So, here we go: a flyby of play.
Dakle, krećemo: preletećemo preko igre.
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 da je ozbiljno, ako Njujork Tajms, na naslovnici svog nedeljnog magazina od 17. februara, objavljuje priču o igri. Na dnu kaže: "Složenija je od rodnog pitanja. Izuzetno, ali opasno zabavna. Peskarnik za nove ideje o evoluciji." Nije loše, osim ako pogledate naslovnu stranu, šta nedostaje? Vidite li neku odraslu osobu?
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.
Hajde da se vratimo u 15. vek. Ovo je trg u Evropi, i mešavina 124 različite vrste igre. Sva godišta, samostalne i pokretne igre, igre s pravilima, igre zadirkivanja. I eto. Mislim da je ovo tipična slika trga iz tog vremena. Mislim da smo verovatno izgubili nešto u svojoj 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.
Stoga, provešću vas kroz, po mom mišljenju, jedan izuzetan sled. Severno od Čerčila, Manitoba, u oktobru i novembru nema leda u zalivu Hadson, i ovaj beli medved koga vidite, ovaj mužjak od 550 kila, je divalj i prilično gladan. A nemački fotograf Norbert Rosing je prisutan jer pravi seriju fotografija ovih haskija, koji su na povocu. A sa leve strane, na scenu stupa ovaj divlji mužjak belog bedveda, sa predatorskim pogledom. Svako od vas ko je bio u Africi, ili koga je jurio agresivni pas, poznaje taj fiksirani predatorski pogled koji vam govori da ste u nevolji. Ali sa druge strane predatorskog pogleda stoji ženka haskija u razigranom naklonu i maše repom. I dešava se nešto izuzetno neobično. To fiksirano ponašanje, koje je kruto i stereotipno i završava se obrokom, menja se. I ovaj beli medved staje iznad haskija, uvučenih kandži, uvučenih očnjaka, i osmatra. I započinju neverovatni 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.
Igru baleta. Ovo je u prirodi: nadjačava mesoždersku prirodu i ono što bi inače bila kratka borba do smrti. Ako bolje pogledate haskija koji drži svoj vrat prema belom medvedu, i onda pogledate još malo bolje, oni su u izmenjenom stanju. Oni se nalaze u stanju igre. A to je stanje koje omogućava ovim stvorenjima da istraže moguće. Oni počinju da rade nešto što inače nijedan od njih ne bi uradio bez signala za igru. I ovo je čudesan primer kako razlika u moći može biti prevaziđena uz pomoć prirodnog procesa koji je 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 počeo da se bavim ovim? Džon je spomenuo da sam se bavio ubistvima, i jesam. Ubica sa Teksaškog univerziteta mi je otvorio oči, retroaktivno, kada smo proučavali njegovo tragično masovno ubistvo, u vezi sa značajem igre. Temeljnim proučavanjem, kod ove osobe smo otkrili da je bio lišavan igre. Zvao se Čarls Vitman. Naš odbor, sastavljen od velikog broja naučnika, na kraju te studije je stekao utisak da su ga odsustvo igre i postupna zabrana razvojno primerenih igara, učinili podložnijim da počini ovu tragediju. A taj nalaz je izdržao test vremena, nažalost, čak i nedavno, na Politehničkom fakultetu u Virdžiniji.
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 značaj igre, ali nisam shvatao o čemu je tačno reč. Mnogo godina sam beležio individualne istorije igre, pre nego što sam počeo da shvatam da nisam sve to u potpunosti razumeo. I mislim da niko od nas ne razume to u potpunosti. Ali postoje različiti pristupi koji vam mogu - mogu svima nama 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 ova slika, za ljudski rod, predstavlja početnu tačku igre. Kada se ta majka i beba pogledaju u oči, i kada beba dovoljno odraste da ima društveni osmeh, ono što se dogodi, spontano, jeste erupcija sreće od strane majke. Ona počinje da brblja i guče i smeši se, i beba takođe. Ako bismo ih priključili na elektroencefalogram, njihove desne strane mozga bi postale usklađene, tako da je radosno nastajanje ove, jedne od najranijih igrovnih situacija, kao i njena fiziologija, nešto što počinjemo da shvatamo.
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.
I voleo bih da verujete da se svaki element neke složenije igre nadograđuje na ovu osnovu, što se tiče nas ljudi. I zato ću vam sada pokazati jedan od načina gledanja na igru, ali to nikada nije samo jedna, pojedinačna 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.
