如何像乔布斯、爱因斯坦一样脑洞大开？耶鲁教授带你激发创造潜能
字幕摘录
| 时间 | 英文 | 中文 |
|---|---|---|
| 0:09 | Welcome to the Yale Center Beijing, this is Yale University's home here in China. | 欢迎来到耶鲁中心 北京 这是耶鲁大学在中国的故乡 |
| 0:14 | And actually there are also captions in case you need it. | 实际上还有一些标题 以防万一 |
| 0:18 | I'm just going to do this opening and introduction for the benefit of Professor Jonathan Feinstein | 我要为乔纳森·芬斯坦教授做开场白和介绍 |
| 0:24 | who's visiting from New Haven. | 从纽黑文来的 |
| 0:28 | I am Carol Lee Rafferty, I'm a Yale College graduate and also the Executive Director for Yale Center Beijing. | 我是卡罗尔·李·拉费蒂 我是耶鲁大学毕业生 也是耶鲁北京中心执行主任 |
| 0:36 | Today we're in for a fascinating and very timely talk about Professor Jonathan Feinstein's new book, | 今天我们来谈谈乔纳森·芬斯坦教授的新书 |
| 0:44 | Creativity in Large Scale Contexts. | 大尺度背景中的创意. |
| 0:48 | Jonathan Feinstein教授是耶鲁管理学院的教授 | |
| 0:53 | and previously taught at the Stanford Graduate School of Business as well. | 也曾任教于斯坦福商学院 |
| 0:58 | I actually just learned from him today that he grew up in Silicon Valley, | 我今天从他那里得知 他在硅谷长大 |
展开字幕全文（997 条）
| 序号 | 英文 | 中文 |
|---|---|---|
| 1 | Welcome to the Yale Center Beijing, this is Yale University's home here in China. | 欢迎来到耶鲁中心 北京 这是耶鲁大学在中国的故乡 |
| 2 | And actually there are also captions in case you need it. | 实际上还有一些标题 以防万一 |
| 3 | I'm just going to do this opening and introduction for the benefit of Professor Jonathan Feinstein | 我要为乔纳森·芬斯坦教授做开场白和介绍 |
| 4 | who's visiting from New Haven. | 从纽黑文来的 |
| 5 | I am Carol Lee Rafferty, I'm a Yale College graduate and also the Executive Director for Yale Center Beijing. | 我是卡罗尔·李·拉费蒂 我是耶鲁大学毕业生 也是耶鲁北京中心执行主任 |
| 6 | Today we're in for a fascinating and very timely talk about Professor Jonathan Feinstein's new book, | 今天我们来谈谈乔纳森·芬斯坦教授的新书 |
| 7 | Creativity in Large Scale Contexts. | 大尺度背景中的创意. |
| 8 | Jonathan Feinstein教授是耶鲁管理学院的教授 | |
| 9 | and previously taught at the Stanford Graduate School of Business as well. | 也曾任教于斯坦福商学院 |
| 10 | I actually just learned from him today that he grew up in Silicon Valley, | 我今天从他那里得知 他在硅谷长大 |
| 11 | so really he has DNA to be talking about creativity in large scale context. | 所以他真的有DNA 来谈论大规模背景下的创造力。 |
| 12 | As for those of you who signed up for this talk, | 至于你们这些报名参加这次谈话的人 |
| 13 | you may already know that his work and this book is about how to be systematic about creativity, | 你可能已经知道 他的作品和这本书 是关于如何系统化的创造力, |
| 14 | innovation and innovation in large organizations and how this is more a long unfolding process rather than just a spark. | 大型组织的创新和创新,以及这如何是一个长期的进程,而不仅仅是一个火花。 |
| 15 | And I just can't wait to hear more from him. | 我迫不及待想从他那里听到更多。 |
| 16 | A little bit about his background, he grew up in California in Silicon Valley | 关于他的背景,他在加州的硅谷长大 |
| 17 | and went to Stanford as an undergrad and MIT as a PhD. | 大学毕业后进入斯坦福大学,麻省理工学院担任博士. |
| 18 | Without further ado, we're just so delighted to have Professor Feinstein here | 不用多费斯泰因教授了 我们太高兴了 |
| 19 | and I know that it's a beautiful Sunday out there. | 我知道外面是个美丽的星期天 |
| 20 | We'll have people keep on coming in as we go. | 我们会有人继续进来的 |
| 21 | But I, like all of you, am very much looking forward to this talk. | 但我和你们一样,非常期待这次谈话。 |
| 22 | Thank you very much. | 谢谢 |
| 23 | Thank you so much, Carol, for that very kind and generous introduction. | 非常感谢,卡罗尔, 非常感谢和慷慨的介绍。 |
| 24 | And it's really my honor to be at the Yale Center Beijing | 我很荣幸能去耶鲁中心北京 |
| 25 | and to be visiting Beijing, your beautiful country, for a few days here. | 并访问北京, 你美丽的国家, 几天在这里。 |
| 26 | So thank you so much for inviting me to come and talk to you all. | 非常感谢你邀请我来和大家谈谈 |
| 27 | I'm going to be talking about creativity and innovation today. | 我今天要谈的是创造力和创新。 |
| 28 | I'll talk for about 45 minutes or so, and then we'll have plenty of time for some questions and discussion, | 我会谈大约45分钟左右, 然后我们将有足够的时间 一些问题和讨论, |
| 29 | which is always very exciting with this topic, I think. | 我认为,这个问题总是令人兴奋。 |
| 30 | So I have my own perspective on creativity, which comes out of many years of research and scholarship | 所以我对创造力有我自己的看法 这来源于多年的研究和奖学金 |
| 31 | and thinking and studying and interviewing and talking to lots of people engaged in creativity | 思考 学习 采访 和很多从事创造的人交谈 |
| 32 | and innovative work in lots of different fields. | 以及许多不同领域的创新工作。 |
| 33 | And so I'm really here to tell you this perspective, and I think it's one that does challenge | 所以,我真的在这里 告诉你这个观点, 我认为这是一个确实挑战 |
| 34 | a lot of more conventional ways of thinking about how creativity and innovation happen. | 许多更传统的思考方式 如何创造和创新发生。 |
| 35 | I think that makes it very important for us to develop a better understanding | 我认为,这使我们非常重要 发展一个更好的理解 |
| 36 | of what is actually involved in this process and how everybody can participate and be creative | 如何参与和创造 |
| 37 | to the most of their ability. | 尽其所能 |
| 38 | So that's really what this is about. | 所以,这就是真正的原因。 |
| 39 | How does creativity happen, right? | 创造力是怎么发生的,对吧? |
| 40 | You might be asking that question. | 你可能会问这个问题。 |
| 41 | I think that there's a common view, certainly in my country, but I think around the world, really, | 我认为,有一个共同的观点, 肯定在我国, 但我想在世界各地,真的, |
| 42 | that creativity just strikes suddenly. | 创造力突然就来了 |
| 43 | Maybe it's even a little bit random. | 或有微细随机. |
| 44 | And it's really just some people we call creative geniuses who get to be creative. | 这真的是一些我们称之为创造天才的人, 他们变得有创造力。 |
| 45 | I put up two images there. | 我在那里放了两张照片。 |
| 46 | If you looked on something like Google or a search engine | 如果你在谷歌或搜索引擎上看到 |
| 47 | under the word creativity, you know, one of the top images that will come up is a light bulb, | 在"创造力"这个词下, 你知道,一个顶级的图像 将会出现一个灯泡, |
| 48 | because the idea is you just turn on the light and then, wow, creativity is there. | 因为想法是你打开灯 然后,哇,创造力就在那里。 |
| 49 | In an earlier time, a different culture perspective would be it's like a lightning bolt | 在更早的时期,不同的文化视角 会像闪电一样 |
| 50 | that suddenly just hits you, and then you get to be creative. | 突然间你被打中了 然后你就会有创意 |
| 51 | That's a standard view, but that's not really what's happening with creativity, | 这是一个标准的观点, 但这不是真正的 发生创造性, |
| 52 | or another way to say that is that's just a small part of the overall picture | 或者另一种说法是 这只是整个画面的一小部分 |
| 53 | of what someone is doing or an organization is doing when they're able to be creative. | 一个人在做什么 或一个组织正在做 当他们能够创造。 |
| 54 | And it's also not a very useful way of thinking about it, because what are you going to do? | 这也不是一个非常有用的思考方式,因为你打算怎么办? |
| 55 | Just sit around and wait until a lightning bolt hits you in the head? | 坐着等闪电击中你的头? |
| 56 | You could, but that's not really what creative people actually do. | 你可以,但这不是真正的 创造力的人做。 |
| 57 | It turns out creative people work for a long time. | 事实证明,创作者长期工作. |
| 58 | And so actually, creativity comes about through a longer-term process. | 实际上,创造力是通过一个长期的过程产生的。 |
| 59 | And I'm going to share with you some stories today | 我今天要跟你们分享一些故事 |
| 60 | of some people who are viewed as successful in their creative work | 一些被认为在创造性工作中取得成功的人 |
| 61 | to give you some idea of what those paths or unfolding process could look like. | 让你知道这些路径或正在发展的过程会是什么样子 |
| 62 | My perspective is anyone can engage in creative and innovative activity. | 我的观点是,任何人都可以从事创造性和创新性的活动。 |
| 63 | Every single person can, and it's really about them understanding the process. | 每个人都可以, 并且它真的是关于他们理解这个过程。 |
