So, here we go: a flyby of play.
Dakle, krećemo: letimični pogled na igru.
It's got to be serious if the New York Times puts a cover story of their February 17th Sunday magazine about play. At the bottom of this, it says, "It's deeper than gender. Seriously, but dangerously fun. And a sandbox for new ideas about evolution." Not bad, except if you look at that cover, what's missing? You see any adults?
Mora biti ozbiljno ako New York Times, na naslovnici svog tjednika od 17. 2. objavljuje priču o igri. Pri dnu piše: "Složenije je od rodnog pitanja. Izuzetno, ali opasno zabavna. I pješčanik novih ideja o evoluciji." Nije loše, osim ako pogledate naslovnicu, što nedostaje? Vidite li ikog odraslog?
Well, lets go back to the 15th century. This is a courtyard in Europe, and a mixture of 124 different kinds of play. All ages, solo play, body play, games, taunting. And there it is. And I think this is a typical picture of what it was like in a courtyard then. I think we may have lost something in our culture.
No, vratimo se u 15. stoljeće. Ovo je gradski trg u Europi, a tu su i 124 različite vrste igara. Sve dobi, samostalna igra, fizičke i društvene igre, zadirkivanje. To je to. Mislim da je ovo tipična slika gradskog trga iz tog vremena. Mislim da smo možda izgubili nešto u našoj kulturi.
So I'm gonna take you through what I think is a remarkable sequence. North of Churchill, Manitoba, in October and November, there's no ice on Hudson Bay. And this polar bear that you see, this 1200-pound male, he's wild and fairly hungry. And Norbert Rosing, a German photographer, is there on scene, making a series of photos of these huskies, who are tethered. And from out of stage left comes this wild, male polar bear, with a predatory gaze. Any of you who've been to Africa or had a junkyard dog come after you, there is a fixed kind of predatory gaze that you know you're in trouble. But on the other side of that predatory gaze is a female husky in a play bow, wagging her tail. And something very unusual happens. That fixed behavior -- which is rigid and stereotyped and ends up with a meal -- changes. And this polar bear stands over the husky, no claws extended, no fangs taking a look. And they begin an incredible ballet.
Zato ću vas provesti kroz jedno izuzetno događanje. Sjeverno od Churchilla, Manitoba, u listopadu i studenom nema leda na zaljevu Hudson. A ovaj polarni medvjed kojeg vidite, ovaj mužjak od 550 kg divlji je i poprilično gladan. Tu je i Norbert Rosing, njemački fotograf, snima seriju fotografija ovih haskija privezanih lancem. Slijeva stiže mužjak polarnog medvjeda, grabežljivog pogleda. Bili vi u Africi ili s lutalicom za petama, to je taj kruti grabežljivi pogled koji vam kaže da ste u nevolji. A nasuprot tom grabežljivom pogledu je razigrana ženka haskija i maše repom. I događa se nešto jako neobično. To se kruto i stereotipno ponašanje - koje bi završilo obrokom - mijenja. A ovaj polarni medvjed stoji iznad haskija, uvučenih kandži i očnjaka, i promatra. I započinju nevjerojatni balet.
A play ballet. This is in nature: it overrides a carnivorous nature and what otherwise would have been a short fight to the death. And if you'll begin to look closely at the husky that's bearing her throat to the polar bear, and look a little more closely, they're in an altered state. They're in a state of play. And it's that state that allows these two creatures to explore the possible. They are beginning to do something that neither would have done without the play signals. And it is a marvelous example of how a differential in power can be overridden by a process of nature that's within all of us.
Baletom igre. To je u prirodi jače od mesožderske ćudi i inače neminovne kratke borbe do smrti. Vidite haskija kako medvjedu izlaže vrat, a pogledate li pomnije, stanje se mijenja. Oni su u stanju igre. A upravo to stanje omogućava da ovo dvoje istraže moguće. Počinju ono što nijedno od njih ne bi učinilo bez signala za igru. A to je divan primjer kako se razlika u moći može poništiti prirodnim procesom prisutnim u svima nama.
Now how did I get involved in this? John mentioned that I've done some work with murderers, and I have. The Texas Tower murderer opened my eyes, in retrospect, when we studied his tragic mass murder, to the importance of play, in that that individual, by deep study, was found to have severe play deprivation. Charles Whitman was his name. And our committee, which consisted of a lot of hard scientists, did feel at the end of that study that the absence of play and a progressive suppression of developmentally normal play led him to be more vulnerable to the tragedy that he perpetrated. And that finding has stood the test of time -- unfortunately even into more recent times, at Virginia Tech.
