"To do two things at once is to do neither." It's a great smackdown of multitasking, isn't it, often attributed to the Roman writer Publilius Syrus, although you know how these things are, he probably never said it. What I'm interested in, though, is -- is it true? I mean, it's obviously true for emailing at the dinner table or texting while driving or possibly for live tweeting at TED Talk, as well. But I'd like to argue that for an important kind of activity, doing two things at once -- or three or even four -- is exactly what we should be aiming for.
„Raditi dve stvari istovremeno znači ne raditi nijednu.“ To je najveće nipodaštavanje multitaskinga, zar ne, i često se pripisuje rimskom piscu Publiliju Sirijcu, iako znajući kako stvari stoje, najverovatnije to nikad nije rekao. Mene, pak, interesuje da li je to tačno. Mislim, očito je tačno za pisanje mejlova za večerom, kucanje poruka dok vozite ili čak i tvitovanje uživo tokom TED govora. Međutim, želim da tvrdim da je za jednu važnu aktivnost obavljanje dve stvari odjednom - ili tri ili čak četiri - upravo ono čemu bi trebalo da stremimo.
Look no further than Albert Einstein. In 1905, he published four remarkable scientific papers. One of them was on Brownian motion, it provided empirical evidence that atoms exist, and it laid out the basic mathematics behind most of financial economics. Another one was on the theory of special relativity. Another one was on the photoelectric effect, that's why solar panels work, it's a nice one. Gave him the Nobel prize for that one. And the fourth introduced an equation you might have heard of: E equals mc squared. So, tell me again how you shouldn't do several things at once.
Uzmite samo Alberta Ajnštajna. Godine 1905, objavio je četiri izvanredna naučna rada. Jedan od njih je bio o Braunovom kretanju; u njemu su pruženi empirijski dokazi o postojanju atoma i u njemu je izneta osnovna matematika iza većeg dela finansijske ekonomije. Drugi je bio o specijalnoj teoriji relativnosti. Još jedan je bio o fotoelektričnom efektu. Zbog toga solarni paneli funkcionišu; radi se o sjajnom radu. Dodelili su mu Nobelovu nagradu za njega. A četvrti je predstavio jednačinu za koju ste možda čuli: E je jednako mc na kvadrat. Dakle, ponovite mi zašto ne bi trebalo da radite više stvari odjednom.
Now, obviously, working simultaneously on Brownian motion, special relativity and the photoelectric effect -- it's not exactly the same kind of multitasking as Snapchatting while you're watching "Westworld." Very different. And Einstein, yeah, well, Einstein's -- he's Einstein, he's one of a kind, he's unique. But the pattern of behavior that Einstein was demonstrating, that's not unique at all. It's very common among highly creative people, both artists and scientists, and I'd like to give it a name: slow-motion multitasking.
Sad, očito, raditi istovremeno na Braunovom kretanju, specijalnoj relativnosti i fotoelektričnom efektu - nije to baš isti vid multitaskinga poput snepčetovanja dok gledate „Zapadni svet“. Veoma je različito. A Ajnštajn, da, pa, Ajnštajn je - on je Ajnštajn, on je izuzetan, jedinstven. Međutim, obrazac ponašanja koji je Ajnštajn pokazivao uopšte nije jedinstven. Veoma je uobičajen među veoma kreativnim ljudima, kako umetnicima tako i naučnicima, i želeo bih da ga imenujem kao usporeni multitasking.
Slow-motion multitasking feels like a counterintuitive idea. What I'm describing here is having multiple projects on the go at the same time, and you move backwards and forwards between topics as the mood takes you, or as the situation demands. But the reason it seems counterintuitive is because we're used to lapsing into multitasking out of desperation. We're in a hurry, we want to do everything at once. If we were willing to slow multitasking down, we might find that it works quite brilliantly. Sixty years ago, a young psychologist by the name of Bernice Eiduson began a long research project into the personalities and the working habits of 40 leading scientists. Einstein was already dead, but four of her subjects won Nobel prizes, including Linus Pauling and Richard Feynman. The research went on for decades, in fact, it continued even after professor Eiduson herself had died. And one of the questions that it answered was, "How is it that some scientists are able to go on producing important work right through their lives?" What is it about these people? Is it their personality, is it their skill set, their daily routines, what?