| 64 | Sometimes it's about gaining a little confidence. | 有时是为了获得一点信心. |
| 65 | Sometimes it's about the fact that there are some blockages | 有时是因为有些障碍 |
| 66 | and how do they remove the blockages to be able to be more creative. | 以及他们如何去除障碍 才能更富有创造力 |
| 67 | We'll talk about some of that today. | 我们今天谈一些 |
| 68 | You can also certainly feel free to discuss or ask questions afterwards. | 您也可在讨论或提问后自由自在。 |
| 69 | The other perspective I have being in a school of management is | 我在管理学院的另一个观点是 |
| 70 | it's really about managing the process. | 这真的是关于 管理过程。 |
| 71 | And if you ask me what is the first thing I would say to an organization | 如果你问我,什么是第一件事 我会对一个组织说 |
| 72 | who's thinking about trying to improve creativity and innovation, | 想要提高创造力和创新力 |
| 73 | step number one, recognize that it is a process | 第一步,承认这是一个过程 |
| 74 | and then think about more deliberately how do you manage that process. | 然后更仔细地思考如何管理这个过程。 |
| 75 | And a lot of organizations still in the world today do not do that. | 而今天世界上仍然有许多组织没有这样做。 |
| 76 | And the result is they're very random about creativity. | 结果是他们对于创造力很随意。 |
| 77 | They're not getting nearly as much creative, | 他们没有那么有创意 |
| 78 | innovative flow as they probably could be getting | 创新流动,因为他们可能 |
| 79 | if they were just approaching it a little more systematically that way. | 如果他们只是 更系统地接近它。 |
| 80 | So that's what we're here to talk about. | 这就是我们在这里谈论的。 |
| 81 | And just to complete that piece of this story, the dramatic hope moments do happen. | 为了完成这个故事的一部分, 戏剧性的希望时刻确实发生了。 |
| 82 | I'm sure they happen because I've talked to so many creative people. | 我敢肯定,它们发生, 因为我已经和这么多 创意的人。 |
| 83 | We hear their own accounts and we know that they happen. | 我们听到他们自己的说法,我们知道它们会发生。 |
| 84 | But they're happening in the context, this bigger world of an unfolding process. | 但是,它们发生在背景中, 这个更大的世界 一个正在发展的进程。 |
| 85 | And if you want to manage creativity, you want to start by thinking about the big process. | 如果你想管理创造力,你想从思考这个大过程开始。 |
| 86 | And then you'll see how those moments happen in that bigger context. | 然后,你会看到这些时刻如何发生 在这个更大的背景。 |
| 87 | Okay. | 摆 |
| 88 | Well, how does creativity happen? | 创造力是怎么发生的? |
| 89 | I just told you some of the ways it doesn't happen. | 我只是告诉你一些事情不会发生的 |
| 90 | How does it happen? | 怎么会这样? |
| 91 | Where does it happen? | 它在哪里发生的? |
| 92 | Well, it certainly happens in our brains. | 这当然发生在我们的大脑里 |
| 93 | At least that'd be one logical way to think about that. | 至少这样想是合乎逻辑的 |
| 94 | But what is actually in your brain, right? | 但你脑子里到底有什么,对吧? |
| 95 | What is it that is enabling you to be creative? | 什么是让你有创造力? |
| 96 | For someone to have an idea or have an insight or perceive an opportunity more clearly. | 为了有人有想法或有洞察力或更清楚地看到机会 |
| 97 | It's also about recognizing opportunities in the world. | 也是关于认识世界的机会. |
| 98 | Yes, that's absolutely a big part of creativity and innovation. | 是的,这绝对是创造力和创新的一大部分。 |
| 99 | I did grow up in the Silicon Valley area, in the San Francisco Bay area. | 我在硅谷区,旧金山湾区长大 |
| 100 | And I've been very fortunate to know so many very creative people | 我很幸运能认识这么多有创意的人 |
| 101 | who are willing to tap into their creativity. | 他们愿意挖掘他们的创造力。 |
| 102 | And so much of it is about the opportunity that somebody recognizes and takes. | 这其中很多都是关于 机会,人们认识和带走。 |
| 103 | But how does somebody come to recognize that opportunity, right? | 但怎么会有人意识到这个机会呢? |
| 104 | It's a question. | 问曰. |
| 105 | Well, something I've realized as I worked on this over time, | 嗯,我意识到一些事情 当我在做这项工作的时间, |
| 106 | creativity happens in large-scale network context. | 创意发生在大型网络背景下. |
| 107 | That'd be one way to think about this that you might not have thought of before. | 想想你以前可能没想过的 |
| 108 | So it's a good way to think about it. | 故善思议. |
| 109 | What do I mean by network? | 网络是什么意思? |
| 110 | And don't worry, we're not going to overdo the network math in this talk, | 别担心,我们不会在这场演讲中 过度做网络数学 |
| 111 | which would not be smart. | 这可不明智 |
| 112 | But we are going to just touch on what that means | 但我们只是要 接触这意味着什么 |
| 113 | and how someone's able to use their network to be creative. | 以及人们如何利用网络创造力 |
| 114 | There's networks of people, social network. | 有人网,社会网. |
| 115 | I think we all understand that today with social media. | 我想我们今天都明白这一点。 |
| 116 | There's networks of things, of places, of events, | 有网络 东西,地点,事件, |
| 117 | and certainly of ideas or concepts that we all have in our minds | 以及我们脑海里的想法或概念 |
| 118 | that are structured together. | 它们是结构化的。 |
| 119 | What is your context, your large-scale context? | 你的背景是什么,你的大规模的背景? |
| 120 | Well, really it's everything you have experienced and that you know. | 嗯,真的,这是所有 你经历过,你知道。 |
| 121 | It's really your whole field that you're learning about in your culture. | 在你的文化中,你所学的正是整个领域。 |
| 122 | So it's a lot. | 故为多. |
| 123 | So the first thing to understand is the context of somebody, | 所以首先要理解的是某人的背景 |
| 124 | a writer, an inventor, in which they create, | 一个作家,一个发明家, 他们在那里创造, |
| 125 | it's actually a lot because they've gone through their life learning things. | 其实是很多 因为他们经历了自己的人生 学习的东西。 |
| 126 | And they've got all these concepts and people, | 他们有所有这些概念和人, |
| 127 | and really they're trying to find their way to something creative | 并真正地他们试图 找到他们的方法 创新的东西 |
| 128 | in that context that they live in. | 他们生活在这种背景下。 |
| 129 | So we'll talk about that a little bit. | 我们再谈这个 |
| 130 | I'll give you some examples. | 我举个例子 |
| 131 | Here's just one example of a context, | 这里只是一个背景的例子, |
| 132 | a very simple diagram to get a little feeling. | 一个非常简单的图来得到一点感觉。 |
| 133 | This is the context for the writer Virginia Woolf. | 这是作家弗吉尼亚·伍尔夫的背景. |
| 134 | The actual context would be much larger than this, | 实际环境会比这个大得多, |
| 135 | but here's just like an overview of it. | 但这里就像一个概述。 |
| 136 | Thinking about her context, there was her reading world, | 想想她的背景 她的阅读界 |
| 137 | and this is someone who was a very, very intensive reader. | 这个人是一个非常,非常密集的读者。 |
| 138 | By the time she developed the key concept | 当她提出关键的概念时 |
| 139 | that I'll share with you later on today, | 今天晚些时候我和你们分享 |
| 140 | she had read by my own calculations at least several thousand books, | 她读了至少几千本书 |
| 141 | minimum several thousand books. | 至少几千本书 |
| 142 | Her father actually was a Victorian scholar, | 她父亲其实是维多利亚学者 |
| 143 | and he had a large library, | 他有一个庞大的图书馆, |
| 144 | and a lot of her reading up to at least the age of 20 | 和很多她读到至少20岁 |
| 145 | was actually books from her father's library, | 其实是她父亲图书馆的书 |
| 146 | so we know something about what she read. | 所以我们知道她读了什么 |
| 147 | She's also somebody who made her living for a lot of her adult life | 她也是她成年后过很多日子的人 |
| 148 | as basically writing book reviews for London newspapers. | 主要是为伦敦报纸写书评 |
| 149 | So they would send her a book, she'd write the review. | 所以他们会给她寄本书 她会写评论 |
| 150 | Became a very, very good reader, a very critical reader by doing that, | 成为一个非常,非常好的读者, 一个非常批评的读者 通过这样做, |
| 151 | but we know from that just the huge numbers of books that she read. | 但我们知道她读的大量书 |
| 152 | She'd write a book review sometimes about an author like Charles Dickens, | 她有时会写一篇书评 关于查尔斯·狄更斯这样的作家 |
| 153 | and she'd read every single novel that author had written, | 她读过每本作者写的小说 |
| 154 | so she'd read a lot. | 她读了很多书 |
| 155 | And I broke that down here on that picture into literature, | 我把照片上的照片 拆成文学作品 |