Kako sam se počeo time baviti? John je spomenuo da sam se bavio ubojicama, i jesam. Ubojica s tornja Teksaškog sveučilišta otvorio mi je oči, kada smo proučavali njegovo tragično masovno ubojstvo, obzirom na važnost igre. Temeljitim proučavanjem, kod ove smo osobe otkrili da je bio radikalno lišavan igre. Zvao se Charles Whitman. Naš je konzilij, s brojnim renomiranim znanstvenicima, na kraju te studije stekao dojam da su ga odsutnost igre i progresivno potiskivanje razvojno normalne igre, učinili sklonijim počiniti ovu tragediju. A to je otkriće izdržalo test vremena, nažalost, čak i nedavno, na Politehničkom fakultetu u Virginiji.
And other studies of populations at risk sensitized me to the importance of play, but I didn't really understand what it was. And it was many years in taking play histories of individuals before I really began to recognize that I didn't really have a full understanding of it. And I don't think any of us has a full understanding of it, by any means. But there are ways of looking at it that I think can give you -- give us all a taxonomy, a way of thinking about it.
I druga istraživanja rizičnih populacija ukazivala su mi na važnost igranja, no nisam stvarno shvaćao o čemu se radilo. Godinama sam bilježio anamneze igranja pojedinaca, sve dok nisam počeo shvaćati da to doista nisam potpuno razumio. I mislim da to ionako nitko od nas potpuno ne razumije. Ali postoje različita gledišta koja mogu dati taksonomiju, način razmišljanja o tome.
And this image is, for humans, the beginning point of play. When that mother and infant lock eyes, and the infant's old enough to have a social smile, what happens -- spontaneously -- is the eruption of joy on the part of the mother. And she begins to babble and coo and smile, and so does the baby. If we've got them wired up with an electroencephalogram, the right brain of each of them becomes attuned, so that the joyful emergence of this earliest of play scenes and the physiology of that is something we're beginning to get a handle on.
A za ljude je ova slika početna točka igranja. Kad se ta majka i ta beba gledaju oči u oči, i kada beba dovoljno poraste da može komunicirati osmijehom, ono što se spontano događa je provala radosti kod majke. I ona počinje brbljati, gugutati i smiješiti se, kao i beba. Ako bismo ih priključili na elektroencefalogram, njihove bi desne strane mozga postale usklađene, tako da je pojava ove, jedne od najranijih situacija igre, kao i njena fiziologija, nešto što tek počinjemo razumijevati.
And I'd like you to think that every bit of more complex play builds on this base for us humans. And so now I'm going to take you through sort of a way of looking at play, but it's never just singularly one thing.
Za nas ljude svaki se element neke složenije igre nadograđuje na ovu osnovu. Pokazat ću vam jedan od načina gledanja na igru, ali to nikada nije samo jedna jedina stvar.
We're going to look at body play, which is a spontaneous desire to get ourselves out of gravity. This is a mountain goat. If you're having a bad day, try this: jump up and down, wiggle around -- you're going to feel better. And you may feel like this character, who is also just doing it for its own sake. It doesn't have a particular purpose, and that's what's great about play. If its purpose is more important than the act of doing it, it's probably not play.
Osvrnut ćemo se na fizičku igru, koja predstavlja spontanu želju da izbjegnemo ozbiljnost. Ovo je divokoza. Ako imate loš dan, pokušajte ovo: skačite gore-dolje, migoljite se - osjećat ćete se bolje. A možda ćete se osjećati kao ovaj lik, koji to radi bez nekog posebnog razloga. Nema naročitu svrhu, i baš to igru čini sjajnom. Ako je svrha važnija od samog igranja, onda to vjerojatno nije igra.
And there's a whole other type of play, which is object play. And this Japanese macaque has made a snowball, and he or she's going to roll down a hill. And -- they don't throw it at each other, but this is a fundamental part of being playful. The human hand, in manipulation of objects, is the hand in search of a brain; the brain is in search of a hand; and play is the medium by which those two are linked in the best way.
Postoji i potpuno druga vrsta igre, a to je igra objektima. Ovaj je japanski makaki napravio grudu i on ili ona će je zakotrljati niz brdo. Ne bacaju je jedan na drugog, već je ovo osnovni element zaigranosti. U manipulaciji predmetima, ljudska je ruka u potrazi za mozgom, mozak je u potrazi za rukom, a igra je sredstvo koje ih najbolje povezuje.
JPL we heard this morning -- JPL is an incredible place. They have located two consultants, Frank Wilson and Nate Johnson, who are -- Frank Wilson is a neurologist, Nate Johnson is a mechanic. He taught mechanics in a high school in Long Beach, and found that his students were no longer able to solve problems. And he tried to figure out why. And he came to the conclusion, quite on his own, that the students who could no longer solve problems, such as fixing cars, hadn't worked with their hands. Frank Wilson had written a book called "The Hand." They got together -- JPL hired them. Now JPL, NASA and Boeing, before they will hire a research and development problem solver -- even if they're summa cum laude from Harvard or Cal Tech -- if they haven't fixed cars, haven't done stuff with their hands early in life, played with their hands, they can't problem-solve as well. So play is practical, and it's very important.