Usporeni multitasking deluje kao nelogična zamisao. Ono što ovde opisujem je kada imate više projekata koji se istovremeno odvijaju i krećete se napred i nazad između tema prema raspoloženju ili u skladu sa situacijom. Međutim, razlog zašto deluje nelogično je zato što smo navikli da zapadamo u multitasking iz očaja. Žuri nam se, želimo sve da obavimo odjednom. Kad bismo bili spremni da usporimo sa multitaskingom, otkrili bismo da deluje krajnje fantastično. Pre šezdeset godina, mlada psihološkinja po imenu Bernis Ejduson započela je dug istraživački projekat o karakteru i radnim navikama 40 vodećih naučnika. Ajnštajn je već bio mrtav, ali četiri njena ispitanika su bili Nobelovci, uključujući Lajnusa Polinga i Ričarda Fejnmana. Istraživanje je potrajalo decenijama, zapravo je nastavljeno čak nakon smrti i same profesorice Ejduson. A jedno od pitanja na koje je odgovorilo bilo je: „Kako to da neki naučnici mogu iznova da stvaraju važna dela tokom čitavih njihovih života?“ O čemu se radi kod ovih ljudi? Da li je u pitanju njihov karakter, da li to skup njihovih veština, njihove svakodnevne rutine, šta?
Well, a pattern that emerged was clear, and I think to some people surprising. The top scientists kept changing the subject. They would shift topics repeatedly during their first 100 published research papers. Do you want to guess how often? Three times? Five times? No. On average, the most enduringly creative scientists switched topics 43 times in their first 100 research papers. Seems that the secret to creativity is multitasking in slow motion. Eiduson's research suggests we need to reclaim multitasking and remind ourselves how powerful it can be. And she's not the only person to have found this. Different researchers, using different methods to study different highly creative people have found that very often they have multiple projects in progress at the same time, and they're also far more likely than most of us to have serious hobbies. Slow-motion multitasking among creative people is ubiquitous. So, why?
Pa, obrazac koji je isplivao je bio jasan, i, verujem, nekim ljudima iznenađujući. Vrhunski naučnici su stalno menjali temu. Stalno bi iznova menjali teme tokom prvih 100 objavljenih istraživačkih radova. Želite li da pogađate koliko često? Tri puta? Pet puta? Ne. U proseku, većina dosledno kreativnih naučnika menjala je teme 43 puta u prvih 100 istraživačkih radova. Čini se da je tajna kreativnosti u multitaskingu, ali usporenom. Ejdusino istraživanje nagoveštava da moramo da ovladamo multitaskingom i da se podsetimo koliko moćan može da bude. A ona nije jedina osoba koja je ovo otkrila. Različiti istraživači, koristeći različite metode za izučavanje različitih visoko kreativnih ljudi su otkrili da oni veoma često imaju višestruke projekte u toku istovremeno, a takođe su daleko skloniji od većine nas tome da imaju ozbiljne hobije. Usporeni multitasking je sveprisutan među kreativnim ljudima. Dakle, zašto?
I think there are three reasons. And the first is the simplest. Creativity often comes when you take an idea from its original context and you move it somewhere else. It's easier to think outside the box if you spend your time clambering from one box into another. For an example of this, consider the original eureka moment. Archimedes -- he's wrestling with a difficult problem. And he realizes, in a flash, he can solve it, using the displacement of water. And if you believe the story, this idea comes to him as he's taking a bath, lowering himself in, and he's watching the water level rise and fall. And if solving a problem while having a bath isn't multitasking, I don't know what is.
Smatram da postoje tri razloga. A prvi je najjednostavniji. Kreativnost često nastaje kada izvadite ideju iz njenog prvobitnog konteksta i izmestite je drugde. Lakše je razmišljati izvan kalupa kada provodite vreme pentrajući se iz jednog kalupa u drugi. Kao primer za ovo, uzmite prvobitni eureka momenat. Arhimed - mučio se s teškim problemom. I uvideo je, u trenutku, da može da ga reši upotrebom zapremine vode. A ako verujete predanju, ova ideja mu se javila dok se kupao; spuštao se u vodu i posmatrao kako se nivo vode podiže i pada. A ako rešavanje problema tokom kupanja nije multitasking, onda ne znam šta jeste.
The second reason that multitasking can work is that learning to do one thing well can often help you do something else. Any athlete can tell you about the benefits of cross-training. It's possible to cross-train your mind, too. A few years ago, researchers took 18 randomly chosen medical students and they enrolled them in a course at the Philadelphia Museum of Art, where they learned to criticize and analyze works of visual art. And at the end of the course, these students were compared with a control group of their fellow medical students. And the ones who had taken the art course had become substantially better at performing tasks such as diagnosing diseases of the eye by analyzing photographs. They'd become better eye doctors. So if we want to become better at what we do, maybe we should spend some time doing something else, even if the two fields appear to be as completely distinct as ophthalmology and the history of art.