| 156 | you know, books she read, and there would be time periods. | 你知道,她读的书, 会有一段时间。 |
| 157 | She loved actually the older Shakespeare time period, | 她其实很喜欢莎士比亚的年代 |
| 158 | but also knew a lot about her own time period, different cultures. | 也非常了解她自己的时代 不同的文化 |
| 159 | Although she read a lot of English, | 虽然她读了很多英语, |
| 160 | she also read a tremendous amount of other literatures worldwide. | 她也阅读了大量的其他文献 |
| 161 | Authors she read, and then of course the works that she read, | 她阅读的作者,当然,她阅读的作品, |
| 162 | and there'd be thousands of those. | 会有上千个这样的。 |
| 163 | I also put over there the nonfiction, | 我还把非虚构的, |
| 164 | and you see that link all the way at the bottom back to her father. | 你可以看到她父亲的底部 |
| 165 | One of the interesting things about a context | 关于背景的有趣事物之一 |
| 166 | is that there's crossing links between people and ideas, | 人和思想之间有交叉联系, |
| 167 | and that's part of the richness that we make those connections. | 这就是我们创造这些关系的丰富之处之一。 |
| 168 | Her father was very committed to the idea | 她父亲很重视这个想法 |
| 169 | that when you read an author, | 当你读一个作者, |
| 170 | you should know as much as you could about their life, | 你应该尽可能了解他们的生活, |
| 171 | and so he had that sort of biography approach, | 所以他有那种传记方法, |
| 172 | and she really picked that up from her father, | 她真的从她父亲那里捡到的 |
| 173 | and so she read a lot of biographies, biographical materials, | 她读了很多传记 传记材料 |
| 174 | and she would bring those into her book reviews actually, | 她会把这些带进她的书评中 |
| 175 | and read a lot of history, all kinds of things. | 并且阅读了很多历史,各种事物. |
| 176 | In the middle of that diagram, I put self and society. | 在图中,我把自我和社会。 |
| 177 | Of course it starts with herself and her own life, | 当然它从她和自己的生活开始 |
| 178 | and then just put there a few people | 然后放几个人 |
| 179 | who were really important to her, her father. | 对她很重要 她的父亲 |
| 180 | In a lot of ways, she was his follower or protege, | 在很多方面,她都是他的追随者或亲友, |
| 181 | and she was sort of carrying on some of what he was already doing. | 她正在做一些他已经在做的事 |
| 182 | Her mother, Virginia Woolf is someone whose mother died | 她的母亲,弗吉尼亚·伍尔夫 一个母亲死了的人 |
| 183 | when she was 13 years old. | 当她13岁。 |
| 184 | That's probably the most important emotional experience | 这可能是最重要的情感体验 |
| 185 | of her entire life is when that happened. | 她的一生都是这样 |
| 186 | Her mother was very, very important to her, | 她妈妈对她很重要 |
| 187 | and her great book, To the Lighthouse, | 和她的伟大书, 灯塔, |
| 188 | is really about her mother more than anything else. | 真正关心她母亲的比什么都多 |
| 189 | Her sister, Vanessa, also very important to her. | 她的妹妹凡妮莎,对她也是非常重要的. |
| 190 | Other siblings, also important. | 其他兄弟姐妹,也很重要。 |
| 191 | Leonard Woolf, her husband, very important in supporting her work. | 伦纳德·伍尔夫,她的丈夫,在支持她的工作方面非常重要. |
| 192 | The whole Bloomsbury group with lots of interesting people | 整个布卢姆斯伯里集团 有很多有趣的人 |
| 193 | who had a lot of current ideas about art and literature | 他有很多关于艺术和文学的现时想法 |
| 194 | and society that she was learning from. | 她正在学习的社会 |
| 195 | And of course, lots and lots of other people. | 当然,还有很多人。 |
| 196 | She was a very sociable person. | 她是一个非常友好的人。 |
| 197 | She would have known hundreds of people. | 她会认识几百人 |
| 198 | Her diary, which is a fascinating account of her life. | 她的日记,这是她一生中令人着迷的故事. |
| 199 | Just every day she's talking about people she meets | 她每天都在谈论遇到的人 |
| 200 | and dinner parties and all kinds of things, so very rich there. | 宴会和各种东西, 如此富有。 |
| 201 | Finally, on the far side, I put places, | 最后,在遥远的一面, 我设置的地方, |
| 202 | also important to her work and her life. | 对她的工作和生活也很重要 |
| 203 | In fact, the biography that Hermione Lee wrote of Virginia Woolf, | 事实上,赫敏·李写给弗吉尼亚·伍尔夫的传记, |
| 204 | which is a good biography. | 这是一部很好的传记。 |
| 205 | The first chapter is called Houses, | 第一章叫做"豪斯", |
| 206 | and it's all about the places that she grew up. | 她成长的地方 |
| 207 | That's how important that was to her, where she lived. | 这对她来说有多重要 她住的地方 |
| 208 | Also, nature was important, and she traveled. | 而且,大自然是重要的, 她旅行。 |
| 209 | That was also important to her, so that was also a rich part. | 这对她也很重要,因此也是很丰富的部分。 |
| 210 | So that's a schematic, if you want to break down the context | 所以,这是一个图表, 如果你想打破上下文 |
| 211 | into some categories, and there's some crosses between them. | 他们之间有些交叉 |
| 212 | But the actual context would dive way, way down | 但实际环境会俯冲,俯冲 |
| 213 | and it would have thousands and thousands of elements, right? | 它会有成千上万的元素,对不对? |
| 214 | All the people, the places, the books, very rich. | 所有百姓,地方,书籍,都非常丰富. |
| 215 | And she'd be building up connections between them. | 她会建立他们之间的联系。 |
| 216 | And that would really be her context. | 这真的是她的背景。 |
| 217 | And then in that rich context that she had, | 然后在她那丰富的背景中 |
| 218 | she had to find a way to find her creative voice. | 她必须想办法找到她有创意的声音。 |
| 219 | And so in a way, that's what I see as the challenge | 从某种意义上说,这就是我所认为的挑战 |
| 220 | for a lot of creative, innovative work, | 对于很多创造性的,创新的工作, |
| 221 | is you have all this rich experience and knowledge, | 你拥有这些丰富的经验和知识, |
| 222 | and how do you find your own true voice to come up | 你怎么找到自己的真声音 |
| 223 | with something creative and innovative within that context? | 在这种背景下有创造性和创新性的东西? |
| 224 | That's really what she was working to do. | 她就是这么工作的 |
| 225 | So that's the challenge of creativity. | 这就是创造力的挑战。 |
| 226 | How do we approach being creative | 我们如何面对创造力 |
| 227 | in these kinds of large-scale network contexts? | 在这种大规模网络背景下? |
| 228 | Randomly trying different things isn't likely to work. | 随机尝试不同的东西 不太可能工作。 |
| 229 | There's just too many options. | 有太多的选择。 |
| 230 | You can't just randomly try everything. | 你不能随便尝试一切 |
| 231 | Virginia Woolf could not write about everything and anything. | 弗吉尼亚州 伍尔夫无法写出所有的东西 |
| 232 | It took a lot of work to write even a short story for her. | 写一个短篇故事给她 花了很多工作 |
| 233 | Hard to find a needle in a haystack. | 在干草堆里很难找到针头 |
| 234 | How are you going to look for it? | 你将如何寻找它? |
| 235 | So the key in this rich world that we live in, the key is guidance. | 因此我们所生活的这个富裕世界的关键,关键是指导. |
| 236 | The key is context for creativity are large-scale, | 关键是创造力的背景是大规模的, |
| 237 | and we use guidance to find our way to outstanding creative outcomes. | 我们利用指导 找到我们的方法 杰出的创造性结果。 |
| 238 | So it's kind of a process of thinking our way forward | 所以这是一个思考我们前进方向的过程 |
| 239 | to where are the potentially creative rich places to look. | 哪里是潜在的 创造力丰富的地方寻找。 |
| 240 | I'm going to give you some examples to make that point. | 我要举几个例子来说明这一点。 |
| 241 | But first I'm going to tell you a little more about what I mean | 但首先我要告诉你更多关于我的意思 |
| 242 | by guidance before we get to the stories. | 在讲故事之前,请指示 |
| 243 | Guidance is higher-level conceptual thinking | 指导是更高层次的概念思维 |
| 244 | that provides guidance into the thicket of possibilities. | 它为众多的可能性提供了指导。 |
| 245 | So you're going down into a thicket where there's so many options, | 所以,你要去 进入一个厚厚的 有这么多的选择, |
| 246 | and the guidance is going to help you see where you want to go, more or less. | 而引导将帮助你 发现你想去的地方, 多少。 |
| 247 | I think of it as like a map or a guide to where you're going to go to. | 我认为它就像一张地图 或指导你要去哪里。 |
| 248 | I think from the point of view of organizations | 我认为从组织的角度 |
| 249 | and managing creativity and innovation, | 管理创造力和创新, |
| 250 | that's a super important way to think about it, | 这是一个非常重要的思考方法, |