Laboratorij za mlazni pogon (JPL) je sjajno mjesto. Našli su dva savjetnika, Franka Wilsona i Natea Johnsona. Frank Wilson je neurolog, Nate Johnson je mehaničar. Podučavao je mehaničare u srednjoj školi u Long Beachu i otkrio da njegovi učenici više ne znaju rješavati probleme. I pokušao je shvatiti zašto. Sâm je došao do zaključka, da učenici koji nisu znali rješavati popravke automobila, nisu radili svojim rukama. Frank Wilson je napisao knjigu „Ruka”. Sreli su se - JPL ih je zaposlio. JPL, NASA i Boeing, prije nego što zaposle nekog na rješavanju problema u istraživanju i razvoju, čak i ako je to najbolji student s Harvarda ili Cal Techa - ako nije popravljao automobile, ni u ranoj dobi radio rukama, niti se igrao rukama, nije u stanju problemski razmišljati. Dakle, igra je praktična i vrlo je važna.
Now one of the things about play is that it is born by curiosity and exploration. (Laughter) But it has to be safe exploration. This happens to be OK -- he's an anatomically interested little boy and that's his mom. Other situations wouldn't be quite so good. But curiosity, exploration, are part of the play scene. If you want to belong, you need social play. And social play is part of what we're about here today, and is a byproduct of the play scene.
A igra se rađa iz radoznalosti i istraživanja. (Smijeh) Ali to mora biti sigurno istraživanje. Ovo je u redu - dječak se zanima za anatomiju, a ovo mu je mama. Druge situacije ne bi bile baš tako dobre. No, radoznalost i istraživanje su elementi igranja. Ako želite negdje pripadati, trebate socijalnu igru. Socijalna igra je dio onoga o čemu danas pričamo i nusprodukt je igranja.
Rough and tumble play. These lionesses, seen from a distance, looked like they were fighting. But if you look closely, they're kind of like the polar bear and husky: no claws, flat fur, soft eyes, open mouth with no fangs, balletic movements, curvilinear movements -- all specific to play. And rough-and-tumble play is a great learning medium for all of us. Preschool kids, for example, should be allowed to dive, hit, whistle, scream, be chaotic, and develop through that a lot of emotional regulation and a lot of the other social byproducts -- cognitive, emotional and physical -- that come as a part of rough and tumble play.
Fizička igra. Ove lavice izgledaju kao da se bore. Pogledate li bolje, one su poput polarnog medvjeda i haskija: uvučene kandže, ravno krzno, blag pogled, otvorena usta bez očnjaka, lagani pokreti, izvijeni pokreti - sve je to karakteristično za igru. A fizička igra je za sve nas odlično sredstvo za učenje. Predškolskoj bi djeci trebalo dozvoliti skakanje, udaranje, zviždanje, vrištanje, kaotičnost, a kroz to i razvoj emocionalne kontrole, uz mnoge druge socijalne nusproizvode - kognitivne, emocionalne i fizičke, koji su sastavni dio fizičke igre.
Spectator play, ritual play -- we're involved in some of that. Those of you who are from Boston know that this was the moment -- rare -- where the Red Sox won the World Series. But take a look at the face and the body language of everybody in this fuzzy picture, and you can get a sense that they're all at play.
Igra gledatelja, rituala - katkad sudjelujemo. Vi koji ste iz Bostona, znate da je ovo bio trenutak - rijedak - kad su Red Soxi osvojili World Series. Ali pogledajte samo lica i govor tijela svih na ovoj mutnoj slici, i imat ćete dojam da se svi oni igraju.
Imaginative play. I love this picture because my daughter, who's now almost 40, is in this picture, but it reminds me of her storytelling and her imagination, her ability to spin yarns at this age -- preschool. A really important part of being a player is imaginative solo play.
Igra mašte. Volim ovu sliku moje kćeri, sad joj je gotovo 40. Podsjeća me na njeno pričanje priča i njenu maštu, njeno pripovjedačko umijeće u toj predškolskoj dobi. Zaista važan dio igranja je samostalna imaginativna igra.
And I love this one, because it's also what we're about. We all have an internal narrative that's our own inner story. The unit of intelligibility of most of our brains is the story. I'm telling you a story today about play. Well, this bushman, I think, is talking about the fish that got away that was that long, but it's a fundamental part of the play scene.
A volim i ovu jer isto tako govori o tome tko smo. Svi imamo svoju unutarnju naraciju, našu vlastitu unutarnju priču. Priča je jedinica razumijevanja najvećeg dijela našeg mozga. Danas vam pričam priču o igri. Ovaj Bušman, čini se, govori o ovoliko dugačkoj ribi, a to je osnovni element situacije igre.
