This is Tim Ferriss circa 1979 A.D. Age two. You can tell by the power squat, I was a very confident boy -- and not without reason. I had a very charming routine at the time, which was to wait until late in the evening when my parents were decompressing from a hard day's work, doing their crossword puzzles, watching television. I would run into the living room, jump up on the couch, rip the cushions off, throw them on the floor, scream at the top of my lungs and run out because I was the Incredible Hulk. (Laughter) Obviously, you see the resemblance. And this routine went on for some time.
這是 Tim Ferriss,大約公元 1979 年,兩歲。 從我蹲馬步的姿勢,你可以看出我是一個非常有自信的孩子 — 這是有原因的。 當時我有一個非常迷人的例行公事, 我會等到很晚的夜裡 當我的父母在為了一天下來的辛苦工作紓壓, 玩填字遊戲,看電視時。 我會跑進客廳,跳上沙發, 將椅墊掀起來,扔在地上, 尖叫,然後跑走 因為我是神奇綠巨人。 (眾笑) 很顯然的,你可以看出我和他有多相似。 而這個例行公事持續了一段時間。
When I was seven I went to summer camp. My parents found it necessary for peace of mind. And at noon each day the campers would go to a pond, where they had floating docks. You could jump off the end into the deep end. I was born premature. I was always very small. My left lung had collapsed when I was born. And I've always had buoyancy problems. So water was something that scared me to begin with. But I would go in on occasion. And on one particular day, the campers were jumping through inner tubes, They were diving through inner tubes. And I thought this would be great fun. So I dove through the inner tube, and the bully of the camp grabbed my ankles. And I tried to come up for air, and my lower back hit the bottom of the inner tube. And I went wild eyed and thought I was going to die. A camp counselor fortunately came over and separated us. From that point onward I was terrified of swimming. That is something that I did not get over. My inability to swim has been one of my greatest humiliations and embarrassments. That is when I realized that I was not the Incredible Hulk.
我七歲的時候參加了一個夏令營。 我的父母為了耳根清靜不得不這麼做。 每天中午十二點 夏令營的孩子們會去一個 有浮動碼頭的池塘。 你可以從碼頭跳入池塘深處。 我是個早產兒。我一直比別的孩子嬌小。 我剛出生的時候左肺曾經萎陷過。 而我一直有浮力問題。 因此,我一向都很怕水, 但我有時還是會跳進池塘。 有一天, 孩子們在玩跳水穿越游泳圈的遊戲。 他們跳入水面上的游泳圈。我認為這會非常有趣。 所以,我跳水穿入了游泳圈, 而夏令營裡一個愛欺侮人的孩子抓住了我的腳踝。 我試著浮出水面呼吸空氣, 但游泳圈壓卻著我的背。 我殺紅了眼,以為自己就要死了。 幸運的是,一個營地輔導員及時趕過來將我們分開。 從那一刻起,我再也不敢游泳。 我一直無法克服這個恐懼。 身為一個旱鴨子 是我最大的屈辱和難堪。 這使我發覺,我不是神奇綠巨人。
But there is a happy ending to this story. At age 31 -- that's my age now -- in August I took two weeks to re-examine swimming, and question all the of the obvious aspects of swimming. And went from swimming one lap -- so 20 yards -- like a drowning monkey, at about 200 beats per minute heart rate -- I measured it -- to going to Montauk on Long Island, close to where I grew up, and jumping into the ocean and swimming one kilometer in open water, getting out and feeling better than when I went in. And I came out, in my Speedos, European style, feeling like the Incredible Hulk.
