You know, culture was born of the imagination, and the imagination -- the imagination as we know it -- came into being when our species descended from our progenitor, Homo erectus, and, infused with consciousness, began a journey that would carry it to every corner of the habitable world. For a time, we shared the stage with our distant cousins, Neanderthal, who clearly had some spark of awareness, but -- whether it was the increase in the size of the brain, or the development of language, or some other evolutionary catalyst -- we quickly left Neanderthal gasping for survival. By the time the last Neanderthal disappeared in Europe, 27,000 years ago, our direct ancestors had already, and for 5,000 years, been crawling into the belly of the earth, where in the light of the flickers of tallow candles, they had brought into being the great art of the Upper Paleolithic.
文化來源於想像, 而這些想像 就在人類一代又一代繼傳下去時行成了 從我們的祖先猿人開始直立行走 人類已有了意識, 而且開始了一個旅程 這個旅程就是將這種意識帶到地球上每一個可居住的角落. 曾與我們共同居住在這片土地上的尼安德特人(穴居人), 已有了某種意識火花, 不管是腦部的進化 還是語言的發展 又或者是某種其它的進化因素, 我們順速地與這些只懂得尋求生存的穴居人脫離了關係. 當最後的穴居人在歐洲消失 於27,000年前, 我們的直係祖先已經開始了, 5000年的 向地球的中心靠近, 在獸脂蠟燭的閃光下, 他們創造了 舊石器時代早期的偉大藝術.
And I spent two months in the caves of southwest France with the poet Clayton Eshleman, who wrote a beautiful book called "Juniper Fuse." And you could look at this art and you could, of course, see the complex social organization of the people who brought it into being. But more importantly, it spoke of a deeper yearning, something far more sophisticated than hunting magic. And the way Clayton put it was this way. He said, "You know, clearly at some point, we were all of an animal nature, and at some point, we weren't." And he viewed proto-shamanism as a kind of original attempt, through ritual, to rekindle a connection that had been irrevocably lost. So, he saw this art not as hunting magic, but as postcards of nostalgia. And viewed in that light, it takes on a whole other resonance.
我在法國的西南部的洞穴呆了兩個月 期間與一位名叫克莱頓-埃爾什尼曼的詩人一起, 他曾寫過一本優美的書,叫《Juniper Fuse》 從他的這本書中, 你可以發現複雜的社會組織 還有那些創造這個組織的人們. 但更重要的是:它說明了更深的渴望, 一種比搜尋魔法更複雜的東西. 克萊頓對此的解釋是: “曾經的某個時候 我們都帶著動物的本性,某個時候又沒有.” 他認為原始薩滿教就是這樣的一種嘗試, 通過儀式,我們又一次的點燃了一種聯繫 這種聯繫已經不見了,永遠無法挽回. 所以克萊頓覺得這種藝術不是在追尋魔法 而是我們對懷舊的明信片. 從這個角度來看, 這種藝術會產生一種完全相反的迴響.
And the most amazing thing about the Upper Paleolithic art is that as an aesthetic expression, it lasted for almost 20,000 years. If these were postcards of nostalgia, ours was a very long farewell indeed. And it was also the beginning of our discontent, because if you wanted to distill all of our experience since the Paleolithic, it would come down to two words: how and why. And these are the slivers of insight upon which cultures have been forged. Now, all people share the same raw, adaptive imperatives. We all have children. We all have to deal with the mystery of death, the world that waits beyond death, the elders who fall away into their elderly years. All of this is part of our common experience, and this shouldn't surprise us, because, after all, biologists have finally proven it to be true, something that philosophers have always dreamt to be true. And that is the fact that we are all brothers and sisters. We are all cut from the same genetic cloth. All of humanity, probably, is descended from a thousand people who left Africa roughly 70,000 years ago.
而舊石器時期晚期藝術最神奇的事情 是一種對審美觀的表達, 因為它持續了進兩萬年. 如果這些是讓我們的懷舊明信片, 我們的過去已離現在有非常遙遠的一段距離. 但它同時也是我們不滿足的開始, 如果你想獲得我們從舊石器時期開始的經歷 你將會得到兩個字: 怎樣和為甚麼. 這兩個辭彙鍛造著人類的文化。 當今,所有的人都有著同樣的 原始的、適應生存的欲求。 我們都有孩子. 都需要了解死亡的奧祕, 和死後的世界, 面對那些沉浸在以往生活中的年長的人們。 這些只是我們普通經歷的一部分, 我們不應為此感到驚訝, 因為生物學家最終已證明了它的真實性-- 哲學家一直都希望是真實的: 我們都是兄弟姊妹的事實. 我們都是從同樣的基因演變而來的 也許所有人類的祖先只有幾千人, 他們在大約七萬年前離開了非洲.