| 251 | that you're trying to provide some guidance | 你试图提供一些指导 |
| 252 | to people who are doing creative work for you | 给那些为你做创造性工作的人 |
| 253 | to help them go in the directions that will be productive for what they're doing. | 帮助他们走进能为他们所做的事 有所作为的方向 |
| 254 | So I definitely want that to be a takeaway | 所以我绝对想当外卖 |
| 255 | if you're interested in managing creativity. | 如果你有兴趣 管理创造性。 |
| 256 | That's an important takeaway, I think, is that's how you should think about it. | 我认为,这是一个重要的外卖, 这就是你应该如何思考它。 |
| 257 | I've worked, and in the book I've put together a framework for how this happens, | 我工作过,在书里,我编了 如何发生这种情况的框架, |
| 258 | which I'm just going to sketch for you in like 10 minutes or so very quickly. | 我将在十分钟内为你画画 或很快 |
| 259 | You could go to the book and get a lot more detail about it, | 你可以去看书 得到更多的细节, |
| 260 | but there's guiding conceptions and there's guiding principles, | 但有指导思想 也有指导思想 |
| 261 | and those two actually work together. | 他们俩实际上合作。 |
| 262 | So when you look at creative people, | 所以当你看着创造力的人, |
| 263 | you find they have both, like Virginia Woolf, | 你发现他们俩都有 就像弗吉尼亚·伍尔夫 |
| 264 | and they bring them together, and that's how they actually create, | 他们把他们聚集在一起, 他们就是这样创造的, |
| 265 | or it's one of the ways that they create. | 或者是他们创造的方法之一 |
| 266 | I just want to say before I jump into that, | 我只是想说 在我跳到那个之前 |
| 267 | I was giving this, talking to some people about this back in the spring, | 我给了这个, 和一些人谈论这个回春, |
| 268 | and we're just talking about it, | 我们只是在谈论它, |
| 269 | this is kind of an American sign, I guess, a bend in the road. | 这是一种美国标志, 我想,在路上弯曲。 |
| 270 | I don't know if in China you would use a road sign like that, | 我不知道在中国,你会使用这样的路标, |
| 271 | but I think we're at a time right now where there's a new approach to modeling | 但我认为我们现在正处于一个 新的模式模式 |
| 272 | and understanding creativity and innovation that can develop for us. | 理解能够为我们发展的创造力和创新。 |
| 273 | I think it relates a little bit to AI, although it's not exactly the same, | 我觉得这和AI有点关系 虽然它并不完全一样 |
| 274 | but it's a little bit related. | 但有点关系 |
| 275 | And just to say a bit more about that, | 再多说一点 |
| 276 | creativity, innovation related to it has really been centered | 创造力,创新 与它相关的 已经真正中心 |
| 277 | in the field of psychology for a long time, | 在心理学领域很长一段时间, |
| 278 | and they've made some great contributions in psychology to help us understand | 他们为帮助我们理解 |
| 279 | creative personality and some creative experience that people have | 创造人格和一些创造经验 |
| 280 | and those sorts of things. | 以及那些东西 |
| 281 | But it's a different discipline, | 但是,这是一个不同的学科, |
| 282 | and I come at this more from the point of view of modeling social science | 我从社会科学的模范角度出发 |
| 283 | networks, and I think it's a time to study creativity differently | 网络,我认为是时候 以不同的研究创造力 |
| 284 | as happening in this richer context rather than the very simplified context | 而不是非常简化的 |
| 285 | that I think has traditionally been the way creativity has been thought about. | 我认为,传统上,这是人们思考创造力的方式。 |
| 286 | So it's an opportunity really to use the models, the tools we have available | 因此,这是一个真正的机会 使用模型, 我们有的工具 |
| 287 | to model the creative innovative process in a richer way. | 以更丰富的方式模拟创新进程。 |
| 288 | If you look right now today, for example, in pharmaceutical industry, | 如果你现在看,比如在制药业, |
| 289 | you'll see that they're already using AI in ways that fit with what I'm telling | 你会看到,他们已经在使用AI的方式 符合我所说的 |
| 290 | you right here. | 你在这里。 |
| 291 | I don't think that they're consciously describing the model quite the way I'm | 我觉得他们不是在自觉地 描述模型的方式,我的方式 |
| 292 | going to, but I think they're already doing it. | 要去,但我想他们已经这样做了。 |
| 293 | So I think that we're moving to this bend where we're going to start to think | 所以,我想我们要去 这个弯道,我们将开始思考 |
| 294 | about it differently and understand the challenges differently. | 不同地理解挑战。 |
| 295 | Okay. | 摆 |
| 296 | So what do I mean by guiding conception? | 那么,我意味着什么 指导概念? |
| 297 | Well, it's going to help individual teams navigate the rich landscape of | 这会帮助各个团队 熟悉丰富的环境 |
| 298 | possibilities, and here's what I want you to do with the guiding conception. | 我想让你做一个指导性的概念。 |
| 299 | Imagine what you would like to create. | 想象一下你想创造什么 |
| 300 | It's really that simple. | 这真的很简单。 |
| 301 | Someone thinking a little more freely, a little more openly can imagine what | 有人更自由地思考 更公开地思考 |
| 302 | they would love to create. | 他们喜欢创造。 |
| 303 | It could be a goal. | 这可能是个目标。 |
| 304 | It could be a question they want to answer. | 这可能是他们想要回答的问题。 |
| 305 | It could be a theme. | 这可能是一个主题。 |
| 306 | It could just be possibilities. | 这可能只是可能。 |
| 307 | And once you have that guiding conception, that sort of open, imagined vision | 一旦你有了这个指导思想, 这种开放的,想象的视觉 |
| 308 | for what you would like to do, even if you don't know how to do it right now, | 如果你现在不知道该怎么做 |
| 309 | that's a great first step. | 这是伟大的第一步。 |
| 310 | Because once you have that, you can generate seed project ideas, and from | 因为一旦你有了它, 你可以生成种子项目的想法, 从 |
| 311 | those seed project ideas, bigger, successful projects can develop. | 那些种子项目的想法, 更大的,成功的项目可以发展。 |
| 312 | So it's like a vision in a way. | 故如是观法中. |
| 313 | I think of it as a little bit behind the scenes creativity, because it's not | 我认为它是 一点点幕后 创意,因为它不是 |
| 314 | the actual thing somebody did. | 真实的事情,有人做了。 |
| 315 | It's a little bit step back, a little bit step back and say, well, before they | 退一步,退一步,然后说,在他们之前 |
| 316 | did what they did, what were they thinking they wanted to do, right? | 做了他们做的, 他们想做什么,对不对? |
| 317 | Because once you think you want to do something, you're able to vision, | 因为一旦你觉得你想做点什么 你就能想象 |
| 318 | visualize it, then you get started on the journey, and then, of course, things | 想象一下,然后你开始旅行, 当然,事情 |
| 319 | will happen, and you'll see where you finally end up. | 你会发现你最终会到哪里去 |
| 320 | We won't do this today, but when I teach this, and I just did a workshop two | 我们今天不会这样做,但当我教这个, 我刚刚做了一个工作坊二 |
| 321 | weeks ago down in Australia for this, I love to have students or participants | 几周前在澳洲,我喜欢学生或参与者 |
| 322 | spend some time writing down for themselves their own guiding conception. | 花些时间为自己写下自己的指导思想。 |
| 323 | I think that's a really interesting exercise. | 我认为这是一个非常有趣的练习。 |
| 324 | What is the guiding conception you would have or something you would love to | 什么是指导思想 你会有或喜欢的东西 |
| 325 | create? | 创建 ? |
| 326 | Just don't worry about whether it's possible. | 只是不要担心 这是否可能。 |
| 327 | Just think about what would you love to create? | 想想你想创造什么? |
| 328 | And then it's actually great to discuss that, sometimes put people in small | 讨论一下,有时候会把人放小 |
| 329 | groups and talk between themselves about their different guiding conceptions | 讨论他们不同的指导思想 |
| 330 | and see where that conversation leads. | 看看谈话的结局 |
| 331 | So it's a great teaching tool to use. | 因此,它是一个很好的教学工具来使用. |
| 332 | Second piece of this is guiding principles. | 第二部分是指导原则。 |
| 333 | So they were used to evaluate ideas, and then they're used to guide projects. | 因此,它们被用来评价想法,然后用来指导项目. |
| 334 | They rule out what doesn't fit, like lacks balance or some harmony that you | 他们排除了不适合的东西,比如缺乏平衡或一些和谐 你 |
| 335 | think you want. | 认为你想。 |
| 336 | Especially interesting to me is the guiding principles are used creatively to | 我特别感兴趣的是,指导原则被创造性地用于 |
| 337 | find key missing pieces so a project comes together. | 找到缺少的密钥片段, 这样一个工程会合在一起 。 |