Drugi razlog zašto multitasking može da funkcioniše je što uspešno savlađivanje jedne stvari često može da vam pomogne da radite nešto drugo. Svaki atleta vam može govoriti o prednostima kombinovanog treninga. Moguće je i vaš um podvrgnuti kombinovanom treningu. Pre nekoliko godina, istraživači su uzeli 18 nasumično odabranih studenata medicine i upisali su ih na kurs u Filadelfijskom muzeju umetnosti, gde su učili kako da kritikuju i analiziraju dela vizuelne umetnosti. A na kraju kursa, ove studente su uporedili sa kontrolnom grupom kolega studenata medicine. A oni koji su pohađali kurs iz umetnosti postali su značajno bolji u obavljanju zadataka, poput dijagnostikovanja očnih bolesti analizom fotografija. Postali su bolji očni doktori. Pa, ako želimo da postanemo bolji u onome što radimo, možda bi trebalo da provodimo neko vreme radeći nešto drugo, čak i ako se te dve oblasti čine potpuno suprotnim poput oftalmologije i istorije umetnosti.
And if you'd like an example of this, should we go for a less intimidating example than Einstein? OK. Michael Crichton, creator of "Jurassic Park" and "E.R." So in the 1970s, he originally trained as a doctor, but then he wrote novels and he directed the original "Westworld" movie. But also, and this is less well-known, he also wrote nonfiction books, about art, about medicine, about computer programming. So in 1995, he enjoyed the fruits of all this variety by penning the world's most commercially successful book. And the world's most commercially successful TV series. And the world's most commercially successful movie. In 1996, he did it all over again.
A ako želite primer za ovo, da li da uzmemo manje zastrašujući primer od Ajnštajna? U redu. Majkl Krajton, tvorac „Parka iz doba jure“ i „Urgentnog centra“. Dakle, 1970-ih, prvobitno je prošao obuku za doktora, no potom je pisao romane i režirao je prvobitni film „Zapadni svet“. Međutim, a ovo je manje poznato, takođe je pisao dokumentarnu literaturu o umetnosti, medicini, kompjuterskom programiranju. Dakle, 1995. godine je uživao u plodovime sve te raznolikosti pišući jednu od komercijalno najuspešnijih knjiga na svetu. Kao i jednu od komercijalno najuspešnijih televizijskih serija na svetu. Kao i komercijalno najuspešniji film na svetu. Godine 1996, sve je ponovio još jednom.
There's a third reason why slow-motion multitasking can help us solve problems. It can provide assistance when we're stuck. This can't happen in an instant. So, imagine that feeling of working on a crossword puzzle and you can't figure out the answer, and the reason you can't is because the wrong answer is stuck in your head. It's very easy -- just go and do something else. You know, switch topics, switch context, you'll forget the wrong answer and that gives the right answer space to pop into the front of your mind.
Postoji i treći razlog zašto nam usporeni multitasking može pomoći da rešimo probleme. Može da nam pruži pomoć kad zapadnemo u škripac. To ne može da se desi u trenutku. Dakle, zamislite onaj osećaj kada rešavate ukrštenicu i ne možete da dođete do odgovora, a razlog zašto ne možete je jer vam je pogrešan odgovor stalno na pameti. Veoma je prosto - samo pođite i uradite nešto drugo. Znate, promenite temu, promenite kontekst, zaboravićete pogrešan odgovor, a to će da da prostora tačnom odgovoru da iskrsne u vašem umu.
But on the slower timescale that interests me, being stuck is a much more serious thing. You get turned down for funding. Your cell cultures won't grow, your rockets keep crashing. Nobody wants to publish you fantasy novel about a school for wizards. Or maybe you just can't find the solution to the problem that you're working on. And being stuck like that means stasis, stress, possibly even depression. But if you have another exciting, challenging project to work on, being stuck on one is just an opportunity to do something else.
Međutim, na sporijoj vremenskoj skali koja mene interesuje, biti u škripcu je daleko ozbiljnija stvar. Odbiju da vas finansiraju. Vaša ćelijska kultura neće da raste, vaše rakete stalno padaju. Niko ne želi da objavi vaš fantazijski roman o školi za čarobnjake. Ili prosto ne možete da otkrijete rešenje za problem na kome radite. A biti u takvom škripcu podrazumeva stagniranje, stres, pa možda čak i depresiju. Međutim, ako imate još jedan uzbudljiv, izazovan projekat na kom radite, biti zaglavljen na jednom je tek prilika da radite nešto drugo.