So what does play do for the brain? Well, a lot.
Što onda igra čini za mozak? Pa, mnogo toga.
We don't know a whole lot about what it does for the human brain, because funding has not been exactly heavy for research on play. I walked into the Carnegie asking for a grant. They'd given me a large grant when I was an academician for the study of felony drunken drivers, and I thought I had a pretty good track record, and by the time I had spent half an hour talking about play, it was obvious that they were not -- did not feel that play was serious. I think that -- that's a few years back -- I think that wave is past, and the play wave is cresting, because there is some good science.
Dosta toga ne znamo o tome kako djeluje na ljudski mozak, jer financiranje istraživanja na temu igre nije baš izdašno. Išao sam u Carnegie tražiti sredstva. Već su mi kao akademiku bili dali pozamašna sredstva za istraživanje o pijanim vozačima. Premda uvjeren u svoju dobru reputaciju, nakon pola sata pričanja o igri, postalo mi je očito da nisu mislili da je igra dovoljno ozbiljna. Bilo je to prije nekoliko godina, - mislim da je taj val sada iza nas, a val igre je sada na vrhuncu, jer postoje dobri znanstveni dokazi.
Nothing lights up the brain like play. Three-dimensional play fires up the cerebellum, puts a lot of impulses into the frontal lobe -- the executive portion -- helps contextual memory be developed, and -- and, and, and.
Ništa ne potiče mozak tako kao igra. Trodimenzionalna igra aktivira mali mozak, šalje obilje impulsa u frontalni režanj - izvršni dio - pomaže razvoju kontekstualne memorije i još mnogo toga.
So it's -- for me, its been an extremely nourishing scholarly adventure to look at the neuroscience that's associated with play, and to bring together people who in their individual disciplines hadn't really thought of it that way. And that's part of what the National Institute for Play is all about. And this is one of the ways you can study play -- is to get a 256-lead electroencephalogram. I'm sorry I don't have a playful-looking subject, but it allows mobility, which has limited the actual study of play. And we've got a mother-infant play scenario that we're hoping to complete underway at the moment.
Dakle, bila mi je izuzetno korisna stručna avantura istražiti neuroznanost povezanu s igrom i okupiti ljude koji u svojim zasebnim disciplinama o njoj nisu razmišljali na takav način. A o tome se djelomice radi u Nacionalnom institutu za igru. A ovo je jedan od načina kako proučavati igru - nabaviti EEG s 256 elektroda. Žao mi je što nemam razigranog ispitanika, ali ovo omogućuje mobilnost koja ograničava stvarno istraživanje igre. Imamo scenarij igranja majke i djeteta za kojeg se nadamo da ćemo ga uskoro završiti.
The reason I put this here is also to queue up my thoughts about objectifying what play does. The animal world has objectified it. In the animal world, if you take rats, who are hardwired to play at a certain period of their juvenile years and you suppress play -- they squeak, they wrestle, they pin each other, that's part of their play. If you stop that behavior on one group that you're experimenting with, and you allow it in another group that you're experimenting with, and then you present those rats with a cat odor-saturated collar, they're hardwired to flee and hide. Pretty smart -- they don't want to get killed by a cat. So what happens? They both hide out. The non-players never come out -- they die. The players slowly explore the environment, and begin again to test things out. That says to me, at least in rats -- and I think they have the same neurotransmitters that we do and a similar cortical architecture -- that play may be pretty important for our survival.
To navodim zato da posložim svoja razmišljanja o konkretizaciji onoga što igra čini. Životinjski svijet je to konkretizirao. U životinjskom svijetu, ako uzmete štakore, koji se kao mladunci instinktivno igraju, i ne dozvolite im igru -- oni ciče, hrvaju se, ruše jedni druge, to je dio njihove igre. Ako to ponašanje zaustavite u jednoj eksperimentalnoj skupini, a dozvolite ga u drugoj, pa zatim štakorima date ogrlicu natopljenu mirisom mačke, oni će instinktivno pobjeći i sakriti se. Prilično pametno - ne žele da ih ubije mačka. I što se događa? I jedni i drugi se skrivaju. Ne-igrači nikada ne izlaze - ugibaju. Igrači polako istražuju okoliš i počinju ponovno ispitivati stvari. To mi govori, barem kod štakora, a mislim da imaju iste neurotransmitere kao i mi i sličnu strukturu moždane kore, da igra može biti vrlo važna za naše preživljavanje.
And, and, and -- there are a lot more animal studies that I could talk about.
Još je mnogo istraživanja o životinjama o kojima bih mogao govoriti.