但是這個故事有個圓滿的結局。 31 歲時,也就是我現在的年齡, 在 8 月,我利用兩個星期反思游泳 和所有明顯有關游泳方面的問題。 我從像個溺水的猴子似的 以大約每分鐘 200 下的心跳, 游一圈,也就是 20 碼, 我量過, 到從長島的蒙托克 離我的故鄉不遠處 跳進大海,在公開水域游了 1 公里, 上岸,感覺比跳進去的時候更好。 我在岸上,穿著我的 歐式 Speedos 三角游泳褲, 感覺好比神奇綠巨人。
And that's what I want everyone in here to feel like, the Incredible Hulk, at the end of this presentation. More specifically, I want you to feel like you're capable of becoming an excellent long-distance swimmer, a world-class language learner, and a tango champion. And I would like to share my art. If I have an art, it's deconstructing things that really scare the living hell out of me. So, moving onward.
我希望各位在這場演講結束時 都能感覺像是神奇綠巨人 更具體地說,我希望你覺得你有能力 能成為一個優秀的遠距離游泳選手, 一個世界級的語言學生, 和探戈冠軍。 我想在此分享我的藝術。 如果我有一門藝術,那就是解構 那些使我恐懼的事物。 那麼,開始吧。
Swimming, first principles. First principles, this is very important. I find that the best results in life are often held back by false constructs and untested assumptions. And the turnaround in swimming came when a friend of mine said, "I will go a year without any stimulants" -- this is a six-double-espresso-per-day type of guy -- "if you can complete a one kilometer open water race." So the clock started ticking. I started seeking out triathletes because I found that lifelong swimmers often couldn't teach what they did. I tried kickboards. My feet would slice through the water like razors, I wouldn't even move. I would leave demoralized, staring at my feet. Hand paddles, everything. Even did lessons with Olympians -- nothing helped. And then Chris Sacca, who is now a dear friend mine, had completed an Iron Man with 103 degree temperature, said, "I have the answer to your prayers." And he introduced me to the work of a man named Terry Laughlin who is the founder of Total Immersion Swimming. That set me on the road to examining biomechanics.
游泳,第一個原則。 第一原則,這非常重要。 我發現生活中最佳的成果 往往被錯誤的觀念和未經驗證的假設埋沒。 我對游泳的轉變源自於朋友的一句話, 他說:「我可以一年不碰咖啡因」— 這個朋友是每天得喝6杯濃咖啡的人 — 「如果你能完成一公里公開水域游泳賽。」 於是時間開始倒數。 我開始尋覓三項全能的運動員 因為我發現,終身游泳選手往往不會教學。 我試過浮板。 我的腳可以像電動剃刀似的切入水面, 而我仍無法前進。我只能沮喪的盯著自己的腳。 槳狀手板,能試的都試了。 我還跟奧林匹克選手拿課,但都無濟於事。 然後,我現在一個要好的朋友 Chris Sacca, 他在華氏 103 度下已完成了鐵人三項, 對我說:「我有你祈禱的答覆。」 他向我介紹了 Terry Laughlin 的事業 他是 Total Immersion Swimming 的創始人。 這讓我走上研究生物力學的道路。
So here are the new rules of swimming, if any of you are afraid of swimming, or not good at it. The first is, forget about kicking. Very counterintuitive. So it turns out that propulsion isn't really the problem. Kicking harder doesn't solve the problem because the average swimmer only transfers about three percent of their energy expenditure into forward motion. The problem is hydrodynamics. So what you want to focus on instead is allowing your lower body to draft behind your upper body, much like a small car behind a big car on the highway. And you do that by maintaining a horizontal body position. The only way you can do that is to not swim on top of the water. The body is denser than water. 95 percent of it would be, at least, submerged naturally.