We could all get stuck sometimes, even Albert Einstein. Ten years after the original, miraculous year that I described, Einstein was putting together the pieces of his theory of general relativity, his greatest achievement. And he was exhausted. And so he turned to an easier problem. He proposed the stimulated emission of radiation. Which, as you may know, is the S in laser. So he's laying down the theoretical foundation for the laser beam, and then, while he's doing that, he moves back to general relativity, and he's refreshed. He sees what the theory implies -- that the universe isn't static. It's expanding. It's an idea so staggering, Einstein can't bring himself to believe it for years. Look, if you get stuck and you get the ball rolling on laser beams, you're in pretty good shape.
Svi možemo da se zaglavimo ponekad, čak i Albert Ajnštajn. Deset godina nakon prvobitne, čudnovate godine koju sam opisao, Ajnštajn je sastavljao deliće svoje opšte teorije relativnosti, njegovog najznačajnijeg dostignuća. I bio je iscrpljen. Pa se okrenuo lakšem problemu. Predstavio je stimulisanu emisiju radijacije. A to je, kao što možda znate, -SER u reči laser. Dakle, postavljao je teoretske temelje za laserski zrak, a onda se, dok je radio na tome, osvežen vratio na opštu relativnost. Uviđa šta teorija podrazumeva - da univerzum nije statičan. Širi se. Ta ideja je toliko zapanjujuća da Ajnštajn godinama ne može da poveruje u nju. Vidite, ako ste se zaglavili i pokrenu vas laserski zraci, u prilično ste dobroj formi.
(Laughter)
(Smeh)
So, that's the case for slow-motion multitasking. And I'm not promising that it's going to turn you into Einstein. I'm not even promising it's going to turn you into Michael Crichton. But it is a powerful way to organize our creative lives.
Dakle, to je argument za usporeni multitasking. I ne obećavam vam da će da vas pretvori u Ajnštajna. Ne obećavam ni da će da vas pretvori u Majkla Krajtona. Ali, radi se o moćnom načinu organizacije naših kreativnih života.
But there's a problem. How do we stop all of these projects becoming completely overwhelming? How do we keep all these ideas straight in our minds? Well, here's a simple solution, a practical solution from the great American choreographer, Twyla Tharp. Over the last few decades, she's blurred boundaries, mixed genres, won prizes, danced to the music of everybody, from Philip Glass to Billy Joel. She's written three books. I mean, she's a slow-motion multitasker, of course she is. She says, "You have to be all things. Why exclude? You have to be everything." And Tharp's method for preventing all of these different projects from becoming overwhelming is a simple one. She gives each project a big cardboard box, writes the name of the project on the side of the box. And into it, she tosses DVDs and books, magazine cuttings, theater programs, physical objects, really anything that's provided a source of creative inspiration. And she writes, "The box means I never have to worry about forgetting. One of the biggest fears for a creative person is that some brilliant idea will get lost because you didn't write it down and put it in a safe place. I don't worry about that. Because I know where to find it. It's all in the box." You can manage many ideas like this, either in physical boxes or in their digital equivalents.
Međutim, postoji problem. Kako da sprečimo sve ove projekte da nas u potpunosti preplave? Kako da održimo jasnim sve te ideje u našim umovima? Pa, evo prostog rešenja, praktičnog rešenja velike Američke koreografkinje Tvajle Tarp. Tokom poslednje dve decenije, ona je zamaglila granice, izmešala žanrove, dobila nagrade, plesala na svačiju muziku, od Filipa Glasa do Bilija Džoela. Napisala je tri knjige. Mislim, ona upražnjava usporeni multitasking, to je jasno. Ona kaže: „Morate da budete sve stvari. Čemu isključivost? Morate da budete sve.“ A Tarpin metod sprečavanja svih tih različitih projekata da je prosto preplave je jednostavan. Svakom projektu dodeli veliku kartonsku kutiju, napiše ime projekta na kutiji. A unutra ubacuje DVD-e, knjige, isečke iz časopisa, pozorišne programe, fizičke predmete, zaista bilo šta što je poslužilo kao izvor kreativne inspiracije. A ona beleži: „Kutija znači da nikad ne moram da brinem da ću da zaboravim. Jedan od najvećih strahova kod kreativnih osoba je da će se neka sjajna ideja izgubiti jer je niste zapisali i smestili na bezbedno mesto. Ja ne brinem zbog toga. Zato što znam gde da je nađem. Sve je u kutiji.“ Ovako možete da upravljate raznim idejama, bilo putem fizičkih kutija ili njihovih digitalnih pandana.