Osvrnućemo se na igru pokreta, koja predstavlja spontanu želju da izbegnemo ozbiljnost. Ovo je planinska koza. Ako ste loše raspoloženi, probajte ovo: skačite gore-dole, vrtite se - osećaćete se bolje. A možda se budete osećali kao ova osoba, koja to takođe radi tek tako, bez svrhe. Nepostojanje naročite svrhe je ono što igru čini sjajnom. Ako je svrha važnija, onda ta radnja verovatno ne predstavlja igru.
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.
A postoji i potpuno druga vrsta igre, a to je igra sa predmetima. Ovaj japanski makaki je napravio grudvu, a on ili ona će se skotrljati niz brdo. I oni je ne bacaju jedan na drugog, ali to je osnovni element nestašluka. Ljudska ruka, prilikom manipulacije predmetima, jeste ruka u potrazi za mozgom, mozak je u potrazi za rukom, a igra je sredstvo koje ih povezuje na najbolji način.
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.
JPL (Laboratorija za mlazni pogon), čuli smo jutros, JPL je neverovatno mesto. Postavili su dva konsultanta, Frenka Vilsona i Nejta Džonsona, Frenk Vilson je neurolog, Nejt Džonson je mehaničar. Predavao je mehaniku u srednjoj školi u Long Biču, i shvatio je da njegovi učenici više ne umeju da rešavaju probleme. Pokušao je da shvati zašto. Sam je došao do zaključka da učenici koji više ne mogu da reše probleme, kao što je popravka auta, nisu nikad ništa radili rukama. Frenk Vilson je napisao knjigu pod imenom „Ruka”. Sreli su se - JPL ih je zaposlio. Sada JPL, NASA i Boing, pre nego što prime nekog da rešava probleme u istraživanju, čak i ako je u pitanju najbolji student sa Harvarda ili Kal Teka, ukoliko nije popravljao kola, nije radio ništa sa rukama, igrao se rukama, ne ume ni da se bavi rešavanjem problema. Tako da je igra praktična, i veoma 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.
Igra se rađa iz radoznalosti i želje za istraživanjem. (Smeh) Ali istraživanje mora biti bezbedno. Ovo je u redu - ovaj dečak se zanima za anatomiju, a ono je njegova mama. Druge situacije ne bi baš bile dobre. Ali radoznalost, istraživanje, su elementi igrovne situacije. Ako želite da pripadate negde, potrebna vam je društvena igra. Društvena igra je deo onoga o čemu danas pričamo, i predstavlja nusproizvod igrovne situacije.
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.
Borbena igra. Ove lavice, iz daljine izgledaju kao da se bore. Ali ako bolje pogledate, one su poput belog medveda i haskija: uvučene kandže, ravno krzno, blag pogled, otvorena usta bez očnjaka, baletski pokreti, izvijeni pokreti - sve to je karakteristično za igru. A borbena igra je za sve nas odlično sredstvo za učenje. Predškolskoj deci, na primer, treba dozvoliti da rone, udaraju, zvižde, vrište, budu haotični i kroz sve to značajno razviju emocionalnu kontrolu, kao i mnoge druge socijalne nusproizvode - kognitivne, emocionalne i fizičke - koji čine elemente borbene 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 sa gledaocima, ritualna igra - učestvujemo u nekim od ovih. Vi koji ste iz Bostona znate da je ovo bio trenutak - redak - kada su Red Soksi pobedili na šampionatu u bejzbolu. Ali pogledajte lica i govor tela svih ljudi na ovoj mutnoj slici, imaćete utisak 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.
Imaginativna igra. Volim ovu sliku jer je moja ćerka, koja sad ima skoro 40, na ovoj slici, ali me podseća na njeno pričanje priča i njenu maštovitost, njenu sposobnost da ispreda priče u tim godinama - predškolskim. Za igrača je izuzetno važna 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 takođe govori o onom ko smo. Svi mi imamo svoj unutrašnji narativ, to je naša sopstvena unutrašnja priča. Jedinica razumevanja većeg dela našeg mozga, jeste priča. Danas vam pričam priču o igri. Ovaj bušman, mislim, govori o ovoliko velikoj ribi koja je pobegla, ali to je osnovni element igrovne situacije.
So what does play do for the brain? Well, a lot.
Pa šta 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.
Ne znamo mnogo toga o tome šta čini za ljudski mozak, jer finansiranje istraživanja na temu igre nije baš izdašno. Ušao sam u Karnegi tražeći sredstva. Već su mi bili dali velika sredstva kada sam radio istraživanje o pijanim vozačima - prekršiocima zakona, pa sam mislio da sam na dobrom putu, ali posle pola sata moje priče o igri, bilo je očigledno da nisu mislili da je igra dovoljno ozbiljna. Mislim, bilo je to pre nekoliko godina, da je taj talas sada prošao, a da je talas igre na vrhuncu, jer postoje naučno potvrđeni podaci.