But the corollary of that is that, if we all are brothers and sisters and share the same genetic material, all human populations share the same raw human genius, the same intellectual acuity. And so whether that genius is placed into -- technological wizardry has been the great achievement of the West -- or by contrast, into unraveling the complex threads of memory inherent in a myth, is simply a matter of choice and cultural orientation. There is no progression of affairs in human experience. There is no trajectory of progress. There's no pyramid that conveniently places Victorian England at the apex and descends down the flanks to the so-called primitives of the world. All peoples are simply cultural options, different visions of life itself. But what do I mean by different visions of life making for completely different possibilities for existence?
但這說明了一個無法更變的事實 如果我們真的有某種程度的血緣關係 而且有共同的基因, 那麼,所有的人類都會有同樣的自然本能, 有著同樣敏銳的智慧. 不管這種天賦是應用在 西方世界偉大的 卓越的科技發明 或相反的,用來解釋神話故事裡 隱含的深刻意義與啟發 這些不同,僅僅是一種選擇和文化定位的不同。 連續的事件 在人類經歷中是不會發生的. 這裡沒有進步的軌跡. 沒有將維多利亞時代的英國帶到頂峰的金字塔 把其他的視為 所謂的原始世界. 人類只不過是文化的選項, 對生命其本身不同的看法. 生命不同的看法?是什麼意思? 完全不同的 存在的不同可能性?
Well, let's slip for a moment into the greatest culture sphere ever brought into being by the imagination, that of Polynesia. 10,000 square kilometers, tens of thousands of islands flung like jewels upon the southern sea. I recently sailed on the Hokulea, named after the sacred star of Hawaii, throughout the South Pacific to make a film about the navigators. These are men and women who, even today, can name 250 stars in the night sky. These are men and women who can sense the presence of distant atolls of islands beyond the visible horizon, simply by watching the reverberation of waves across the hull of their vessel, knowing full well that every island group in the Pacific has its unique refractive pattern that can be read with the same perspicacity with which a forensic scientist would read a fingerprint. These are sailors who in the darkness, in the hull of the vessel, can distinguish as many as 32 different sea swells moving through the canoe at any one point in time, distinguishing local wave disturbances from the great currents that pulsate across the ocean, that can be followed with the same ease that a terrestrial explorer would follow a river to the sea. Indeed, if you took all of the genius that allowed us to put a man on the moon and applied it to an understanding of the ocean, what you would get is Polynesia.
讓我們到最偉大的地球層看看吧 是人類所能想像的最偉大的, 玻里尼西亞 一萬平方英米, 成千上萬的島嶼像珠寶一樣地灑在南海上. 我不久前用Hokulea航海, 這艘艇的名字是來自夏威夷的一顆聖星, 穿越南太平洋拍攝一部 關於航海者的電影。 即使是今天 還能說出夜晚天空上的250顆星星的名字. 這些人能夠感知到 那些不在視野範圍內、遙遠珊瑚礁的存在, 僅僅通過觀察 拍打船壁的波浪的反射形狀, 他們清楚地知道太平洋上每個島嶼群 都有著不一樣的反射模式, 通過洞察力 法證專家分析指紋 這些水手在黑暗中,在船裏, 就能夠及時分辨多達32種 在任何時刻流過船體的海水的漲落, 分辨本地海上的風浪, 通過觀察振動整個海洋的水流 這對於他們非常輕鬆, 就像地址學家追蹤水流入海。 確實,如果你把所有 把人類送上月球的智慧 都用於理解海洋, 那就等同於這些航海員對於玻里尼西亞的海洋的了解與熟悉
And if we slip from the realm of the sea into the realm of the spirit of the imagination, you enter the realm of Tibetan Buddhism. And I recently made a film called "The Buddhist Science of the Mind." Why did we use that word, science? What is science but the empirical pursuit of the truth? What is Buddhism but 2,500 years of empirical observation as to the nature of mind? I travelled for a month in Nepal with our good friend, Matthieu Ricard, and you'll remember Matthieu famously said to all of us here once at TED, "Western science is a major response to minor needs." We spend all of our lifetime trying to live to be 100 without losing our teeth. The Buddhist spends all their lifetime trying to understand the nature of existence.