| 338 | So once you have a seed project, that's not enough. | 一旦有了种子项目,那是不够的。 |
| 339 | It's a good start. | 开局不错. |
| 340 | But now you've got to find the extra missing pieces that bring into the seed to | 但是现在你必须找到更多的 缺失的碎片 带入种子 |
| 341 | make it into a whole project that works. | 把它变成一个完全可行的项目。 |
| 342 | That's how I think about it. | 亦复如是念处. |
| 343 | On the right there, I found that from Michelle Silverstein's little book he | 我从米歇尔·西尔弗斯坦的小书里发现 |
| 344 | wrote, a children's book called The Missing Piece, and it was missing a piece | 写了一本儿童书 叫《失踪的碎片》 它不见了一部 |
| 345 | and it was not happy, so it goes on a search to find the piece that's missing, | 它不高兴,所以它继续寻找 丢失的作品, |
| 346 | set off in search of the missing piece. | 开始搜索丢失的碎片。 |
| 347 | But in the end, the correct piece is not what it expects to find, interestingly. | 但最终,正确的作品并不是它所期望的,有趣的是. |
| 348 | It turns out that the piece it really wants is that little butterfly just | 原来它真正想要的是那只小蝴蝶 |
| 349 | sitting on its nose. | 坐在它的鼻子上。 |
| 350 | That's the missing piece, which it did not realize until the end of its journey. | 这是缺失的部分,它直到旅程结束才意识到. |
| 351 | But that's creativity, right? | 但这是创造力,对不对? |
| 352 | The missing piece is also creative and adds to you to make the whole project. | 缺失的作品也具有创意,并为您增添了创造整个项目的内容. |
| 353 | So the two work together. | 故二者共事. |
| 354 | The guiding conception visualizes, imagines, and then once you start with a | 指导思想可以想象 想象 一旦你开始 |
| 355 | seed, the guiding principle helps you find the missing pieces so it all works. | 种子, 指导原则可以帮助您找到缺失的棋子, 所以它们都起作用 。 |
| 356 | Talking about guiding principles, Steve Jobs, a great example of someone who | 史蒂夫·乔布斯 讲到指导原则 是一个伟大的例子 |
| 357 | really had some very strong guiding principles, for him we would call them | 确实有一些非常强烈的指导原则, 对于他,我们会称之为 |
| 358 | design principles, which are an example of a guiding principle. | 设计原则,这是指导原则的一个例子。 |
| 359 | He would reject many solutions that his team proposed. | 他拒绝他的团队提出的许多解决办法。 |
| 360 | His favorite word was like, no, that isn't good enough, do it again. | 他最喜欢的词是,不, 这还不够好,再做一次。 |
| 361 | But he was also very creative in the way he used guiding principles to make | 但他也非常有创造力 用指导原则来做 |
| 362 | projects work. | 项目工作。 |
| 363 | And there's a story that's told that they were working on a computer design and | 有个故事说他们正在研究计算机设计 |
| 364 | he was not happy with it. | 他对此不满意。 |
| 365 | And he went out one weekend and he went to a shopping center, actually near to | 一个周末,他去购物中心 |
| 366 | where I grew up and I learned that Carol also was there, Stanford Shopping Center, | 在那里我长大 我得知卡罗尔也在那里 斯坦福购物中心 |
| 367 | so she at least will know that. | 所以她至少会知道这一点。 |
| 368 | Anyway, he goes into a department store and he sees a Cuisinart, which is a | 总之,他进入百货公司 看到一个Cuisinart,这是一个 |
| 369 | kitchen appliance, and he thought, wow, the curvature, the way it was shaped was | 厨房的电器, 他认为,哇,曲面, 它的形状是 |
| 370 | perfect. | 完美无缺 |
| 371 | So he goes back to his team and he says, you see this Cuisinart, I want you to | 所以,他回到他的团队 他说,你看这个Cuisinart, 我要你 |
| 372 | design the computer so it looks like the Cuisinart. | 设计电脑,所以它看起来像Cuisinart。 |
| 373 | And that's what they did, actually. | 他们就是这么做的。 |
| 374 | That was the creative link he made. | 这就是他创造的链接。 |
| 375 | So always thinking with his guiding principles and those creative links, that | 所以总是想着他的指导原则 和那些创造性的联系, |
| 376 | was the missing piece that enabled the design to work so the computer came | 是缺失的作品 使得设计能够工作 所以计算机来了 |
| 377 | together. | 一起来 |
| 378 | Really interesting. | 真的很有趣,你觉得呢? |
| 379 | So just to summarize, you know, all of which, that the guiding conceptions and | 所以,只是总结一下,你知道,所有这一切, 指导思想和 |
| 380 | guiding principles act in concert together. | 指导原则协同行动。 |
| 381 | The guiding conception, the vision generates the seeds. | 指导思想,视觉产生种子. |
| 382 | An example of that, the very simplest example would be in your rich context, | 举例来说 最简单的例子是 在你丰富的背景中 |
| 383 | you find two elements that have not been connected before, but you imagine a way | 你找到两个以前没有连接过的元素, 但你想象着一个方法 |
| 384 | to connect them. | 连接他们。 |
| 385 | That would be the simplest possible example, a new creative connection. | 这将是最简单的可能的例子,新的创造性联系。 |
| 386 | And then the guiding principles evaluate the seeds, and if the seed is pursued, | 然后指导原则评估种子 如果种子被追求 |
| 387 | help identify a critical third element to make the project come together. | 帮助确定重要的第三个要素,使项目得以合并。 |
| 388 | And that could be anywhere in your context. | 这可能在任何你的背景。 |
| 389 | The Cuisinart was way out there somewhere, but Steve Jobs found it and brought it | 但史蒂夫·乔布斯找到并带来了 |
| 390 | in. | 进去 |
| 391 | So that is, in a nutshell, on that slide right there, that is the way this | 所以,简言之,在幻灯片上,这就是这个方法。 |
| 392 | framework works. | 框架发挥作用。 |
| 393 | Go again to the book for more about that. | 再去书上多谈这个 |
| 394 | What I'm going to do now is I'm going to give you some examples because I think | 我现在要做的是给你一些例子 因为我想 |
| 395 | it will be a little more exciting to see some people actually did it. | 看到有人真的这么做会更刺激一些 |
| 396 | So let's do that. | 因此,让我们做到这一点。 |
| 397 | First of all, Jack Dorsey and the founding of Twitter. | 首先,杰克·多西和推特的创立. |
| 398 | Now called X, but Twitter when it was founded. | 现在称X,但Twitter成立时使用. |
| 399 | That picture you see there is actually a memo pad where supposedly Steve Jobs, | 你所看到的那张照片 其实是一个备忘页 在那里据称史蒂夫·乔布斯, |
| 400 | that's the first time he jotted out some notes for what would become Twitter | 这是他第一次在推特上发一些音符 |
| 401 | actually on that memo pad. | 实际上在备忘板上。 |
| 402 | And you see that box there in the middle of the memo pad? | 你看到那个盒子了吗? |
| 403 | See this box right here? | 看到这个盒子了吗? |
| 404 | He kind of carved it out here. | 他在这里刻的 |
| 405 | His idea from the very beginning with Twitter was you would send short | 他从推特开始的想法就是 你会发送短文 |
| 406 | messages. | 留言。 |
| 407 | He thought to your friends or your friend group, it would have to be very | 他认为你的朋友或你的朋友团体, 它必须是非常 |
| 408 | short. | 简称。 |
| 409 | So he wrote the box to make sure that your message could not be too long. | 所以他写了盒子 确保你的消息不会太久 |
| 410 | That was his original idea. | 这是他的最初想法。 |
| 411 | And then below that line, you see where it says, it says in bed, it says going | 然后在那条线下,你看它说在哪里, 它说在床上,它说去 |
| 412 | to the park. | 去公园 |
| 413 | His original idea was this would be a way to let my friends know exactly what | 他最初的想法是 这样可以让我的朋友们知道 |
| 414 | I'm doing right now. | 我现在就去 |
| 415 | And it would have to be really short little bursts of information. | 它必须是非常短的 微小的信息。 |
| 416 | That's interesting from two points of view for me. | 从两个角度看,这很有趣。 |
| 417 | One is this is an example of something, social media, we have so many things | 社会媒体,我们有很多东西 |
| 418 | today. | 今时. |
| 419 | But you know, if this person hadn't had this conception, I'm not sure we would | 但你知道,如果这个人没有这个想法, 我不确定我们会 |
| 420 | have something like Twitter today. | 今天有类似Twitter的东西。 |
| 421 | Twitter or X is kind of unusual in a lot of ways. | 推特或X在很多方面都是不寻常的. |
| 422 | And I think it's because this person had this guiding conception for the short | 我想是因为这个人有这个指导思想 |
| 423 | bursts of information that that's what eventually led to Twitter. | 连线消息 最终导致Twitter。 |
| 424 | And then the other thing is, of course, Twitter went way beyond what Jack | 另一件事是,当然,推特超越了杰克 |
| 425 | Dorsey thought it was going to be because once you have a creative innovation, | Dorsey认为那是因为一旦你有了创意 |