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 podstiče mozak tako dobro kao igra. Trodimenzionalna igra pokreće mali mozak, šalje mnogo impulsa u čeoni deo - u izvršni deo - pomaže razvoj 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.
Jedan izuzetno plodan akademski poduhvat za mene bio je ispitivanje igre iz ugla neuronauke, kao i okupljanje ljudi koji u svojim zasebnim disciplinama nisu razmišljali o njoj na taj način. A na tome se, delom, temelji Nacionalni institut za igru. Jedan od načina da izučavate igru, jeste da nabavite elektroencefalogram sa 256 elektroda. Žao mi je što nemam razigranog subjekta, no ovo dozvoljava mobilnost, što ograničava konkretno proučavanje igre. I imamo igrovni scenario majke i deteta, za koji se nadamo da ćemo sada u hodu upotpuniti.
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.
Razlog zbog kojeg sam stavio ovo ovde je takođe i da bih složio svoje misli o konkretizaciji onoga što igra čini. Životinjski svet je to konkretizovao. U životinjskom svetu, ako uzmete pacove, koji su genetski predodređeni za igru u određenom periodu svog ranog života, i zabranite im igru - oni ciče, rvaju se obaraju jedni druge, to je deo njihove igre. Ako prekinete to ponašanje u grupi u kojoj sprovodite eksperiment, a dozvolite ga u drugoj grupi u kojoj sprovodite eksperiment, i onda prinesete tim pacovima ogrlicu natopljenu mirisom mačke, oni su genetski predodređeni da pobegnu i sakriju se. Prilično mudro - oni ne žele da ih mačka ubije. I šta se dogodi? Obe grupe se sakriju. Oni što se nisu igrali, ne izađu nikada - oni uginu. Oni koji su se igrali, polako istražuju okolinu i ponovo počinju da isprobavaju stvari. To mi govori, barem kod pacova - a mislim da imaju iste neurotransmitere kao i mi i sličnu strukturu moždane kore - da igra može biti prilično važna za preživljavanje.
And, and, and -- there are a lot more animal studies that I could talk about.
I postoji još mnogo studija o životinjama o kojim 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 posledica uskraćivanja igre. (Smeh) Za ovo je bilo potrebno mnogo vremena - morao sam da oborim Homera, stavim ga na fMRI i SPECT, kao i na nekoliko EEG-ova, ali pošto je lenjivac, mozak mu se smanjio. I znamo da kod domaćih životinja, i drugih, kad im se uskrati igra, kod njih se - takođe i kod pacova - ne razvije 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.
Program kaže da suprotno od igre nije rad, već je depresija. I mislim da ako razmišljate o životu bez igre, bez humora, bez flerta, bez filmova, bez igara, bez mašte i tako dalje. Pokušajte da zamislite kulturu ili život, odraslu osobu ili dete, bez igre. A ono što je jedinstveno za našu vrstu, jeste da smo mi zaista stvoreni da se igramo čitavog svog života.
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.
I svi imamo sposobnost da signaliziramo igru. Svi zapamte onog psa kog sam slikao na plaži Karmel pre dve nedelje. Ono što će uslediti iz takvog ponašanja je igra. Možete biti uvereni. Osnova poverenja među ljudima se uspostavlja kroz signale za igru. A počinjemo da gubimo te signale, kroz kulturu ili drugačije, kao odrasli. Šteta. Mislim da treba mnogo toga da naučimo.
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.
Džejn Gudal ovde ima razigrano lice pored jedne od svojih omiljenih šimpanzi. Deo signalnog sitstema za igru je vezan za glas, lice, telo, gestove. Znate, može se reći, i mislim, kada učestvujemo u kolektivnoj igri, da je grupama izuzetno važno da steknu osećaj sigurnosti kroz sopstvenu razmenu 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 ne znate ovu reč, ali bi ona trebalo da bude vaše biološko ime i prezime, jer neotenija znači zadržavanje osobina nezrelosti i u odraslom dobu. A mi smo, po mišljenju fizičkih antropologa, kako pokazuju mnogobrojne studije, najneoteničniji, najmladalačkiji, najfleksibilniji, najgipkiji od svih bića. I stoga, najrazigraniji. A to nam pomaže prilikom adaptacije.
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.