如果你害怕或不擅長游泳, 這裡是新的游泳規則。 首先,別管踢水了。這非常違反直覺。 事實證明,推進力並非真正的問題。 踢得更用力解決不了問題 因為普通的游泳者只利用大約百分之三的 能量開支向前移動。 問題是流體動力學。 你應該將重點放在 讓您的下半身拖在您的上半身後面, 就像在高速公路上大型車後面的小型車。 保持橫向體位就能這樣。 而做到這一點唯一的辦法 就是不要游在水面上。 人體的密度比水高。至少百分之九十五 將自然沈在水中。
So you end up, number three, not swimming, in the case of freestyle, on your stomach, as many people think, reaching on top of the water. But actually rotating from streamlined right to streamlined left, maintaining that fuselage position as long as possible. So let's look at some examples. This is Terry. And you can see that he's extending his right arm below his head and far in front. And so his entire body really is underwater. The arm is extended below the head. The head is held in line with the spine, so that you use strategic water pressure to raise your legs up -- very important, especially for people with lower body fat. Here is an example of the stroke. So you don't kick. But you do use a small flick. You can see this is the left extension. Then you see his left leg. Small flick, and the only purpose of that is to rotate his hips so he can get to the opposite side. And the entry point for his right hand -- notice this, he's not reaching in front and catching the water. Rather, he is entering the water at a 45-degree angle with his forearm, and then propelling himself by streamlining -- very important. Incorrect, above, which is what almost every swimming coach will teach you. Not their fault, honestly. And I'll get to implicit versus explicit in a moment. Below is what most swimmers will find enables them to do what I did, which is going from 21 strokes per 20-yard length to 11 strokes in two workouts with no coach, no video monitoring. And now I love swimming. I can't wait to go swimming. I'll be doing a swimming lesson later, for myself, if anyone wants to join me.
因此,第三點,當你游自由式時, 不該像許多人認為的, 游在你的肚子上,往水面上伸手。 而是應該從右邊的流線, 轉向左邊的流線, 維持這樣的機身姿勢越久越好。 讓我們來看看一些例子。這是 Terry。 你可以看到他在他的頭的下前方遠處 伸展出他的右臂。 而他的整個身體確實是在水底下。 延長的手臂在頭的下方。 頭和脊椎成一直線, 這樣您可以利用水壓力提高你的腿 — 這非常重要,尤其是對體脂肪較低的人來說。 這是踢水的例子。 你不用踢。但你得輕微的擺動。 你可以看到這是左部延伸。 然後,你看到他的左腿。 輕微的擺動,而這唯一的目的是 要轉動他的臀部,讓他到另一邊。 看好他右手的切入點, 他並沒有向前伸展抓水。 他的前臂以 45 度角 進入水面, 然後他用流線的姿勢將自己推進 — 這非常重要。 上圖姿勢不正確,但幾乎每個游泳教練都會這樣教你。 老實說這不是他們的錯。 等會兒我會談到內隱和外顯的差別。 以下是大多數游泳選手 發現能讓他們做到我所做到的, 也就是在 20 碼的長度,在兩次訓練, 沒有教練,沒有視頻監控的情況下, 從划 21 下,到划 11 下。 現在我愛游泳。我迫不及待地想去游泳。 我待會要為自己上游泳課,想來的人歡迎加入我。
Last thing, breathing. A problem a lot of us have, certainly, when you're swimming. In freestyle, easiest way to remedy this is to turn with body roll, and just to look at your recovery hand as it enters the water. And that will get you very far. That's it. That's really all you need to know.
最後是呼吸。這是很多人游泳的問題。 在自由式,最簡單的輔助方法是 頭跟著身體轉 用眼睛看著你收回進入水裡的手。 這將對你受益無窮。 就這樣。你需要知道的不過如此。
Languages. Material versus method. I, like many people, came to the conclusion that I was terrible at languages. I suffered through Spanish for junior high, first year of high school, and the sum total of my knowledge was pretty much, "Donde esta el bano?" And I wouldn't even catch the response. A sad state of affairs. Then I transferred to a different school sophomore year, and I had a choice of other languages. Most of my friends were taking Japanese. So I thought why not punish myself? I'll do Japanese. Six months later I had the chance to go to Japan. My teachers assured me, they said, "Don't worry. You'll have Japanese language classes every day to help you cope. It will be an amazing experience." My first overseas experience in fact. So my parents encouraged me to do it. I left.