如果我們離開海的領域 來到想像力的精神領域, 這個領域就好比西藏佛教. 我最近拍攝了一部名為“心靈的佛教科學”電影。 為什麼我們採用“科學”一詞? 如果追究真理的實踐都不被稱為科學,那科學還是什麼? 佛教就是兩千五百年來對 對心靈本質 進行觀察的經驗結果。 我與我的好朋友,馬修•李卡得在尼泊爾旅行了一個月, 或許你還記得馬修曾給我們做過一個講座, 在TED。 “西方科學是對小需求的大反應。” 我們花費一生的時間盡力保證牙齒不掉,活到 100歲。 佛教徒花費一生的時間極力去理解存在的本質。
Our billboards celebrate naked children in underwear. Their billboards are manuals, prayers to the well-being of all sentient creatures. And with the blessing of Trulshik Rinpoche, we began a pilgrimage to a curious destination, accompanied by a great doctor. And the destination was a single room in a nunnery, where a woman had gone into lifelong retreat 55 years before. And en route, we took darshan from Rinpoche, and he sat with us and told us about the Four Noble Truths, the essence of the Buddhist path. All life is suffering. That doesn't mean all life is negative. It means things happen. The cause of suffering is ignorance. By that, the Buddha did not mean stupidity; he meant clinging to the illusion that life is static and predictable. The third noble truth said that ignorance can be overcome. And the fourth and most important, of course, was the delineation of a contemplative practice that not only had the possibility of a transformation of the human heart, but had 2,500 years of empirical evidence that such a transformation was a certainty.
我們宣傳的是慶祝給赤裸的孩子穿上衣褲。 他們宣傳的是發自內心的, 為眾生的幸福祈禱。 帶著,第十四代達賴喇嘛Trulshik Rinpoche的祝福,我們開始了 前往好奇之地的朝聖之旅, 和我們同行的還有一個醫生。 目的地是尼姑庵中的一個小房間 在那裏有一位終身隱居的女士, 55年前就開始了隱居。 沾了Rinpoche的光, 他坐在我們身邊,告訴我們四大真理, 佛教徒之路的精髓。 生命即苦難。這並不代表我們就可以否定生命。 它的意思是事事皆可能發生。 苦難的根源在於無知。 通過這句話,佛並不是愚蠢。 他堅守這樣的信念, 即生活是靜止的、可預測的。 第三個貴族的事實說明無知是可擊敗的. 第四個也是最重要的,當然, 是對冥想做法的描述, 冥想帶來人類心靈的昇華 不僅僅是一種可能, 它已經有兩千五百年的經驗證據, 表明昇華是必然的結果。
And so, when this door opened onto the face of a woman who had not been out of that room in 55 years, you did not see a mad woman. You saw a woman who was more clear than a pool of water in a mountain stream. And of course, this is what the Tibetan monks told us. They said, at one point, you know, we don't really believe you went to the moon, but you did. You may not believe that we achieve enlightenment in one lifetime, but we do. And if we move from the realm of the spirit to the realm of the physical, to the sacred geography of Peru -- I've always been interested in the relationships of indigenous people that literally believe that the Earth is alive, responsive to all of their aspirations, all of their needs. And, of course, the human population has its own reciprocal obligations.
所以當門打開,看到那個女人, 那個55年都沒有出門的人, 你並沒有看到一個瘋子。 你看到了一個比山間清泉 更澄澈的人。 當然,這是西藏的僧人告訴我們的: 他們說,“曾幾何時,我們對你能否登陸月球持有懷疑 但事實是你去了. 你或許並不相信一輩子可以到達開悟的境界, 但是事實就是如此。 如果我們從精神領域 轉移到物質的領域, 來到神聖的秘魯土地上, 我向來都對土族人的關係有興趣 他們相信地球是有生命的, 地球會給他們的渴望和所有的需求, 一個答覆. 當然 人類也有回報地球的義務.