Postoji jedan ugao gledanja na igru koji takođe želim ovde da naglasim, a to je istorija igre. Vaša sopstvena istorija igre je jedinstvena. i često nije nešto o čemu naročito 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 vešt igrač po imenu Kevin Kerol. Kevin Kerol je odrastao u izuzetno lošim okolnostima: majka alkoholičar, otac odsutan, unutrašnjost Filadelfije, crnac, morao je da brine o svom mlađem bratu. Shvatio je da kada je gledao na igralište sa prozora sobe u kojoj je bio zatvoren, da se osećao drugačije. I sledio je taj osećaj. I njegov život, transformacija njegovog života od uskraćenosti i onog što se moglo očekivati - potencijalni zatvor ili smrt, postao je lingvista, košarkaški trener i sada je motivacioni govornik. I govori o igri kao sili transformacije njegovog celokupnog života.
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.
Evo još jedne istorije igre za koju mislim da je još uvek u toku. Vi koji se sećate Ala Gora iz njegovog prvog mandata, a onda i iz njegove uspešne, ali izgubljene trke za predsednika, možda ga se sećate kao pomalo drvenog i kao nekog ko baš i nije svoj čovek, barem ne u javnosti. Ispitao sam njegovu istoriju, lako dostupnu u štampi, i čini mi se, barem gledajući iz ugla psihijatra, da je veliki deo njegovog života bio isprogramiran. Leta je provodio radeći izuzetno naporno, na vrelom suncu Tenesija Njegov otac senator i Vašington su mnogo očekivali od njega. I iako mislim da je svakako imao razvijen kapacitet za igru, jer znam ponešto o tome, nije imao snagu koju mislim da sad ima, jer obraća pažnju na svoje sopstvene strasti i sopstvene unutrašnje porive, a što mislim da ima osnovu u svima nama, u našoj istoriji igre.
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 voleo da podstaknem na individualnom nivou jeste da ispitate prošlost, najdalje što možete da odete, do najjasnije, najradosnije, najrazigranije slike koju imate, bilo da je s igračkom, sa rođendana ili raspusta. I krenite od te emocije i povežite je sa svojim sadašnjim životom. I shvatićete, možda promenite i posao, što se desilo mnogima koje sam naveo da to urade kako bi se osnažili kroz svoju igru. Ili ćete biti u mogućnosti da obogatite svoj život dajući tome prioritet 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 sa grupama, i ovo iznosim jer Škola D, Škola za dizajn na Stanfordu, zahvaljujući Dejvidu Keliju i mnogim drugima koji su imali viziju u vezi sa ovom ustanovom, omogućila je da se grupa nas sastane i kreira kurs pod nazivom "Od igre do inovacije". Videćete da se na ovom kursu ispituje stanje igre kod ljudi, koje liči na stanje belog medveda i haskija, i njen značaj u kreativnom mišljenju: „istražiti ponašanje u igri, njen razvoj i biološku osnovu; primeniti te principe kroz razmišljanje o dizajnu, promovisati inovaciju u poslovnom svetu, a studenti će raditi sa partnerima iz stvarnog sveta na dizajnerskim projektima sa širokom primenom.”
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 poduhvat u ovoj oblasti. Oko dva i po, tri meseca smo u tome i veoma je zabavno. Evo našeg glavnog učenika labradora koji je mnoge od nas naučio šta je stanje igre, i izuzetno starog i oronulog profesora. I Brendan Bojl, Rič Krendal i sasvim desno je, mislim, osoba koja će zajedno sa Džordžom Smutom dobiti Nobelovu nagradu - Stjuart Tomson, za neuronauku. Dakle, imamo Brendana, on je iz IDEO-a, i mi ostali koji sedimo sa strane i posmatramo ove studente kako praktično sprovode principe igre u učionici. A jedan od njihovih projekata je bio da vide šta je to što sastanke čini dosadnim, i da pokušaju da učine nešto povodom toga. Ono što će uslediti je 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.
Narator: Tok je mentalno stanje privida u kome je osoba potuno zadubljena u ono što radi. Karakterišu ga osećanje pobuđene koncentracije, potpuna angažovanost i uspeh u procesu određene 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.
Ključna stvar koju smo naučili u vezi sa sastancima, jeste da ih ljudi sabiju jednog za drugim, tako da remete dan. Učesnici sastanka ne znaju kada će se vratiti svom poslu koji su ostavili za stolom. Ali ne mora biti tako.
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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 i često zastrašujući pustinjaci, u ovom mestu zvanom škola D, oblikovali su sastanak iz kog bukvalno možete iskoračiti kada se završi. Skinite sastanak i budite spokojni jer mi se možete vratiti. Jer kad vam opet bude trebao, sastanak bukvalno visi u vašem ormanu.