So, I would like to urge you to embrace the art of slow-motion multitasking. Not because you're in a hurry, but because you're in no hurry at all.
Pa bih želeo da vas podstaknem da prigrlite umetnost usporenog multitaskinga. Ne zato što vam se žuri, već zato što vam se uopšte ne žuri.
And I want to give you one final example, my favorite example. Charles Darwin. A man whose slow-burning multitasking is so staggering, I need a diagram to explain it all to you.
I želim da vam dam poslednji primer, moj omiljeni primer. Čarlsa Darvina. Čoveka čiji je sporosagorevajući multitasking toliko zapanjujući da mi je potreban dijagram da bih vam sve to objasnio.
We know what Darwin was doing at different times, because the creativity researchers Howard Gruber and Sara Davis have analyzed his diaries and his notebooks. So, when he left school, age of 18, he was initially interested in two fields, zoology and geology. Pretty soon, he signed up to be the onboard naturalist on the "Beagle." This is the ship that eventually took five years to sail all the way around the southern oceans of the Earth, stopping at the Galápagos, passing through the Indian ocean. While he was on the "Beagle," he began researching coral reefs. This is a great synergy between his two interests in zoology and geology, and it starts to get him thinking about slow processes. But when he gets back from the voyage, his interests start to expand even further: psychology, botany; for the rest of his life, he's moving backwards and forwards between these different fields. He never quite abandons any of them.
Znamo šta je Darvin radio u različitim periodima jer su istraživači kreativnosti Hauard Gruber i Sara Dejvis analizirali njegove dnevnike i njegove sveske. Kada je napustio školu, sa 18 godina, prvobitno su ga zanimale dve oblasti: zoologija i geologija. Uskoro, prijavio se da bude brodski prirodnjak na „Biglu“. Radi se o brodu kojem je bilo potrebno pet godina da oplovi skroz oko zemljinih južnih okeana, zaustavljajući se na Galapagosu, prolazeći kroz Indijski okean. Dok je bio na „Biglu“, počeo je da izučava koralne grebene. Radi se o velikoj sinergiji njegova dva interesovanja, zoologije i geologije, i navelo ga je na razmišljanje o sporim procesima. Međutim, kad se vratio s putovanja, njegova interesovanja počinju da se šire još više, na psihologiju, botaniku; do kraja života, kretaće se napred i nazad između ovih različitih oblasti, nikada u potpunosti ne napuštajući ni jednu.
In 1837, he begins work on two very interesting projects. One of them: earthworms. The other, a little notebook which he titles "The transmutation of species." Then, Darwin starts studying my field, economics. He reads a book by the economist Thomas Malthus. And he has his eureka moment. In a flash, he realizes how species could emerge and evolve slowly, through this process of the survival of the fittest. It all comes to him, he writes it all down, every single important element of the theory of evolution, in that notebook.
Godine 1837, započinje rad na dva veoma zanimljiva projekta. Jedan od njih su bile kišne gliste. Drugi je bila jedna sveščica naslovljena: „Transmutacija vrsta“. Potom je Darvin počeo da izučava moju oblast, ekonomiju. Čita knjigu ekonomiste Tomasa Maltusa. I doživljava eureka momenat. U trenu shvata kako su vrste mogle da nastanu i polako evoluiraju putem procesa opstanka najsposobnijih. Sve mu se javlja, on sve zapisuje, svaki važan elemenat teorije evolucije, u tu svesku.
But then, a new project. His son William is born. Well, there's a natural experiment right there, you get to observe the development of a human infant. So immediately, Darwin starts making notes. Now, of course, he's still working on the theory of evolution and the development of the human infant. But during all of this, he realizes he doesn't really know enough about taxonomy. So he starts studying that. And in the end, he spends eight years becoming the world's leading expert on barnacles.
A onda, novi projekat. Rodio se njegov sin Vilijam. Pa, tu imate prirodni eksperiment, dobijete priliku da posmatrate razvoj ljudskog novorođenčeta. Istog trenutka, Darvin počinje da pravi beleške. Sad, naravno, i dalje radi na teoriji evolucije i na razvoju ljudskog novorođenčeta. Međutim, tokom svega ovoga, shvata da uistinu ne zna dovoljno o taksonomiji. Pa počinje i to da izučava. A naposletku, provodi osam godina postajući svetski vodeći stručnjak za školjke.