I spent 30 years living amongst the people of Chinchero and I always heard about an event that I always wanted to participate in. Once each year, the fastest young boy in each hamlet is given the honor of becoming a woman. And for one day, he wears the clothing of his sister and he becomes a transvestite, a waylaka. And for that day, he leads all able-bodied men on a run, but it's not your ordinary run. You start off at 11,500 feet. You run down to the base of the sacred mountain, Antakillqa. You run up to 15,000 feet, descend 3,000 feet. Climb again over the course of 24 hours. And of course, the waylakama spin, the trajectory of the route, is marked by holy mounds of Earth, where coke is given to the Earth, libations of alcohol to the wind, the vortex of the feminine is brought to the mountaintop. And the metaphor is clear: you go into the mountain as an individual, but through exhaustion, through sacrifice, you emerge as a community that has once again reaffirmed its sense of place in the planet. And at 48, I was the only outsider ever to go through this, only one to finish it. I only managed to do it by chewing more coca leaves in one day than anyone in the 4,000-year history of the plant.
我花了30年的時間 與Chincherro的人住在一起 我聽說他們有一個活動,我一直都很想參與的. 一年一次,每個村莊最快的小男孩 都會被授與轉性的榮譽. 在活動的那一天,他可以穿他姊姊或妹妹的衣服 在那天,他將是一個異裝癖者, 一個 "waylaka." (土族語), 在那天,他帶領所有健壯的男子奔跑, 但是這不是慣常的跑步。 在11500高英尺的地方開始奔跑, 跑到聖山Antkilka的山腳下, 然後再爬上15000英尺, 下去3000英尺, 在24小時之內再次往上爬。 當然,Waylakamaspin, 也就是這一線路, 是以地球上的聖山為標誌的 可可獻給大地,美酒獻給為風 女性的旋風被帶到山頂, 寓意很明顯:你獨自一人如山, 歷經疲倦,歷經犧牲, 你最終成為集體的一員 再一次確認了存在于地球的意義。 在48歲的年紀,我是唯一一個跑完全程的外來者, 唯一跑完的一個。 我在那一天咀嚼了多於4000年以來任何人一天吃的更多的可可葉 才能夠跑完的。
But these localized rituals become pan-Andean, and these fantastic festivals, like that of the Qoyllur Rit'i, which occurs when the Pleiades reappear in the winter sky. It's kind of like an Andean Woodstock: 60,000 Indians on pilgrimage to the end of a dirt road that leads to the sacred valley, called the Sinakara, which is dominated by three tongues of the great glacier. The metaphor is so clear. You bring the crosses from your community, in this wonderful fusion of Christian and pre-Columbian ideas. You place the cross into the ice, in the shadow of Ausangate, the most sacred of all Apus, or sacred mountains of the Inca. And then you do the ritual dances that empower the crosses.
這種區域性的儀式變成了整個安第斯山的傳統, 這些極好的節日, 好比當昴宿星出現在冬日的天空時, 所舉行的Qoyllur Rit'i的節日 就像安第斯山的伍德斯托克音樂節: 6萬印第安那原著民 踏上土地 走往名叫“ Sinakara”的聖村, 這個聖村有3種說法, 關於冰山。 寓意也很明顯。你從你的群體中帶來十字架, 在這個融合基督精神 和前哥倫比亞思想的地方。 你把十字架放入冰河中 在Ausangate的陰影中,所有Apus中最神聖的, 或者說Inca最神聖的山。 之後,你跳起為十字架賦予力量的宗教舞蹈。
Now, these ideas and these events allow us even to deconstruct iconic places that many of you have been to, like Machu Picchu. Machu Picchu was never a lost city. On the contrary, it was completely linked in to the 14,000 kilometers of royal roads the Inca made in less than a century. But more importantly, it was linked in to the Andean notions of sacred geography. The intiwatana, the hitching post to the sun, is actually an obelisk that constantly reflects the light that falls on the sacred Apu of Machu Picchu, which is Sugarloaf Mountain, called Huayna Picchu. If you come to the south of the intiwatana, you find an altar. Climb Huayna Picchu, find another altar. Take a direct north-south bearing, you find to your astonishment that it bisects the intiwatana stone, goes to the skyline, hits the heart of Salcantay, the second of the most important mountains of the Incan empire. And then beyond Salcantay, of course, when the southern cross reaches the southernmost point in the sky, directly in that same alignment, the Milky Way overhead. But what is enveloping Machu Picchu from below? The sacred river, the Urubamba, or the Vilcanota, which is itself the Earthly equivalent of the Milky Way, but it's also the trajectory that Viracocha walked at the dawn of time when he brought the universe into being. And where does the river rise? Right on the slopes of the Koariti.