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.
Nosivi sastanak. Jer kad ga obučete, smesta dobijate sve što vam je potrebno da biste imali zabavan i produktivan i koristan sastanak. Ali kad ga skinete - tada počinje prava akcija.
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(Laughter) (Applause)
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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.
Stjuart Braun: Ohrabrio bih sve vas da se aktivirate, ne po obrascu "rad ili igra", po kom ćete odvojiti malo vremena za igru, već da vam život postane prožet iz minuta u minut, iz sata u sat, telom, sa predmetima, društvenim igrama, igrama imaginacije i transformacije. I mislim da će vam život biti bolji, a vi više osnaženi. Hvala.
(Applause)
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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.
Džon Hokenberi: Meni to što govorite zvuči kao da ljudi mogu doći u iskušenje da se osvrnu na vaš rad i kažu: „Mislim da sam razumeo, prema mom popularno psihološkom shvatanju igre, da nekako, način na koji ljudi i životinje postupaju u igri, da je to neka vrsta pripreme za aktivnosti odraslih.” Čini se da vaš rad sugeriše 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 tačno, verovatno zato što su nas, mislim, životinje naučile tome. Ako sprečite mačku da se igra, što možete da uradite, svi smo videli kako se mačke igraju, ona će i dalje biti tako dobar predator kao i da se nije igrala. A ako zamislite dete koje se pretvara da je King Kong, ili vozač formule ili vatrogasac, neće svako postati vozač formule ili vatrogasac. Tako da postoji jaz između pripreme za budućnost - kako većina ljudi shvata igru - i razmišljanja o njoj kao zasebnoj biološkoj celini.
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 u vezi sa tim je moja potera za životinjama tokom prethodnih 4-5 godina zaista promenila moju perspektivu, od kliničara do onog što sam danas, a to je da igra ima svoje biološko mesto, kao što ga imaju spavanje i snovi. A ako na spavanje i snove gledate sa biološke strane, životinje spavaju i sanjaju, i one isprobavaju i rade druge stvari koje podstiču pamćenje, i ovo su veoma 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.
Sledeći stepen evolucije kod sisara i stvorenja sa „božanstveno visokim brojem neurona”, jeste sposobnost igre. I činjenica da beli medved i haski, ili svraka i medved, ili Vi i ja i naši psi, možemo da menjamo uloge i steknemo to iskustvo, izdvajaju igru kao nešto zasebno. I izuzetno je važna za učenje i vežbanje mozga. Tako da to nije samo nešto što radite u slobodno vreme.
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?
DžH: Kako uspevate - pripadate naučno-istraživačkoj zajednici i morate da pravdate svoj rad subvencijama i projektima kao i svi drugi - kako sprečavate da - a neki od podataka do kojih ste došli, naučno utemeljenih, su vruća tema. Kako sprečavate interpretaciju Vašeg rada od strane medija, ili interpretaciju implikacija Vašeg rada od strane naučne zajednice, nešto poput metafore o Mocartu, gde se kaže: „Oh, magnetna rezonanca pokazuje da igra podstiče inteligenciju. Hajde da skupimo decu, stavimo ih u obore, i navedemo ih da se igraju mesecima, svi će postati genijalci i upisaće Harvard.” Kako sprečavate ljude da rade takve stvari
SB: Well, I think the only way I know to do it
na osnovu podataka do kojih dolazite?
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: Jedini način na koji to znam da radim, jeste da okupim savetnike koje imam, ima ih od praktičara koji umeju da kroz improvizaciju ili ludiranje ili neki drugi način, prizovu stanje igre. Tako ljudi znaju da to postoji. i onda uzmete jednog stručnjaka za fMRI, i uzmete Frenka Vilsona, a uzmete i druge vrste naučnika, uključujući i endokrinologe, i okupite ih u grupu fokusiranu na igru, i onda postane prilično teško da sve to ne shvatite 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.
Na žalost, na ovom se ne radi dovoljno da bi Nacionalna naučna fondacija, Institut za mentalno zdravlje ili bilo ko drugi zaista ozbiljno razmotrio sve to. Mislim, nećete čuti da bilo šta poput raka ili srčanih oboljenja ima veze sa igrom. Ipak, ja to vidim kao nešto što je isto toliko bitno za preživljavanje kao što je učenje osnovnih stvari u vezi sa javnim zdravljem.
JH: Stuart Brown, thank you very much.
DžH: Stjuart Braun, mnogo Vam hvala.
(Applause)
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