Now, this is a consequence of play deprivation. (Laughter) This took a long time -- I had to get Homer down and put him through the fMRI and the SPECT and multiple EEGs, but as a couch potato, his brain has shrunk. And we do know that in domestic animals and others, when they're play deprived, they don't -- and rats also -- they don't develop a brain that is normal.
Evo, ovo je posljedica uskraćivanja igre. (Smijeh) Za ovo je trebalo mnogo vremena. Morao sam savladati Homera, snimiti mu mozak na različite načine, no kao lijenčini, mozak mu se smanjio. A znamo da se kod domaćih životinja i kod ostalih, kad im se uskrati igra, - a i kod štakora - ne razvije se normalan mozak.
Now, the program says that the opposite of play is not work, it's depression. And I think if you think about life without play -- no humor, no flirtation, no movies, no games, no fantasy and, and, and. Try and imagine a culture or a life, adult or otherwise without play. And the thing that's so unique about our species is that we're really designed to play through our whole lifetime.
Dakle, ovaj program kaže da suprotnost igre nije rad, već depresija. Jeste li razmišljali o životu bez igre - bez humora, bez flerta, bez filmova, bez igara, bez mašte ... Zamislite samo neku kulturu ili život, odraslu osobu ili dijete, bez igre. A ono jedinstveno za našu vrstu je upravo to da smo mi zaista stvoreni za cjeloživotnu igru.
And we all have capacity to play signal. Nobody misses that dog I took a picture of on a Carmel beach a couple of weeks ago. What's going to follow from that behavior is play. And you can trust it. The basis of human trust is established through play signals. And we begin to lose those signals, culturally and otherwise, as adults. That's a shame. I think we've got a lot of learning to do.
A svi imamo sposobnost signaliziranja igre. Svi zapamte psa s plaže Carmel snimljenog prije par tjedana. Ono što će uslijediti iz takvog ponašanja je igra. Budite u to sigurni. Signali za igru grade povjerenje. Kao odrasli počinjemo gubiti te signale, kroz kulturu ili drugačije. Šteta. Mislim da imamo još puno za učiti.
Now, Jane Goodall has here a play face along with one of her favorite chimps. So part of the signaling system of play has to do with vocal, facial, body, gestural. You know, you can tell -- and I think when we're getting into collective play, its really important for groups to gain a sense of safety through their own sharing of play signals.
Ovo je razigrano lice Jane Goodall uz jednu od njenih omiljenih čimpanzi. Tako je jedan dio signalnog sustava za igru vezan za glas, lice, tijelo, geste. Može se reći, kada sudjelujemo u zajedničkoj igri, grupama je stvarno važno dobiti osjećaj sigurnosti kroz razmjenu vlastitih signala za igru.
You may not know this word, but it should be your biological first name and last name. Because neoteny means the retention of immature qualities into adulthood. And we are, by physical anthropologists, by many, many studies, the most neotenous, the most youthful, the most flexible, the most plastic of all creatures. And therefore, the most playful. And this gives us a leg up on adaptability.
Možda vam je ova riječ nepoznata, no trebala bi vam biti biološko ime i prezime. Jer neotenija znači zadržavanje kvaliteta nezrelosti i u odrasloj dobi. A mi smo, po mišljenju fizičkih antropologa, prema brojnim studijama, najneoteničniji, najmladalačkiji, najfleksibilniji, najpodatniji od svih bića. I stoga, najrazigraniji. A to nam omogućuje prilagodljivost.
Now, there is a way of looking at play that I also want to emphasize here, which is the play history. Your own personal play history is unique, and often is not something we think about particularly.
Način gledanja na igru koji također želim naglasiti, je anamneza igranja. Vaša osobna povijest igranja je jedinstvena, a često nije nešto o čemu posebno razmišljamo.
This is a book written by a consummate player by the name of Kevin Carroll. Kevin Carroll came from extremely deprived circumstances: alcoholic mother, absent father, inner-city Philadelphia, black, had to take care of a younger brother. Found that when he looked at a playground out of a window into which he had been confined, he felt something different. And so he followed up on it. And his life -- the transformation of his life from deprivation and what one would expect -- potentially prison or death -- he become a linguist, a trainer for the 76ers and now is a motivational speaker. And he gives play as a transformative force over his entire life.
Ovo je knjiga koju je napisao savršeni igrač po imenu Kevin Carroll. Kevin Carroll je odrastao u izuzetno lošim uvjetima: majka alkoholičarka, otac odsutan, iz užeg centra Philadelphije, crnac, morao je brinuti o mlađem bratu. Kad bi gledao na igralište s prozora sobe u kojoj je bio zatočen, osjećao se drugačije. I krenuo je za tim. Njegov život je preobrazba života od siromaštva i vjerojatnog zatvora ili smrti, do lingvista i košarkaškog trenera. A sada je motivacijski govornik. I govori o igri kao transformacijskoj sili kroz cijeli svoj život.