現在,這些思想和事件 允許我們得以重構這些象徵性的地方 像你們很多人去過的馬丘比丘。 馬丘比丘並不是一個失落之城。 相反,它完全與 印加人在最近一個世紀修的 一萬四千公里聖道相聯繫。 更重要的是,它與 安第斯山所謂的神聖地理相聯繫。 Intiwatana,挽留太陽的地方, 事實上一座持續反射光線的方尖石塔 坐落在神聖的馬丘比丘的Apu, 是座圓錐形的山,叫做Huayna Picchu。 當你到達 Intiwatana南部時,你會發現一個聖壇。 爬上Huayna Picchu,你會發現另外一個聖壇。 向正南-北的方向看, 你會驚奇地發現, 它把Intiwatana一分為二, 一直延伸到天際線, 到達Salcantay山的正中心,Salcantay是印加帝國中 第二座最重要的山, 過了Salcantay山,當然, 當到達天際的最南端, 你會發現銀河就在頭頂,呈現相同的佈局。 包圍馬丘比丘的是: 聖河,烏魯班巴,或叫Vilcanota, 與銀河一樣古老, 這也是Viracocha走過的道路 在他創造宇宙那天的傍晚。 這條河的起源在哪里? 正在Koiariti的斜坡上。
So, 500 years after Columbus, these ancient rhythms of landscape are played out in ritual. Now, when I was here at the first TED, I showed this photograph: two men of the Elder Brothers, the descendants, survivors of El Dorado. These, of course, are the descendants of the ancient Tairona civilization. If those of you who are here remember that I mentioned that they remain ruled by a ritual priesthood, but the training for the priesthood is extraordinary. Taken from their families, sequestered in a shadowy world of darkness for 18 years -- two nine-year periods deliberately chosen to evoke the nine months they spend in the natural mother's womb. All that time, the world only exists as an abstraction, as they are taught the values of their society. Values that maintain the proposition that their prayers, and their prayers alone, maintain the cosmic balance. Now, the measure of a society is not only what it does, but the quality of its aspirations.
所以在哥倫布發現新大陸的五百年之後, 這些古老的對大自然的讚美之歌 在儀式中得以體現。 在我第一次到TED時, 我展示了這張照片——兄弟倆的照片, 理想黃金國(Eldorado)的倖存者,子孫。 他們,當然是後裔 是古老的榮泰納(Tairona)文化的後繼者。 如果你們中有人還記得我提到過的 他們仍然被儀式祭司管束, 但是訓練成為祭司是很特別的。 從家裏面被帶出來,躲避在黑暗的地方 長達18年——特意挑選兩個九年來 喚起在母親子宮中度過的九個月。 在那時,整個世界就是抽象的, 此時,他們被教導以他們社會的價值規範。 那種價值觀讓他們相信 他們的祈禱本身就可以維繫宇宙的平衡。 現今,對社會的衡量已經不僅如此, 還包括它有什麼美好的渴望。
And I always wanted to go back into these mountains, to see if this could possibly be true, as indeed had been reported by the great anthropologist, Reichel-Dolmatoff. So, literally two weeks ago, I returned from having spent six weeks with the Elder Brothers on what was clearly the most extraordinary trip of my life. These really are a people who live and breathe the realm of the sacred, a baroque religiosity that is simply awesome. They consume more coca leaves than any human population, half a pound per man, per day. The gourd you see here is -- everything in their lives is symbolic. Their central metaphor is a loom. They say, "Upon this loom, I weave my life." They refer to the movements as they exploit the ecological niches of the gradient as "threads." When they pray for the dead, they make these gestures with their hands, spinning their thoughts into the heavens.