| 426 | the world gets a hold of it and can do anything with it and you can't really | 这个世界得到了它 并且可以做任何事情 用它,你不是真的 |
| 427 | control that process. | 控制这个过程。 |
| 428 | So it's used for many things today. | 故今用之为多. |
| 429 | He thought it would be just letting your friends know about what you're doing. | 他认为这只是让你的朋友知道你在做什么。 |
| 430 | But obviously today it's used for many, many other things. | 但很明显,今天它被用于很多,很多其它的事情。 |
| 431 | That's just what happens. | 就是这样 |
| 432 | Well, what's the story about that? | 那么,这是怎么回事? |
| 433 | There was an article on him in the Los Angeles Times. | 洛杉矶时报有一篇关于他的文章. |
| 434 | Twitter didn't just fly out of thin air and land on a branch. | 推特不仅飞出稀疏的空气,在树枝上降落. |
| 435 | As Dorsey explains, it has conceptual roots in the world of vehicle dispatch | 正如Dorsey所解释的, 它在汽车发送世界中有着概念上的根源 |
| 436 | where cars and bikes zooming around town must constantly squawk to each other | 汽车和自行车在镇上变大 必须不停地互相抱怨 |
| 437 | about where they are and what they're up to. | 关于他们在哪里 他们在做什么。 |
| 438 | Interestingly, that the origins of Twitter, the original concept actually | 有趣的是,推特的起源, 最初的概念实际上 |
| 439 | 回到Jack Dorsey在城市里长大 | |
| 440 | And in particular, he grew up in St. Louis in the United States, | 尤其是他在美国圣路易斯长大, |
| 441 | and he had a fascination with city life, especially with all the people moving | 他对城市生活充满了兴趣, 特别是所有的人在移动 |
| 442 | around the city. | 在城市周围 |
| 443 | And of course, your incredible city here, we see the same thing, right? | 当然,你不可思议的城市在这里, 我们看到了同样的事情,对不对? |
| 444 | In fact, the bicycles have already almost been run over by bikes and cars and | 事实上,自行车已经几乎被自行车和汽车碾过 |
| 445 | motorcycles in my first 24 hours here. | 我24小时前的摩托车 |
| 446 | So I can appreciate there's a lot of movement in the city. | 因此,我可以欣赏 有许多运动在城市。 |
| 447 | And he was also fascinated by the bicycle messengers, the dispatchers, | 他也被自行车使者和调度员迷住了, |
| 448 | the taxicabs, the emergency vehicles moving all around. | 紧急车辆到处移动 |
| 449 | But he was especially interested in how they would be sending real-time | 但是他特别关心他们如何实时发送 |
| 450 | information about local conditions back to their central dispatcher. | 关于当地情况的信息 回到他们的中央调度员。 |
| 451 | For example, a taxicab is going around and there's a big traffic jam on a | 比如说 一辆出租车在转 车上出现大堵塞 |
| 452 | certain corner in the city because maybe an accident. | 城里的某个角落 因为可能是意外 |
| 453 | And so the taxicab would send back to their dispatcher, there's an accident | 因此,出租车会 发回他们的调度员, 有一个事故 |
| 454 | here, send all of your vehicles a different way around because you | 在这里,把你的所有车辆 不同的方式绕过来 因为你 |
| 455 | shouldn't go through this part of the city. | 不该穿过这个城市 |
| 456 | He was just interested in how that was happening in real-time in the city. | 他对城市的实时情况感兴趣 |
| 457 | Now, something that's interesting about that is unless you really know a lot | 现在,有趣的是 除非你真的知道很多 |
| 458 | about the origins of Twitter, before you walked in the room this afternoon, | 关于推特的起源, 在你今天下午走进房间之前, |
| 459 | you would never have imagined that that was the beginnings of Twitter with | 你永远不会想到那是推特的开始 |
| 460 | somebody growing up in a city interested in bicycles and taxicabs moving around | 在一个对自行车和出租车有兴趣的城市里长大的 |
| 461 | 这和Twitter有什么关系? | |
| 462 | You would never imagine that. | 你绝对想不到 |
| 463 | But it's a great example of these creative paths that people follow that | 但这是人们所遵循的这些创造性道路的一个很好的例子。 |
| 464 | that's actually where it started. | 这其实是它开始的地方。 |
| 465 | Jack Dorsey became a programmer and was doing stuff. | Jack Dorsey成为了程序员 正在做一些事情 |
| 466 | If I had to summarize his guiding conception, this would be it. | 如果我必须总结一下他的指导思想,那就是了。 |
| 467 | Well, he had that idea, I think, for quite a few years, he didn't really know | 嗯,他有一个想法,我想, 相当几年,他不是真的知道 |
| 468 | what to do with that. | 怎么办呢? |
| 469 | Around 2000, there was something called instant messaging on computers. | 2000年前后,计算机上出现了一些叫做即时通讯的信息. |
| 470 | He tried it, but it failed. | 他试过了,但失败了 |
| 471 | He'd like to go to a restaurant, come home a few hours later, and he'd | 他想去一家餐馆 几小时后回家,他会 |
| 472 | be able to do that. | 可以做到这一点。 |
| 473 | He would send a message to his friends, hey, I went to this great restaurant tonight. | 他会给他的朋友发个信息, 嘿,我今晚去了这个伟大的餐馆。 |
| 474 | His friends did not seem to be too interested that he had gone to a restaurant | 他的朋友们似乎不太感兴趣 他去了一家餐馆 |
| 475 | three hours before. | 三小时前 |
| 476 | It wasn't immediate enough, it wasn't real time enough for them to be interested. | 这还不够直接 也不足以让他们真正感兴趣 |
| 477 | He also tried a primitive email device at that time, hardly anybody was using it. | 当时他还尝试了原始的电子邮件设备,几乎没有人使用. |
| 478 | But you know what? | 但你知道吗? |
| 479 | We learned from failure. | 我们从失败中吸取教训。 |
| 480 | One of the sort of guiding rules we have about creativity and innovation is that | 我们有关创造力和创新的指导规则之一是 |
| 481 | when you fail, you learn, and that's okay, perfectly fine. | 当你失败,你学习, 没关系,完全罚款。 |
| 482 | So he learned. | 所以他学会了 |
| 483 | But a few years later, he was working in San Francisco for a company called ODO, | 但是几年后 他在旧金山为一家叫ODO的公司工作 |
| 484 | and that company actually was failing. | 公司实际上正在失败。 |
| 485 | And so they asked their teams to brainstorm business ideas. | 于是,他们要求他们的团队 集思广益企业的想法。 |
| 486 | And he brought up his idea to his team at that time, and he said, what if we | 他当时向他的团队提出他的想法 他说,如果我们 |
| 487 | developed a device that would enable people to send short information bursts to | 开发了一种装置,使人们能够向 |
| 488 | other friends, you know, where you are, what's new, stuff like that. | 其他的朋友,你知道,你在哪里, 什么是新的,类似的东西。 |
| 489 | And the team liked it, and that was when Twitter was born, about 2005, 2006. | 而球队也喜欢,这时推特诞生,大约是2005年,2006年. |
| 490 | One thing to notice about that is that right at that time, the earliest smart phones, | 有一点值得注意的 就是当时最早期的智能手机 |
| 491 | cell phones, had just been developed. | 手机刚刚开发出来 |
| 492 | And Jack Dorsey, one of his guiding principles is he's kind of what we call a | 杰克・多西,他的指导原则之一是 他是一种我们称之为 |
| 493 | minimalist. | 最小化主义者。 |
| 494 | He liked things really short, simple, very basic. | 他喜欢的东西真的很短, 简单,非常基本。 |
| 495 | And he said when he saw that cell phone technology, he thought, this is perfect. | 他说,当他看到手机技术, 他认为,这是完美的。 |
| 496 | It's going to be cheap. | 将至便宜. |
| 497 | Everybody's going to have access. | 每个人都会有机会的 |
| 498 | It's going to fit perfectly with my idea for Twitter because you could use it to | 和我的推特想法完全吻合 因为你可以用它 |
| 499 | send short text messages to your friends. | 向朋友发送短信息。 |
| 500 | So to me, I'd say that was really where the guiding principle kicked in, and he | 所以,对我来说,我会说,这是真正的 在那里指导原则踢入,他 |
| 501 | found that third piece, which was the new technology that had emerged and could | 发现第三部作品,即已经出现并且能够 |
| 502 | bring it together with his idea, and that's how Twitter was born, really. | 把它和他的想法结合起来, 推特就是这样诞生的,真的. |
| 503 | So guiding conception, and then the key third element was the smart phones. | 所以,指导性的概念, 然后关键的第三个要素是智能手机。 |
| 504 | And his minimalist design, his guiding principle, his brevity fit with the | 而他的最小化设计, 他的指导原则, 他的简洁与 |
| 505 | smart phone interface. | 智能手机接口. |
| 506 | It was just perfect for him. | 这对他来说太完美了 |
| 507 | In a way, he had to wait for a technology to appear that fit with his idea, and | 从某种意义上说,他不得不等待一个符合他想法的技术出现, |
| 508 | that was what he was able to see that and see the value of fitting it with his idea, | 这就是他所看到的 并看到它的价值 适应他的想法, |