Now there's another play history that I think is a work in progress. Those of you who remember Al Gore, during the first term and then during his successful but unelected run for the presidency, may remember him as being kind of wooden and not entirely his own person, at least in public. And looking at his history, which is common in the press, it seems to me, at least -- looking at it from a shrink's point of view -- that a lot of his life was programmed. Summers were hard, hard work, in the heat of Tennessee summers. He had the expectations of his senatorial father and Washington, D.C. And although I think he certainly had the capacity for play -- because I do know something about that -- he wasn't as empowered, I think, as he now is by paying attention to what is his own passion and his own inner drive, which I think has its basis in all of us in our play history.
Još jedna povijest igranja, koja je, mislim, još uvijek u tijeku. Oni među vama koji se sjećaju Ala Gorea, iz njegovog prvog mandata, a onda iz njegove uspješne, ali izgubljene predsjedničke utrke, mogu ga se sjetiti kao ukočenog i ne baš sasvim svojeg čovjeka, barem ne u javnosti. Čitajući njegovu povijest, prilično dostupnu u novinama, čini mi se, barem s gledišta psihijatra, da je velik dio njegovog života bio programiran. Vrela ljeta u Tennesseeju provodio je u vrlo napornom radu. Njegov otac senator i Washington D.C. od njega su mnogo očekivali. I mada mislim da je sigurno imao razvijenu sposobnost za igru - jer znam ponešto o tome - tad nije imao snagu koju mislim da sad ima, jer sad obraća pažnju na ono što on voli i na vlastite unutrašnje porive, što se, mislim, kod svih nas temelji na našoj povijesti igranja.
So what I would encourage on an individual level to do, is to explore backwards as far as you can go to the most clear, joyful, playful image that you have, whether it's with a toy, on a birthday or on a vacation. And begin to build to build from the emotion of that into how that connects with your life now. And you'll find, you may change jobs -- which has happened to a number people when I've had them do this -- in order to be more empowered through their play. Or you'll be able to enrich your life by prioritizing it and paying attention to it.
Ono što bih volio ohrabriti na razini pojedinca je da posegnete u prošlost, najdalje što možete, za najjasnijom, najradosnijom, najrazigranijom slikom koju imate, bilo da je s igračkom, s rođendana ili praznika. I gradite počevši od te emocije do onog što ima veze s vašim sadašnjim životom. I otkrit ćete, možda i promijeniti posao, što se dogodilo mnogima koje sam naveo da to učine - kako bi se osnažili kroz svoju igru. Ili ćete moći obogatiti svoj život dajući joj prednost i posvećujući joj pažnju.
Most of us work with groups, and I put this up because the d.school, the design school at Stanford, thanks to David Kelley and a lot of others who have been visionary about its establishment, has allowed a group of us to get together and create a course called "From Play to Innovation." And you'll see this course is to investigate the human state of play, which is kind of like the polar bear-husky state and its importance to creative thinking: "to explore play behavior, its development and its biological basis; to apply those principles, through design thinking, to promote innovation in the corporate world; and the students will work with real-world partners on design projects with widespread application."
Većina nas radi s grupama, i ovo iznosim jer Škola D, Škola za dizajn na Stanfordu, zahvaljujući Davidu Kelleyu i mnogim drugima - vizionarima njenog osnivanja, omogućila je da se naša grupa sastane i formira tečaj "Od igre do inovacije". Vidjet ćete da se na ovom tečaju istražuje stanje igre kod ljudi, slično stanju bijelog medvjeda i haskija, i njena važnost u kreativnom razmišljanju: „istražiti ponašanje u igri, njezin razvoj i biološku osnovu; primijeniti te principe kroz promišljanje dizajna, promovirati inovaciju u poslovnom svijetu; a studenti će raditi s partnerima iz stvarnog svijeta na dizajnerskim projektima široke primjene.”
This is our maiden voyage in this. We're about two and a half, three months into it, and it's really been fun. There is our star pupil, this labrador, who taught a lot of us what a state of play is, and an extremely aged and decrepit professor in charge there. And Brendan Boyle, Rich Crandall -- and on the far right is, I think, a person who will be in cahoots with George Smoot for a Nobel Prize -- Stuart Thompson, in neuroscience. So we've had Brendan, who's from IDEO, and the rest of us sitting aside and watching these students as they put play principles into practice in the classroom. And one of their projects was to see what makes meetings boring, and to try and do something about it. So what will follow is a student-made film about just that.