我時常想回到那些山裏, 去看這是否是真的, 就像偉大的人類學家, 雷赫爾•多爾馬托夫報導的那樣。 事實上兩周以前, 我剛回來,與兄弟們度過了六周時間 這個旅程, 無疑是我生命中最奇特的。 他們真的是生活在、呼吸著 神聖的氣息, 異常虔誠。 他們消費的可哥葉比其他民族都多, 每天每個男人半英鎊。 你在這裏能看到的是—— 每樣事物都具有寓意。 他們核心的隱喻是織布機。 生活就像一個織布機,而自己就在這台機器上編織著五光十色的人生。 他們將他們開發傾斜的生態壁櫥的做法視為 “穿線”。 當他們為死去的人們祈禱時,他們就用他們的雙手做出這樣的姿勢, 將他們的思想帶入天堂。
You can see the calcium buildup on the head of the poporo gourd. The gourd is a feminine aspect; the stick is a male. You put the stick in the powder to take the sacred ashes -- well, they're not ashes, they're burnt limestone -- to empower the coca leaf, to change the pH of the mouth to facilitate the absorption of cocaine hydrochloride. But if you break a gourd, you cannot simply throw it away, because every stroke of that stick that has built up that calcium, the measure of a man's life, has a thought behind it. Fields are planted in such an extraordinary way, that the one side of the field is planted like that by the women. The other side is planted like that by the men. Metaphorically, you turn it on the side, and you have a piece of cloth. And they are the descendants of the ancient Tairona civilization, the greatest goldsmiths of South America, who in the wake of the conquest, retreated into this isolated volcanic massif that soars to 20,000 feet above the Caribbean coastal plain.
你能夠看到鈣質在Poporo 瓢的頂部結晶。 葫蘆的外表是雌性的,梗是雄性的。 當你把梗研成粉末 得到神聖的粉末——它們也不是普通的粉末, 它們是燒過的石灰石—— 能夠使得可哥葉具有 改變嘴裏PH值以幫助 可卡因鹽酸鹽的吸收。 但是當你打開一根梗,你不能輕易扔掉它, 因為一旦扔掉那個梗 那些用於累積鈣質的梗, 對一個男士生活的衡量 也就被扔掉了。 耕種田地的方式如此特別, 以至於田地的一邊 就像被女性耕種過一樣。 另一邊像被男性耕種過, 你在旁邊改變它,你就會得到一塊布。 他們是原始的泰榮納(Tairona)文明的後裔, 南美最偉大的鐵匠, 那些人在征戰的年代, 隱退到這片荒涼的火山區域 比加勒比海岸的平原 高出2萬英尺。
There are four societies: the Kogi, the Wiwa, the Kankwano and the Arhuacos. I traveled with the Arhuacos, and the wonderful thing about this story was that this man, Danilo Villafane -- if we just jump back here for a second. When I first met Danilo, in the Colombian embassy in Washington, I couldn't help but say, "You know, you look a lot like an old friend of mine." Well, it turns out he was the son of my friend, Adalberto, from 1974, who had been killed by the FARC. And I said, "Danilo, you won't remember this, but when you were an infant, I carried you on my back, up and down the mountains." And because of that, Danilo invited us to go to the very heart of the world, a place where no journalist had ever been permitted. Not simply to the flanks of the mountains, but to the very iced peaks which are the destiny of the pilgrims.
這裏有四個社會: the Kogi, the Wiwa, the Kankuamo and the Arhuacos。 我與 Arhuacos一同旅行, 關於這個故事美妙的事情是 這個名叫Danilo Viathanya的男人, 如果我們可以在此跳回過去。 當我第一次在華盛頓的哥倫比亞大使館見到達尼洛的時候, 我脫口說出, 你很像我的一個老朋友。 事實是他就是我朋友Aroberto的兒子, Aroberto於1974年被哥倫比亞武裝力量打死, 並且我說,Danilo,你肯定不記得, 當你還是嬰兒的時候,我把你背在背上 穿越高山。 正因為如此,達尼祿邀請我們 去世界的正中心, 一個任何記者都不被允許進入的地區。 我們不僅到了山的側翼, 也到了冰雪覆蓋的山頂,也就是朝聖的目的地。
And this man sitting cross-legged is now a grown-up Eugenio, a man who I've known since 1974. And this is one of those initiates. No, it's not true that they're kept in the darkness for 18 years, but they are kept within the confines of the ceremonial men's circle for 18 years. This little boy will never step outside of the sacred fields that surround the men's hut for all that time, until he begins his journey of initiation. For that entire time, the world only exists as an abstraction, as he is taught the values of society, including this notion that their prayers alone maintain the cosmic balance. Before we could begin our journey, we had to be cleansed at the portal of the Earth. And it was extraordinary to be taken by a priest. And you see that the priest never wears shoes because holy feet -- there must be nothing between the feet and the Earth for a mamo. And this is actually the place where the Great Mother sent the spindle into the world that elevated the mountains and created the homeland that they call the heart of the world.