語言。教材與教法。 我和許多人一樣, 認為自己對學習語言沒天分。 國中和高一,我學西班牙文學得很痛苦。 我西班牙文知識的總和 差不多是:「Donde esta el bano?」 而我連答覆都聽不懂。挺可悲的。 然後,高中二年級我轉到另一個學校。 我可以選擇拿其他語言。我大多數的朋友們都在學日本語。 所以我想,為何不懲罰自己?我也來學日文! 6個月後,有個去日本的機會。 我的老師向我保證,他們說:「別擔心。」 「每天都會有日文課幫助你學習。」 「這會是一個很棒的經驗。」而且會是我第一次出國。 我的父母鼓勵我去。我離鄉。
I arrived in Tokyo. Amazing. I couldn't believe I was on the other side of the world. I met my host family. Things went quite well I think, all things considered. My first evening, before my first day of school, I said to my mother, very politely, "Please wake me up at eight a.m." So, (Japanese) But I didn't say (Japanese). I said, (Japanese). Pretty close. But I said, "Please rape me at eight a.m." (Laughter) You've never seen a more confused Japanese woman. (Laughter)
到達東京。真不可思議。 我簡直不敢相信我在世界另一邊。 我見到了我的寄宿家庭。一切似乎都還不錯, 至少我這麼認為。 我的第一個晚上,在開學前一天, 我對我的寄宿母親,很客氣的說, 「請在 8 點叫醒我」 日文是,(日文) 不過,我並沒有說(日文)。我說,(日文)。相當接近。 但那意思是「請在 8 點強姦我」 (眾笑) 你應該沒有看過一個比她還疑惑的日本女子。 (眾笑)
I walked in to school. And a teacher came up to me and handed me a piece of paper. I couldn't read any of it -- hieroglyphics, it could have been -- because it was Kanji, Chinese characters adapted into the Japanese language. Asked him what this said. And he goes, "Ahh, okay okay, eehto, World History, ehh, Calculus, Traditional Japanese." And so on. And so it came to me in waves. There had been something lost in translation. The Japanese classes were not Japanese instruction classes, per se. They were the normal high school curriculum for Japanese students -- the other 4,999 students in the school, who were Japanese, besides the American. And that's pretty much my response. (Laughter)
我進學校。 一個老師走到我面前,遞給我一張紙。 我一個字也不會念 — 簡直就是象形文字 — 因為那是漢字, 也就是日文從中文借來的文字。 我問他上面寫什麼。 而他說:「啊啊,好的好的,」 「恩恩,世界歷史,恩,微積分,」 「傳統日語。」等等。 這對我來說是一波波的震驚。 有些訊息在翻譯中流失了。 這些日本課本身並不是日語教學。 它們是普通日本學生的高中課程。 是除了我這個美國人以外,另外 4999 個日本學生上的課程。 我的反應差不多是這樣。 (眾笑)
And that set me on this panic driven search for the perfect language method. I tried everything. I went to Kinokuniya. I tried every possible book, every possible CD. Nothing worked until I found this. This is the Joyo Kanji. This is a Tablet rather, or a poster of the 1,945 common-use characters as determined by the Ministry of Education in 1981. Many of the publications in Japan limit themselves to these characters, to facilitate literacy -- some are required to. And this became my Holy Grail, my Rosetta Stone.
這驅使我恐慌的尋找完美的語言學習法。 我試了所有方法。我去了紀伊國屋書店。 我嘗試了所有的書,所有的CD 。 都沒有幫助,直到我發現這個。 這是常用漢字表。這是一張 1945 個 常用漢字的圖表或海報 由教育部於 1981 年所訂。 日本許多出版社都限制自己於這些漢字, 以促進掃盲 — 有些是規定。 而這成為我的聖杯,我的羅賽達石碑。
As soon as I focused on this material, I took off. I ended up being able to read Asahi Shinbu, Asahi newspaper, about six months later -- so a total of 11 months later -- and went from Japanese I to Japanese VI. Ended up doing translation work at age 16 when I returned to the U.S., and have continued to apply this material over method approach to close to a dozen languages now. Someone who was terrible at languages, and at any given time, speak, read and write five or six. This brings us to the point, which is, it's oftentimes what you do, not how you do it, that is the determining factor. This is the difference between being effective -- doing the right things -- and being efficient -- doing things well whether or not they're important.