| 509 | and that's how Twitter came about. | 推特就是这样来的。 |
| 510 | All right, that's Jack Dorsey. | 好吧,这是杰克多西。 |
| 511 | I'm going to do two more people as examples for you and then just talk a little bit | 我要多做两个人做你的例子 然后再谈谈 |
| 512 | about management of creativity to wrap up this talk. | 关于如何管理创造力 来结束这个演讲。 |
| 513 | Virginia Woolf, 让我们谈谈她几分钟,一个作家。 | |
| 514 | I showed you earlier, this is her context. | 我之前给你看过 这是她的背景 |
| 515 | This is sort of the top of it. | 这有点像顶部。 |
| 516 | The actual context, of course, had so much that she had read and learned, places | 当然,实际环境 如此之多,她读和学过,地方 |
| 517 | she had traveled. | 她旅行过 |
| 518 | We know a lot about Virginia Woolf's creative development because she left us so | 我们非常了解弗吉尼亚·伍尔夫的创意发展,因为她离开了我们 |
| 519 | much material. | 很多东西。 |
| 520 | She kept a diary, which is really fascinating. | 她保留了一本日记, 这真的很迷人。 |
| 521 | She wrote a lot of letters, other journals, wrote a lot of essays, so we can see a | 她写了很多信件,其他的日记, 写了很多散文, 所以我们可以看到一个 |
| 522 | lot about her path of development. | 有很多关于她的发展道路。 |
| 523 | We can't see that with everybody. | 我们不能和大家一起看 |
| 524 | A lot of creative people wouldn't necessarily have left that to us. | 很多有创造力的人 不一定会把这事留给我们 |
| 525 | As I mentioned, her mother died when she was 13. | 正如我所提到的,她的母亲在13岁时去世了。 |
| 526 | Her father died a few years later. | 她的父亲在几年后去世. |
| 527 | Her older brother, Toby, also died. | 她的哥哥托比也去世了. |
| 528 | That experience of loss is really at the center of her greatest work, I would say, | 失去的经历是她最伟大的工作的核心,我要说, |
| 529 | how she had to deal with that. | 她怎么应付的 |
| 530 | That's an example of a very deep part of her psychological experience that played | 这是她心理经历中非常深刻的一部份 |
| 531 | a big role in what she did. | 在她的所作所为中扮演了重要角色. |
| 532 | In 1917, at the age of 35, while she was working on her second novel, Night and | 1917年,35岁时,她正在创作第二部小说"夜与". |
| 533 | Day, Virginia gave herself a break. | 日,弗吉尼亚自休. |
| 534 | I think that second novel was getting to be kind of hard work. | 我认为第二本小说 变得有点辛苦了 |
| 535 | She was a little tired of it. | 她有点厌倦了 |
| 536 | She gave herself a break. | 她放过自己 |
| 537 | And all in a flash, as she said, she wrote a short story called The Mark on the | 正如她说的 她写了一篇短篇小说 叫《马克》 |
| 538 | Wall. | 墙 |
| 539 | By the way, just before I jump that, just to fill this in, I'm a professor, so I | 顺便说一下,在我跳出来之前, 只是填这个,我是一个教授,所以我 |
| 540 | like to connect all the dots. | 喜欢连接所有点。 |
| 541 | We can never connect all the dots, but we're trying to connect whatever dots we | 我们永远无法连接所有点, 但我们试图连接 无论我们 |
| 542 | can. | 能够。 |
| 543 | Virginia Woolf wanted to be a writer from the age of probably six, okay? | 弗吉尼亚州 伍尔夫从六岁开始就想当个作家 好吗? |
| 544 | And she did not have this insight I'm about to share with you until she was 35. | 她没有这种洞察力 我要告诉你,直到她35岁。 |
| 545 | So it gives you some idea of the path of creativity can be a long one. | 因此,它给了你一些关于创造力之路的想法 可能是一条漫长的道路。 |
| 546 | And I often think with creativity that the people who make it, who are able to | 我常常创造性地认为, 创造它的人,谁能够 |
| 547 | contribute with creativity and innovation, it's partly about the people who can | 创造力和创新的贡献, 部分地涉及谁可以 |
| 548 | withstand the journey and go through this journey. | 承受这段旅程 并经历这段旅程 |
| 549 | You have to be very committed to the journey because it can be a long journey. | 你必须非常致力于这个旅程,因为它可能是一个漫长的旅程. |
| 550 | And it really was for her. | 这真的是为了她。 |
| 551 | So in the middle of this story, The Mark on the Wall, this is what she wrote. | 所以在这个故事的中间,《长城上的马克》, 这就是她写的。 |
| 552 | As we face each other in omnibuses and underground railways, we are looking into | 当我们在综合铁路和地下铁路中面对对方时,我们正在调查 |
| 553 | the mirror. | 镜子 |
| 554 | And the novelists in future will realize more and more the importance of these | 未来小说家们会越来越认识到这些 |
| 555 | reflections. | 反思。 |
| 556 | For, of course, there is not one reflection, but an almost infinite number. | 当然,因为没有一种反映,而是几乎无限的数目。 |
| 557 | Those are the depths they will explore, those the phantoms they will pursue, | 那些是他们要探索的深渊,那些是他们要追求的幽灵, |
| 558 | leaving the description of reality more and more out of their stories. | 将现实的描述 越来越远离他们的故事。 |
| 559 | That's what she wrote. | 她就是这么写的 |
| 560 | You can go back and read the short story to get more of the richness of what she's | 你可以回去读短篇小说 以获得更多她所拥有财富 |
| 561 | thinking about there. | 考虑一下那里 |
| 562 | But I would say this paragraph is probably the right, it's right in the center of | 但我会说,这个段落可能是正确的, 它就在中央 |
| 563 | the story, probably the most important. | 故事,也许是最重要的 |
| 564 | What is she really talking about? | 她到底在说什么? |
| 565 | Reflections, what she means is people thinking about other people or making | 反省,她的意思是 人们思考别人或制作 |
| 566 | comments about other people. | 关于其他人的评论。 |
| 567 | So how do other people view us? | 那么其他人怎么看待我们? |
| 568 | How do we view them? | 我们如何看待他们? |
| 569 | How are we talking about each other? | 曰如何是互语. |
| 570 | Those are the reflections we live with every day. | 这些是我们每天所经历的反省。 |
| 571 | And it's interesting that there's not just one reflection, but an almost infinite | 有趣的是,不仅有一个反射,而且几乎无限 |
| 572 | number because as we go through our lives every day, we're experiencing these | 因为我们每天都在经历这些 |
| 573 | reflections. | 反思。 |
| 574 | And so over many days, there's just a lot of reflections. | 因此,在很多天里, 有很多反省。 |
| 575 | And that relates to Virginia Woolf's interest from early on, which was in the | 这与弗吉尼亚·伍尔夫的兴趣有关 从早期,这是在 |
| 576 | context in biography. | 上下文在传记。 |
| 577 | She really wanted to understand the life path. | 她真的想了解人生的道路。 |
| 578 | And we can see that in some earlier things she wrote in some of her journals. | 我们可以看到,在早期的一些事情中, 她写的一些日记。 |
| 579 | And so when she had the idea of reflections, she immediately connected it to the idea | 所以当她有了思考的想法时 她立刻把它和想法联系起来 |
| 580 | of biography to see, well, it's a whole infinite series of reflections. | 从传记来看,这是一系列无穷的反射 |
| 581 | Also interesting at the last part there, she wants to leave the description of | 同样有趣的是,在最后的部分, 她想留下描述 |
| 582 | reality more and more out of stories. | 现实越来越出自故事。 |
| 583 | That's actually very important here, too, because Virginia Woolf, for a long time, | 这其实也非常重要 因为弗吉尼亚·伍尔夫 很久以来 |
| 584 | she was trying to push back on really the world of her father and the world of | 她试图把真正的 父亲的世界和世界 |
| 585 | Victorian literature like Charles Dickens, which was very heavy, heavy description. | 维多利亚时期的文学如查尔斯·狄更斯(英语:Charles Dickens),其描述非常沉重,沉重. |
| 586 | And she didn't want to do that anymore. | 她不想再这么做了 |
| 587 | Actually, when I think about her, I think of that as more of a guiding principle for | 事实上,当我想起她时,我觉得这更是一个指导原则 |
| 588 | her, that she wanted to leave reality out. | 她想把现实抛在一边 |
| 589 | She always used that to check herself as she was writing stories. | 她写故事时总是用这个检查自己 |
| 590 | Is there too much reality in here, too much description? | 这里有太多现实,太多描述? |
| 591 | I don't want that. | 我不想那样 |
| 592 | I want to not have that because I'm trying to get away from what was done in the | 我想不拥有它,因为我 试图摆脱什么 在做在 |
| 593 | past, a very important part of what she was doing. | 过去,一个非常重要的部分 她在做什么。 |
| 594 | So that was her guiding conception. | 这就是她的指导思想 |
| 595 | And then in the following two and a half years, Virginia Woolf wrote a series of | 然后在接下来的两年半时间里,弗吉尼亚·伍尔夫写了一系列 |
| 596 | short stories exploring different kinds of reflections and narrative styles. | 简短的故事探索不同种类的反思和叙事风格. |