這個盤腿坐的男人 是一個長大的 “Yuhenio”, 我自從1974年就認識他了。 這就是早期的加入者之一。 不對,他們在黑暗中待18年的說法並不對, 但是他們是被限制在 男儀式主持者的圈子中 長達18年。 這些小孩子從沒有機會走到 聖地的外面 聖地由男人的小屋包圍著, 任何時候都不准出去直到宗教旅途的開始。 在整個時間裏,世界被視為一種抽象的存在, 他被教以社會的價值, 包括這樣的觀念,即祈禱者獨自 在維持宇宙的和諧。 在旅程開始之前, 我們在洞穴的門口清潔乾淨自己。 被神父帶領是個很神奇的經歷—— 你會看到神父永遠不穿鞋子,因為神聖的雙腳—— 對Mamo來說,腳與大地之間 必須不能存在任何東西。 這裏也是偉大母親 將紡錘置於世界 抬高了山脈,創造了家園 他們叫此地世界的心臟.
We traveled high into the paramo, and as we crested the hills, we realized that the men were interpreting every single bump on the landscape in terms of their own intense religiosity. And then of course, as we reached our final destination, a place called Mamancana, we were in for a surprise, because the FARC were waiting to kidnap us. And so we ended up being taken aside into these huts, hidden away until the darkness. And then, abandoning all our gear, we were forced to ride out in the middle of the night, in a quite dramatic scene. It's going to look like a John Ford Western. And we ran into a FARC patrol at dawn, so it was quite harrowing. It will be a very interesting film. But what was fascinating is that the minute there was a sense of dangers, the mamos went into a circle of divination.
我們爬到Potomo的高處, 當我們沿著山脊攀爬時, 當地人們對 每個自然景色的詮釋 都帶有強烈的宗教色彩。 當然,等我們到達最終的目的地, 一個叫做Mananakana的地方時, 我們著實吃了一驚, 因為哥倫比亞革命武裝力量等著綁架我們。 所以當我們最終被帶到他們的洞穴, 在黑暗中被藏起來。 然後丟掉我們所有的工具, 我們在午夜被強制趕著騎行離開, 那是一個很戲劇化的場面。 看起來就像導演約翰•福特拍攝的西部片。 當黎明時我們遇到了哥倫比亞革命武裝力量的巡邏隊,所以是很慘的經歷。 那一定會是一部非常有趣的電影。但是更神奇的是 當感到危險的那一刻, Mamos做了個占卜。
And of course, this is a photograph literally taken the night we were in hiding, as they divine their route to take us out of the mountains. We were able to, because we had trained people in filmmaking, continue with our work, and send our Wiwa and Arhuaco filmmakers to the final sacred lakes to get the last shots for the film, and we followed the rest of the Arhuaco back to the sea, taking the elements from the highlands to the sea. And here you see how their sacred landscape has been covered by brothels and hotels and casinos, and yet, still they pray. And it's an amazing thing to think that this close to Miami, two hours from Miami, there is an entire civilization of people praying every day for your well-being. They call themselves the Elder Brothers. They dismiss the rest of us who have ruined the world as the Younger Brothers. They cannot understand why it is that we do what we do to the Earth.
當然,這張照片 實際上拍攝於我們躲起來的那個晚上, 那時他們占卜出了 帶領我們出山的道路。 我們能夠,因為我們事前訓練過 人們如何拍攝電影, 繼續我們的工作, 把我們的Wiwa和 Arhuaco 的電影製作者派到 終點的聖湖 去拍攝最後一個場景, 我們讓其他的Arhuaco回到海上, 從山丘處拍攝海。 現在我們就看到了神聖的景色 被妓院、旅店和賭場包圍著, 他們仍然,祈禱。 想到 距離邁阿密這麼近, 兩個小時的車程,這裏有一個完整的民族 為你的幸福在日日祈禱。 他們自稱為兄長。 他們將我們這些毀壞世界的人 稱作弟弟。他們無法理解 我們對大自然的破壞行為。
Now, if we slip to another end of the world, I was up in the high Arctic to tell a story about global warming, inspired in part by the former Vice President's wonderful book. And what struck me so extraordinary was to be again with the Inuit -- a people who don't fear the cold, but take advantage of it. A people who find a way, with their imagination, to carve life out of that very frozen. A people for whom blood on ice is not a sign of death, but an affirmation of life. And yet tragically, when you now go to those northern communities, you find to your astonishment that whereas the sea ice used to come in in September and stay till July, in a place like Kanak in northern Greenland, it literally comes in now in November and stays until March. So, their entire year has been cut in half.