Ovo je naš prvi pothvat u ovom području. Radimo već dva - tri mjeseca i stvarno je zabavno. Tu je naš uzorni učenik, labrador, koji je mnoge od nas naučio što je stanje igre, i izuzetno star i krhki profesor koji sve to vodi. Tu su i Brendan Boyle, Rich Crandall i sasvim desno netko tko će, mislim, s Georgeom Smootom dobiti Nobelovu nagradu - Stuart Thompson, za neuroznanost. Tu smo, dakle, Brendan iz IDEO-a i mi ostali koji sjedimo sa strane i promatramo ove studente kako praktično primjenjuju principe igre u učionici. A jedan je od njihovih projekata bio otkriti što to sastanke čini dosadnima, i pokušati nešto promijeniti. Slijedi studentski film upravo o tome.
Narrator: Flow is the mental state of apparition in which the person is fully immersed in what he or she is doing. Characterized by a feeling of energized focus, full involvement and success in the process of the activity.
Komentator: stanje toka (flow) je mentalno stanje privida u kojem je osoba potpuno zadubljena u ono što radi. Karakteriziraju ga osjećaj žive koncentracije, potpune uključenosti i uspjeha u ostvarivanju te aktivnosti.
An important key insight that we learned about meetings is that people pack them in one after another, disruptive to the day. Attendees at meetings don't know when they'll get back to the task that they left at their desk. But it doesn't have to be that way.
Ključni uvid koji smo stekli u vezi sa sastancima, je da se redaju jedan za drugim, tako da remete dan. Sudionici sastanka ne znaju kad će se vratiti zadatku koji su ostavili za svojim stolom. Ali ne mora biti tako.
(Music)
(Glazba)
Some sage and repeatedly furry monks at this place called the d.school designed a meeting that you can literally step out of when it's over. Take the meeting off, and have peace of mind that you can come back to me. Because when you need it again, the meeting is literally hanging in your closet.
Neki mudri čudaci, na ovom mjestu zvanom Škola D, smislili su sastanak iz kojeg možete doslovno iskoračiti kad se završi. Skinite sastanak i budite spokojni jer mu se možete vratiti. Jer kad vam god bude zatrebao, sastanak doslovno visi u vašem ormaru.
The Wearable Meeting. Because when you put it on, you immediately get everything you need to have a fun and productive and useful meeting. But when you take it off -- that's when the real action happens.
Sastanak kojeg možete nositi. Jer kad ga obučete, istog trena imate sve što vam je potrebno za zabavan, produktivan i koristan sastanak. A kad ga skinete - tad počinje prava akcija.
(Music)
(Glazba)
(Laughter) (Applause)
(Smijeh) (Pljesak)
Stuart Brown: So I would encourage you all to engage not in the work-play differential -- where you set aside time to play -- but where your life becomes infused minute by minute, hour by hour, with body, object, social, fantasy, transformational kinds of play. And I think you'll have a better and more empowered life. Thank You.
Stuart Brown: Stoga bih vas sve ohrabrio da se aktivirate, ne po principu ili rad ili igra, gdje ćete odvojiti malo vremena za igru, već da vam život postane prožet iz minute u minutu, iz sata u sat, fizičkim igrama, igrama objektima, socijalnim igrama, igrama zamišljanja i preobrazbe. I mislim da će vam život biti bolji i ispunjeniji. Hvala.
(Applause)
(Pljesak)
John Hockenberry: So it sounds to me like what you're saying is that there may be some temptation on the part of people to look at your work and go -- I think I've heard this, in my kind of pop psychological understanding of play, that somehow, the way animals and humans deal with play, is that it's some sort of rehearsal for adult activity. Your work seems to suggest that that is powerfully wrong.
John Hockenberry: To što pričate zvuči mi kao da ljudi mogu doći u iskušenje i u osvrtu na vaš rad reći: Prema mom popularno-znanstvenom razumijevanju igre, na neki način, to kako ljudi i životinje postupaju u igri, neka je vrsta pripreme za aktivnost odraslih.” Vaš rad, čini se, sugerira da je to potpuno pogrešno.
SB: Yeah, I don't think that's accurate, and I think probably because animals have taught us that. If you stop a cat from playing -- which you can do, and we've all seen how cats bat around stuff -- they're just as good predators as they would be if they hadn't played. And if you imagine a kid pretending to be King Kong, or a race car driver, or a fireman, they don't all become race car drivers or firemen, you know. So there's a disconnect between preparation for the future -- which is what most people are comfortable in thinking about play as -- and thinking of it as a separate biological entity.
SB: Da, Mislim da to nije točno, vjerojatno zato što su nas, mislim, životinje tome naučile. Ako spriječite mačku da se igra, što možete učiniti, svi smo vidjeli kako se mačke igraju, ostat će jednako dobar grabežljivac kao da se i nije igrala. A ako zamislite dijete koje se pretvara da je King Kong, ili vozač formule ili vatrogasac, neće baš svako postati vozač formule ili vatrogasac. Tako da postoji jaz između pripreme za budućnost - kako većina ljudi razumije igru - i razmišljanja o njoj kao zasebnoj biološkoj cjelini.