Then, "Natural Selection." A book that he's to continue working on for his entire life, he never finishes it. "Origin of Species" is finally published 20 years after Darwin set out all the basic elements. Then, the "Descent of Man," controversial book. And then, the book about the development of the human infant. The one that was inspired when he could see his son, William, crawling on the sitting room floor in front of him. When the book was published, William was 37 years old. And all this time, Darwin's working on earthworms. He fills his billiard room with earthworms in pots, with glass covers. He shines lights on them, to see if they'll respond. He holds a hot poker next to them, to see if they move away. He chews tobacco and --
Sledi: „Prirodna selekcija“. Knjiga na kojoj je nastavio da radi čitav svoj život, nikad je ne dovršivši. „Poreklo vrsta“ je konačno objavljena 20 godina nakon što je Darvin izložio sve osnovne elemente. Sledi „Poreklo čoveka“, kontroverzna knjiga. A potom, knjiga o razvoju ljudskog novorođenčeta. Inspirisana prizorom njegovog sina Vilijama kako puzi pred njim u dnevnom boravku. Kada je knjiga objavljena, Vilijam je imao 37 godina. A za sve to vreme, Darvin je radio na kišnim glistama. Ispunio bi sobu za bilijar kišnim glistama u kutijama sa staklenim poklopcima. Obasjava ih svetlošću, proveravajući da li će da reaguju. Drži vreo žarač blizu njih da proveri da li će da pobegnu. Žvaće duvan i -
(Blows)
(Duva)
He blows on the earthworms to see if they have a sense of smell. He even plays the bassoon at the earthworms.
Duva u kišne gliste da bi video da li imaju čulo mirisa. Čak svira fagot kišnim glistama.
I like to think of this great man when he's tired, he's stressed, he's anxious about the reception of his book "The Descent of Man." You or I might log into Facebook or turn on the television. Darwin would go into the billiard room to relax by studying the earthworms intensely. And that's why it's appropriate that one of his last great works is the "Formation of Vegetable Mould Through The Action of Worms."
Volim da razmišljam o ovom velikom čoveku kada je umoran, pod stresom, nespokojan zbog prijema njegove knjige „Poreklo čoveka“. Vi i ja možemo da se ulogujemo na Fejsbuk ili da uključimo televizor. Darvin bi pošao u sobu za bilijar da se opusti intenzivno izučavajući kišne gliste. I stoga je prikladno da je jedno od njegovih poslednjih značajnih dela: „Nastanak povrtne buđi delovanjem crva“.
(Laughter)
(Smeh)
He worked upon that book for 44 years. We don't live in the 19th century anymore. I don't think any of us could sit on our creative or scientific projects for 44 years. But we do have something to learn from the great slow-motion multitaskers. From Einstein and Darwin to Michael Crichton and Twyla Tharp. The modern world seems to present us with a choice. If we're not going to fast-twitch from browser window to browser window, we have to live like a hermit, focus on one thing to the exclusion of everything else. I think that's a false dilemma. We can make multitasking work for us, unleashing our natural creativity. We just need to slow it down.
Radio je na toj knjizi 44 godine. Više ne živimo u XIX veku. Ne mislim da bi bilo ko od nas mogao da dreždi 44 godine na svom kreativnom ili naučnom projektu. Međutim, možemo nešto da naučimo od velikih upražnjavalaca multitaskinga. Od Ajnštajna i Darvina, preko Majkla Krajtona i Tvajle Tarp. Savremeni svet, kako se čini, nudi nam izbor. Ako nećemo da poskakujemo od jednog do drugog prozora pretraživača, moramo da živimo poput pustinjaka, usredsređujući se samo na jednu stvar, isključujući sve ostale. Smatram da se radi o lažnoj dilemi. Možemo multitasking da preokrenemo u svoju korist, oslobađajući tako našu prirodnu kreativnost. Samo moramo da ga usporimo.
So ... Make a list of your projects. Put down your phone. Pick up a couple of cardboard boxes. And get to work.
Dakle... Napravite spisak projekata. Spustite telefon. Uzmite nekoliko kartonskih kutija. I bacite se na posao.
Thank you very much.
Mnogo vam hvala.
(Applause)
(Aplauz)