當我開始專注於這個教材後, 我的學習便突飛猛進。 我最後連朝日新聞都會念, 大約半年後,— 也就是總共11個月後 — 我從日文一年級,到六年級。 16 歲歸國後,我甚至當起翻譯, 並且繼續應用這種教材強與教法的方式, 到現在,學習將近 12 種語言。 一個曾經對語言沒天分的人, 在任何時刻,能說、讀、寫五或六種語言。 這將我們帶到重點, 也就是,往往是你做了什麼, 不是你如何去做,才是決定性因素。 這區別了做事有效 — 做正確的事 — 和做事有效率 — 做好不管是否重要的事。
You can also do this with grammar. I came up with these six sentences after much experimentation. Having a native speaker allow you to deconstruct their grammar, by translating these sentences into past, present, future, will show you subject, object, verb, placement of indirect, direct objects, gender and so forth. From that point, you can then, if you want to, acquire multiple languages, alternate them so there is no interference. We can talk about that if anyone in interested. And now I love languages.
相同的方式也可以用在語法。 在許多試驗後,我研究出這 6 個句子。 請一個講母語的人將這些句子翻譯成過去式,現在式,未來式 好讓你解構他們的語法, 可以讓你分別主詞,副詞,動詞, 間接賓語,直接賓語,性別,等等的位置。 從這起點,如果你想要,你可以 掌握多種語言,不受干擾的隨意轉換使用他們。 如果任何人有興趣,我們可以更深入去聊。 現在,我愛各種語言。
So ballroom dancing, implicit versus explicit -- very important. You might look at me and say, "That guy must be a ballroom dancer." But no, you'd be wrong because my body is very poorly designed for most things -- pretty well designed for lifting heavy rocks perhaps. I used to be much bigger, much more muscular. And so I ended up walking like this. I looked a lot like an orangutan, our close cousins, or the Incredible Hulk. Not very good for ballroom dancing.
交際舞,內隱和外顯 — 這非常重要。 你可能會看著我說:「那傢伙必定是個交際舞者。」 但是,你錯了 因為我的身體構造對大多數的動作來說是很差的設計 — 也許對舉重石頭來說算還不錯。 我曾經比現在壯很多,有更多肌肉。 因此,我走起路來像這樣。 看起來很像猩猩,或人類的表兄弟,或神奇綠巨人 — 對交際舞不是很適用。
I found myself in Argentina in 2005, decided to watch a tango class -- had no intention of participating. Went in, paid my ten pesos, walked up -- 10 women two guys, usually a good ratio. The instructor says, "You are participating." Immediately: death sweat. (Laughter) Fight-or-flight fear sweat, because I tried ballroom dancing in college -- stepped on the girl's foot with my heel. She screamed. I was so concerned with her perception of what I was doing, that it exploded in my face, never to return to the ballroom dancing club. She comes up, and this was her approach, the teacher. "Okay, come on, grab me." Gorgeous assistant instructor. She was very pissed off that I had pulled her from her advanced practice. So I did my best. I didn't know where to put my hands. And she pulled back, threw down her arms, put them on her hips, turned around and yelled across the room, "This guy is built like a god-damned mountain of muscle, and he's grabbing me like a fucking Frenchman," (Laughter) which I found encouraging. (Laughter) Everyone burst into laughter. I was humiliated. She came back. She goes, "Come on. I don't have all day." As someone who wrestled since age eight, I proceeded to crush her, "Of Mice and Men" style. And she looked up and said, "Now that's better." So I bought a month's worth of classes. (Laughter)
2005年,我來到了阿根廷。 我決定去參觀探戈舞課程 — 不打算參與 — 我進去,付了 10 比索, 裡面有 10 個女人兩個男人,通常是很好的比例。 教練說:「你得參與。」 我立刻嚇出了一身冷汗。 (眾笑) 迎戰或落跑的恐懼,因為我在大學曾試圖學過交際舞 — 我用鞋跟踩到舞伴的腳。她尖叫。 我因為實在太關注她對我所作所為的看法 而感到顏面盡失, 再也無法返回交際舞俱樂部。 教練靠近我,而這是她的教法。 「好吧,來吧,抓我。」 絢麗的助理教練。 她對於我打擾到她的進階練習感到非常生氣。 因此,我盡了力。我不知道該把手放在哪裡。 而她向後退,甩下她的手, 雙手插腰,轉過身去對著整個教室大吼, 「這個傢伙全身上下都是該死的肌肉,」 「但他抓我的方式卻像個他媽的法國人。」 (眾笑) 這鼓舞了我。 (眾笑) 每個人都大笑出來。我感到羞辱。 她走回來。說:「來吧。我沒有一整天跟你耗。」 我以身為一個從 8 歲便開始摔跤的人,開始擠壓她, 人鼠之間風格。 她抬起頭說, 「這還差不多。」 因此,我買了一個月課程。 (眾笑)