And this is where my chasing animals for four, five years really changed my perspective from a clinician to what I am now, which is that play has a biological place, just like sleep and dreams do. And if you look at sleep and dreams biologically, animals sleep and dream, and they rehearse and they do some other things that help memory and that are a very important part of sleep and dreams.
A tu je i moje praćenje životinja u zadnjih 4-5 godina zaista promijenilo moju perspektivu, od liječnika do onog što sam danas, a to je da igra ima svoje biološko mjesto, baš kao što ga imaju spavanje i snovi. I ako na spavanje i snove gledate s biološke strane, životinje spavaju i sanjaju, time ponavljaju i rade stvari koje potiču pamćenje, a to su vrlo važni elementi spavanja i snova.
The next step of evolution in mammals and creatures with divinely superfluous neurons will be to play. And the fact that the polar bear and husky or magpie and a bear or you and I and our dogs can crossover and have that experience sets play aside as something separate. And its hugely important in learning and crafting the brain. So it's not just something you do in your spare time.
Sljedeći evolucijski korak kod sisavaca i stvorenja s "božanskim viškom neurona", bit će igranje. A činjenica da polarni medvjed i haski, ili svraka i medvjed, ili Vi i ja i naši psi, možemo mijenjati uloge i imati takvo iskustvo, izdvajaju igru kao nešto posebno. I ona je izuzetno važna za učenje i razvoj mozga. Tako da to nije tek nešto što radite u slobodno vrijeme.
JH: How do you keep -- and I know you're part of the scientific research community, and you have to justify your existence with grants and proposals like everyone else -- how do you prevent -- and some of the data that you've produced, the good science that you're talking about you've produced, is hot to handle. How do you prevent either the media's interpretation of your work or the scientific community's interpretation of the implications of your work, kind of like the Mozart metaphor, where, "Oh, MRIs show that play enhances your intelligence. Well, let's round these kids up, put them in pens and make them play for months at a time; they'll all be geniuses and go to Harvard." How do you prevent people from taking that sort of action on the data that you're developing?
JH: Znam da u svojoj znanstveno-istraživačkoj zajednici morate svoje postojanje, kao i ostali, opravdati subvencijama i projektima - kako sprečavate da - a neki od znanstveno utemeljenih podataka do kojih ste došli vruća su tema, kako sprečavate interpretaciju Vašeg rada od strane medija, ili interpretaciju implikacija Vašeg rada od strane znanstvene zajednice, nešto poput metafore o Mozartu, gdje se kaže: „Oh, magnetska rezonancija pokazuje da igra potiče inteligenciju. Skupimo djecu, zatvorimo ih u torove, neka se igraju mjesecima, bit će genijalci i upisat će Harvard.” Kako sprečavate ljude da rade takve stvari na osnovu podataka do kojih dolazite?
SB: Well, I think the only way I know to do it is to have accumulated the advisers that I have who go from practitioners -- who can establish through improvisational play or clowning or whatever -- a state of play. So people know that it's there. And then you get an fMRI specialist, and you get Frank Wilson, and you get other kinds of hard scientists, including neuroendocrinologists. And you get them into a group together focused on play, and it's pretty hard not to take it seriously.
SB: Mislim da je jedini način na koji to umijem raditi, okupiti savjetnike koje imam, počevši od praktičara koji su u stanju kroz improvizaciju, ludiranje ili na neki drugi način, dovesti do stanja igre. Tako da ljudi znaju da to postoji. A onda uzmete stručnjaka za fMRI pa uzmete Franka Wilsona, uzmete i druge znanstvenike istraživače, uključujući i neuroendokrinologe, okupite ih u grupu fokusiranu na igru, pa onda postane prilično teško sve to ne shvatiti ozbiljno.
Unfortunately, that hasn't been done sufficiently for the National Science Foundation, National Institute of Mental Health or anybody else to really look at it in this way seriously. I mean you don't hear about anything that's like cancer or heart disease associated with play. And yet I see it as something that's just as basic for survival -- long term -- as learning some of the basic things about public health.
Nažalost, na ovom se ne radi dovoljno da bi Znanstvena fundacija, Institut za mentalno zdravlje ili itko drugi u SAD-u sve to zaista ozbiljno razmotrio. Mislim, nećete čuti da nešto poput raka ili srčanih bolesti ima veze s igrom. Za mene je to dugoročno jednako bitno za preživljavanje, kao i poznavanje elementarnih stvari u vezi s javnim zdravstvom.
JH: Stuart Brown, thank you very much.
JH: Stuart Brown, najljepša Vam hvala.
(Applause)
(Pljesak)