misli i nijedna žena ga ne čuje, da li i dalje nije u pravu?"
(Laughter)
(Smeh)
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.
I treća stvar u vezi sa inteligencijom je njena posebnost. Trenutno radim na novoj knjizi koja se zove "Otkrovenje" i zasnovana je na seriji razgovora sa ljudima o tome kako su otkrili svoje talente. Fasciniran sam time. Knjiga je inspirisana razgovorom sa jednom divnom ženom za koju verovatno većina nikad nije čula. Zove se Džilijan Lin. Da li ste čuli za nju? Neki jesu. Ona je koreograf i svi znaju njen rad. Radila je "Mačke" i "Fantom u operi". Divna je. Ja sam bio u odboru Kraljevskog baleta u Engleskoj,
(Laughter)
kao što možete videti.
(Smeh)
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.
Jednom smo ručali zajedno i upitao sam je kako je postala plesačica. Rekla mi je da je to bilo vrlo interesantno. U školi je bila beznadežan slučaj. Škola je, tridesetih, poslala pismo njenim roditeljima "Mislimo da Džilijan ima problema s učenjem." Nije mogla da se koncentriše, stalno se vrpoljila. Mislim da bi joj danas rekli da ima hiperkinetički poremećaj. Ali to su bile 1930-te, i hiperkinetički poremećaj još nije bio izmišljen. To nije bila moguća dijagnoza.
(Laughter)
(Smeh)
People weren't aware they could have that.
Ljudi nisu znali da to mogu da imaju.
(Laughter)
(Smeh)
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.
Odveli su je da porazgovara sa specijalistom. Hrastovinom obložena prostorija, otišla je tamo s majkom, uveli su je i rekli joj da sedne na stolicu. Sedela je na svojim rukama 20 minuta dok je taj čovek razgovarao s njenom majkom o problemima koje je Džilijan imala u školi. Kako je ometala ostale đake, kako joj je domaći uvek kasnio, itd. Dete od osam godina. Na kraju, doktor je seo kraj Džilijan i rekao: "Džilijan, saslušao sam sve što mi je tvoja majka rekla i želim da s njom nasamo porazgovaram. Sačekaj ovde, mi ćemo brzo da se vratimo." Onda su otišli.
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."
Ali dok su izlazili iz sobe, on je uključio radio na svom stolu. I kada su izašli iz sobe, rekao je njenoj majci: "Samo je posmatrajte." I čim su napustili sobu, ona je odmah bila na nogama, krećući se uz muziku. Posmatrali su je nekoliko minuta i onda se doktor okrenuo k majci i rekao: "Gospođo Lin, Džilijan nije bolesna, ona je plesačica." (Smeh) "Vodite je 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.
"I šta se desilo?", upitao sam je. "Odvela me je. Ne mogu ti opisati kako je bilo divno. Ušla sam u prostoriju koja je bila puna ljudi kao što sam ja. Ljudi koji nisu mogli da miruju. Ljudi koji su morali da se kreću da bi mislili." Koji su morali da se kreću da bi mislili. Igrali su balet, step, džez, moderan, savremeni ples. Na kraju je otišla na audiciju za Kraljevsku baletsku školu. Postala je solista, imala je divnu karijeru u baletskoj školi. Dobila je diplomu Kraljevske baletske škole i osnovala svoj plesni ansambl "Džilijen Lin", upoznala Endrua Lojda Vebera. Zaslužna je za neke od najuspešnijih pozorišnih muzičkih ostvarenja u istoriji, pružila je zavodoljstvo milionima ljudi, i postala je multimilioner. Neko drugi bi joj prepisao lekove i rekao joj da se smiri.
(Applause)
(Aplauz)
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.
Svodi se na ovo: Al Gor je pre neko veče govorio o ekologiji i revoluciji koju je pokrenula Rejčel Karson. Verujem da nam je jedina nada za budućnost da usvojimo novi način poimanja ljudske ekologije, prema kome ćemo rekonstituisati poimanje bogatstva ljudske sposobnosti. Naš obrazovni sistem je oblikovao naš um tako da ogoljujemo Zemlju radi nekog proizvoda. I u budućnosti, to neće moći tako. Mi moramo da razmislimo o osnovnim principima prema kojima obrazujemo našu decu.
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.
Postoji divan citat Džonasa Salka: "Ako bi svi insekti nestali sa Zemlje, za 50 godina, sav život na Zemlji bi izumro. Ako bi svi ljudi nestali sa Zemlje, za 50 godina bi svi oblici života bujali." I u pravu je.
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 slavi dar ljudskog nadahnuća. Mi moramo da pazimo da ga mudro iskoristimo, i da sprečimo neke od stvari o kojima smo ovde govorili. I jedini način da to ostvarimo je da sagledamo svo bogatstvo naših kreativnih kapaciteta i da sagledamo našu decu kroz nadu koju u sebi nose. I naš je zadatak da obrazujemo njihovo celo biće, da bi mogli da se suoče s budućnošću. Mi možda nećemo videti tu budućnost, ali oni će je videti. I naš je posao da im pomognemo da stvore nešto od nje.
Thank you very much.
Hvala vam najlepše.
(Applause)
(Aplauz)