And proceeded to look at -- I wanted to set competition so I'd have a deadline -- Parkinson's Law, the perceived complexity of a task will expand to fill the time you allot it. So I had a very short deadline for a competition. I got a female instructor first, to teach me the female role, the follow, because I wanted to understand the sensitivities and abilities that the follow needed to develop, so I wouldn't have a repeat of college. And then I took an inventory of the characteristics, along with her, of the of the capabilities and elements of different dancers who'd won championships. I interviewed these people because they all taught in Buenos Aires. I compared the two lists, and what you find is that there is explicitly, expertise they recommended, certain training methods. Then there were implicit commonalities that none of them seemed to be practicing. Now the protectionism of Argentine dance teachers aside, I found this very interesting. So I decided to focus on three of those commonalities. Long steps. So a lot of milongueros -- the tango dancers will use very short steps. I found that longer steps were much more elegant. So you can have -- and you can do it in a very small space in fact. Secondly, different types of pivots. Thirdly, variation in tempo. These seemed to be the three areas that I could exploit to compete if I wanted to comptete against people who'd been practicing for 20 to 30 years.
並著手研究 — 我決定要參賽,因為我想給自己一個期限 帕金森法則, 一件任務表面的複雜性,將會擴張填補你所分配於完成它的時間。 所以,我的競爭期限相當短。 我先請了一個女教練 來教我女舞者的角色,跟隨, 因為我想了解女舞著需要培養出的細心和能力 這樣我才不會重犯大學的錯。 我和我的教練一起 研究了不同贏得總冠軍賽的舞者, 分析並他們的舞蹈特質,能力和要素。 我採訪了這些人,他們都在布宜諾斯艾利斯教課。 我將兩項列表進行比較, 我發現在列表中,他們在專門技術 和某些訓練方式上給予外顯性的建議。 再來就是,他們擁有許多內隱性的共同點, 但他們似乎並不自覺。 阿根廷舞蹈教練的保護主義除外, 我發現這非常有趣。所以,我決定把重點放在三個共同點。 長的舞步。許多米隆加佬 , 探戈舞者,會運用極短的舞步。 我發現,長舞步更優雅。 你可以這樣 — 而且你可以在非常小的空間內做到。 第二,不同類型的軸轉。 第三,節奏上的變化。 這三個方面似乎可以讓我利用 在和有 20 到 30 年練舞經驗的人競爭。
That photo is of the semi-finals of the Buenos Aires championships, four months later. Then one month later, went to the world championships, made it to the semi-final. And then set a world record, following that, two weeks later. I want you to see part of what I practiced. I'm going to jump forward here. This is the instructor that Alicia and I chose for the male lead. His name is Gabriel Misse. One of the most elegant dancers of his generation, known for his long steps, and his tempo changes and his pivots. Alicia, in her own right, very famous. So I think you'll agree, they look quite good together. Now what I like about this video is it's actually a video of the first time they ever danced together because of his lead. He had a strong lead. He didn't lead with his chest, which requires you lean forward. I couldn't develop the attributes in my toes, the strength in my feet, to do that. So he uses a lead that focuses on his shoulder girdle and his arm. So he can lift the woman to break her, for example. That's just one benefit of that. So then we broke it down. This would be an example of one pivot. This is a back step pivot. There are many different types. I have hundreds of hours of footage -- all categorized, much like George Carlin categorized his comedy. So using my arch-nemesis, Spanish, no less, to learn tango.