現今,如果我們到世界的另一端。 我在北極 講述全球變暖的故事, 部分受到 副總統的著作的啟發。 使我震驚的是 再次與因紐特人在一起—— 這個民族的人並不懼怕寒冷反而利用它。 這個民族的人 發現了用想像, 在冰天雪地中開創生活。 這個民族的人們並不會把冰上的血滴 視為死亡的標誌,反而是對生活的肯定。 悲慘的是,當你現在再去那些北方地區, 你會吃驚地發現 那些在九月份凍結起來, 直到次年七月的冰, 在像被格陵蘭到的Kanak地區, 事實上到十一月份才結冰, 三月份就化掉了。 所以他們的整年就被一分兩半。
Now, I want to stress that none of these peoples that I've been quickly talking about here are disappearing worlds. These are not dying peoples. On the contrary, you know, if you have the heart to feel and the eyes to see, you discover that the world is not flat. The world remains a rich tapestry. It remains a rich topography of the spirit. These myriad voices of humanity are not failed attempts at being new, failed attempts at being modern. They're unique facets of the human imagination. They're unique answers to a fundamental question: what does it mean to be human and alive? And when asked that question, they respond with 6,000 different voices. And collectively, those voices become our human repertoire for dealing with the challenges that will confront us in the ensuing millennia.
現在,我想強調的是, 這些我快速講述的民族, 並沒有消失。 他們並不是垂死掙扎的人們。 相反,正如你所指, 如果你用心去感受,用眼睛去觀察, 你會發現世界並不是平的。 世界仍然是色彩豐富的掛毯。 它仍然像精神領域高低不平的地質。 人類種種不同的聲音 並不是想要進化的失敗的嘗試, 並不是想要更現代化的失敗的嘗試。 他們是人類想像的不同方面。 他們是對於一個基本問題的別出心裁的回答: 活著的人類意義是什麼? 當被問起這個問題時 他們用了六千種不同的聲音回答. 當這些聲音聚在一起時, 它們讓人類有了各種技能 來應對未來幾千年裡將遇到的挑戰.
Our industrial society is scarcely 300 years old. That shallow history shouldn't suggest to anyone that we have all of the answers for all of the questions that will confront us in the ensuing millennia. The myriad voices of humanity are not failed attempts at being us. They are unique answers to that fundamental question: what does it mean to be human and alive? And there is indeed a fire burning over the Earth, taking with it not only plants and animals, but the legacy of humanity's brilliance.
我們的工業社會 幾乎只有三百年的歷史. 這段歷史對任何人都無法證明 我們已有了所有的答案 來面對隨之而來的幾千年裡 我們將會遇到的問題. 這些來自人類無數的聲音並不是失敗的嘗試. 它們是最基本問題的一個特別答案: 活著的人類意義是什麼? 地球上確實燃燒著烈火, 不僅帶著了植物和動物, 還帶走了人類輝煌的傳統。
Right now, as we sit here in this room, of those 6,000 languages spoken the day that you were born, fully half aren't being taught to children. So, you're living through a time when virtually half of humanity's intellectual, social and spiritual legacy is being allowed to slip away. This does not have to happen. These peoples are not failed attempts at being modern -- quaint and colorful and destined to fade away as if by natural law.
此刻,當我們坐在這個房間, 你出生時正在被使用的六千種語言中, 足足有一半都沒有傳授給下一代的孩子們。 所以你生活在這樣一個時代 一半的人類智慧、 社會和精神的遺產 正不知不覺地離我們而去. 我們可以阻止它的發生. 這些人不是無法跟上時代而 奇怪、色彩鮮豔並且註定會消亡 就像是遵循自然法則一樣。
In every case, these are dynamic, living peoples being driven out of existence by identifiable forces. That's actually an optimistic observation, because it suggests that if human beings are the agents of cultural destruction, we can also be, and must be, the facilitators of cultural survival.
以上的事例說明了這些是人是活的,而且是活動的 已知的力量將他們毀滅. 這事實上是個客觀的發現, 因為如果人類 是文化毀滅者, 我們有能力,而且必須作 文化生存的協助者.
Thank you very much.
非常感謝大家!