這張照片是 4 個月後,布宜諾斯艾利斯錦標賽的半決賽。 一個月後,我們來到了世界錦標賽, 進入了半決賽。而兩個星期後, 創造了世界紀錄。 我想讓你看看我所練習的一部分。 這裡我要快轉。 這位教練是 Elysia 和我挑選的男引帶。 他的名字叫 Gabriel Misse。 他是他這一代最優雅的舞者之一, 他以他的長舞步,他的節奏變化 和他的軸轉最出名。 Elysia 也非常有名。 我想你會同意,他們搭當得相當不錯。 我喜歡這部影片的原因在於 這實際上是他們兩位第一次共舞。 因為他的引帶。他的引帶非常有力。 他並不是利用他的胸口引帶,這會使你前傾。 我無法發展我腳趾的特性 讓腳掌更有力,因此我無法這樣做。 而他的引帶將重點放在 他的肩胛帶和他的手臂上。 因此,舉例來說,他可以將女伴舉起來。 這是好處之一。 因此我們做了分析。 這將一個軸轉的例子。 這是一個退步軸轉。 這有許多不同的類型。 我有數百小時的錄像。 所有都分類了,就像喬治卡林 分類他的喜劇。 我利用我最初的挫折, 西班牙語,來學習探戈。
So fear is your friend. Fear is an indicator. Sometimes it shows you what you shouldn't do. More often than not it shows you exactly what you should do. And the best results that I've had in life, the most enjoyable times, have all been from asking a simple question: what's the worst that can happen? Especially with fears you gained when you were a child. Take the analytical frameworks, the capabilities you have, apply them to old fears. Apply them to very big dreams.
恐懼是你的朋友。它是一個指標。 有時它顯示你不該做的事。 往往更多時候,它表明你正應該做的。 而我在生活中得到最好的成果, 最愉快的時光,全源自一個簡單的問題。 最嚴重的後果是什麼? 這尤其針對你在兒時養成的恐懼。 利用你的能力採用這個分析架構 來套用於克服恐懼。 套用於你偉大的夢想。
And when I think of what I fear now, it's very simple. When I imagine my life, what my life would have been like without the educational opportunities that I had, it makes me wonder. I've spent the last two years trying to deconstruct the American public school system, to either fix it or replace it. And have done experiments with about 50,000 students thus far -- built, I'd say, about a half dozen schools, my readers, at this point. And if any of you are interested in that, I would love to speak with you. I know nothing. I'm a beginner. But I ask a lot of questions, and I would love your advice. Thank you very much. (Applause)
而當我現在想我在怕什麼,一切都簡化了。 當我想像我的人生, 如果我沒有相同的教育機會 我的人生會如何, 這使我思考。 我已經花了近兩年來試圖解構 美國公立學校系統, 如何改革或取代它。 迄今為止,已約有 5 萬名學生參加實驗, 我和我的讀者,至今 建立了約六所學校。 如果在坐各位對此感興趣, 我樂意和你討論。 我沒有經驗,是個初學者。 但我勇於問問題,勇於聽取建議。 非常感謝。 (掌聲)