| 597 | She was trying to figure out how to do this and was not that easy. | 她试图想出 如何做到这一点, 没有那么容易。 |
| 598 | These are like little projects that didn't quite work, but she learned every | 这就像一些小项目 没有相当的工作, 但她学到了每一个 |
| 599 | time she did it. | 时间,她做到了。 |
| 600 | So, for example, Kew Gardens, a snail is a protagonist is creeping along. | 例如,邱园,一只蜗牛是主角 正在爬行。 |
| 601 | We see the world from his perspective and we have a series of couples stroll by | 我们从他的角度来看待世界,我们有一系列的情侣漫步在 |
| 602 | and we hear snippets of their conversations. | 我们听到他们谈话的片段 |
| 603 | So like reflections of what they're talking about is over here. | 因此,像反思 他们谈论的就是这里。 |
| 604 | The evening party, another short story, the protagonist enters the house where | 晚上的派对,又一个短篇小说,主角进屋 |
| 605 | the party is happening and gazes into a mirror and finds something has dissolved | 党正在发生,凝视着镜子 发现一些东西已经溶解 |
| 606 | my face. | 我的脸。 |
| 607 | It's really the breakdown of self and objectivity that's shown in that story. | 真实的自我和客观性的崩溃就是那个故事所显示的. |
| 608 | So she's trying to find a way to get away from reality and just focus on the | 所以她想想办法摆脱现实 专心于 |
| 609 | reflections. | 反思。 |
| 610 | Well, the breakthrough for her came in a story she wrote, which has a funny name. | 她的突破来自于她写的一个故事 名字很有趣 |
| 611 | It's called an unwritten novel. | 被称为无文小说. |
| 612 | And in this story, the narrator is sitting on a moving train and her attention is | 在这个故事里 旁白者坐在动静的火车上 她的注意力是 |
| 613 | drawn to a passenger sitting opposite her. | 她对面坐着一个乘客 |
| 614 | And on the fly, the narrator gives that passenger a name, Minnie, and then she | 在苍蝇上,旁白者给乘客取了一个名字,米妮,然后她 |
| 615 | imagines Minnie's life. | 想象着敏妮的人生 |
| 616 | And other characters' opinions of Minnie fill the story so she really has people | 而其他角色对米妮的看法 也充满了故事,所以她真的有人 |
| 617 | in the story thinking about Minnie from different perspectives. | 在故事中从不同的角度思考明妮. |
| 618 | And what happens in that story is that a free-flowing style emerges that really | 故事的结局是 一种自由流畅的风格出现 |
| 619 | was new for Virginia Woolf. | 弗吉尼亚·伍尔夫是新来的 |
| 620 | We don't know exactly how she came up with that story idea, but I think it's | 我们不知道她是怎么想出这个故事的 但我觉得 |
| 621 | possible it actually came to her while she was riding on a train because on the | 可能是在她坐火车的时候 因为... |
| 622 | train the sense of movement is very powerful and the passengers coming on and | 火车 移动感很强 乘客们来了 |
| 623 | off the train, I think kind of that's what that story picks up on, interestingly. | 从火车上下来,我想那故事就是这个意思,很有趣。 |
| 624 | So just after writing this story, Virginia wrote in her diary of having arrived at | 所以就在写完这个故事之后,弗吉尼亚在日记中写道: |
| 625 | some idea of a new form for a new novel. | 新小说的新形式 |
| 626 | So she realized right away that she had hit on the way to go forward with her | 所以她立刻意识到自己在继续前行的路上遇到过麻烦 |
| 627 | writing. | 写作。 |
| 628 | I think that is part of creativity also is to recognize the insight when you have | 我认为这是创造力的一部分 也是承认你的洞察力 |
| 629 | it, and she did. | 她确实这么做了 |
| 630 | And she wrote, suppose one thing should open out of another. | 她写道,假设一件事应该从另一件事中打开。 |
| 631 | Doesn't that get closer and yet keep form and speed and enclose everything? | 这难道不是越来越近, 保持形式和速度 并包罗一切? |
| 632 | The approach will be entirely different this time. | 这次的做法将完全不同。 |
| 633 | No scaffolding, scarcely a brick to be seen. | 没有脚手架,几乎没有砖块可以看见. |
| 634 | Then I'll find room for so much, a gaiety and, in consequence, a light-spirited | 然后,我会找到空间这么多, 一个焦躁, 和结果,一个轻感 |
| 635 | stepping at my sweet will. | 踏入我甜蜜的意志。 |
| 636 | No scaffolding, scarcely a brick to be seen. | 没有脚手架,几乎没有砖块可以看见. |
| 637 | That is no heavy description of reality, none of that. | 这不是对现实的粗略描述,不是那样的。 |
| 638 | Just a character's life shown in little snippets of conversation and people | 只是一个人物的生活 以小片段的谈话和人 |
| 639 | thinking about the character. | 考虑角色。 |
| 640 | And a sense of being free to move quickly in the story from one thing to another | 和一种自由的感觉 在故事中快速移动 从一个东西到另一个东西 |
| 641 | because you don't have that heaviness weighing you down. | 因为你没有那么重的重量你。 |
| 642 | Just move from one reflection to the next. | 从一个反射到另一个 |
| 643 | That's what she was doing. | 这就是她在做什么。 |
| 644 | So once she had that insight, then she was off. | 所以一旦她有了这种见解,她就离开了。 |
| 645 | And in what we think of today as her great modern writing, right away she began | 而今天我们所认为的 她伟大的现代写作, 她立刻开始 |
| 646 | work on her novel, Jacob's Room. | 写她的小说《雅各的房间》 |
| 647 | Then it was followed by Mrs. Dalloway. | 后由达罗韦夫人继之. |
| 648 | I think everyone's heard of that novel for various reasons that she wrote. | 我想每个人都听说过那本小说 因为她写的各种原因 |
| 649 | And then that great creative period culminated in To the Lighthouse. | 然后那个伟大的创作时期 最终来到灯塔。 |
| 650 | Mrs. Ramsey is the central figure in that novel modeled very much on Virginia's | 夫人,请 拉姆齐是那个小说的中心人物 以弗吉尼亚为模特 |
| 651 | mother. | 妈妈 |
| 652 | She's at the center and we hear other characters thinking about her and her | 她在中心 我们听到其他角色在想她和她 |
| 653 | thinking about them. | 想想他们。 |
| 654 | To the Lighthouse的整个故事其实都是关于反思的. | |
| 655 | I could say more about that, but I need just a time. | 我可以多说一些 但我需要时间 |
| 656 | I'm definitely not going to because we're going to keep moving. | 我绝对不会去,因为我们要继续前进。 |
| 657 | That's a little bit of a snapshot of what she went through, guiding conception, | 这是她经历的一瞬间 指导着人生观 |
| 658 | leaving reality out, and then coming to her ideas. | 离开现实,然后来到她的想法。 |
| 659 | Let's talk about one more person before we read our examples. | 在读我们的例子之前,我们再谈一个人。 |
| 660 | Albert Einstein. | 艾伯特·爱因斯坦 |
| 661 | He's left us some knowledge of what he went through, not as much as Virginia | 他给我们留下了一些关于他所经历的一切的知识 不像弗吉尼亚州 |
| 662 | Wolfe, but a lot of great scholars have studied Albert Einstein, his work, and | 沃尔夫,但许多伟大的学者 研究了阿尔伯特·爱因斯坦,他的作品,和 |
| 663 | really benefited from what they have done to understand what his creative path | 真正获益于他们所做的 来理解他的创造之路 |
| 664 | was. | 曾经是。 |
| 665 | By the way, on the left, that's sort of a picture you've all, everyone's seen of | 顺便说一下,左边,那是一张你们都看过的照片 |
| 666 | Albert Einstein probably. | 阿尔伯特·爱因斯坦可能吧 |
| 667 | On the right, that's a picture of Albert Einstein actually at the time he | 右边是阿尔伯特·爱因斯坦当时的照片 |
| 668 | developed the theory of special relativity. | 发展了特殊相对论. |
| 669 | I think there's some insight just in those two photographs because on the right, | 我想那两张照片有些洞察力 因为右边 |
| 670 | he just looks like what everyone, a professional in that world, European world | 他看起来就像每个人 那种世界、欧洲世界的专业人士 |
| 671 | at that time, about 100 years ago, that's what they looked like. | 那时候,大约100年前, 他们看起来像。 |
| 672 | Everybody dressed like that. | 每个人都穿成这样。 |
| 673 | He didn't stand out at all. | 他完全没露面 |
| 674 | On the left, okay, over here, he literally let his hair down, didn't he? | 左边,好,在这里, 他真的让他的头发下来,不是吗? |
| 675 | Because once you do what he did, you could do whatever you like. | 因为一旦你做了他做的事, 你可以做你想做的。 |
| 676 | That's kind of misleading. | 这是一种误导。 |
| 677 | It's like rock stars who look weird, right? | 这就像摇滚明星 谁看起来奇怪,对不对? |
| 678 | That's great. | 赞曰. |
| 679 | But the thing is, that's a little misleading because at the time Albert | 但问题是 这有点误导人 因为当时艾伯特 |
| 680 | Einstein did the great creative breakthroughs, he looked just like everybody | 爱因斯坦做了伟大的创意突破 他看起来和大家一样 |
| 681 | else looks. | 其他看起来。 |
| 682 | And I think rock stars can look all weird, but actually they work super hard to | 我觉得摇滚明星看起来很奇怪 但实际上他们很努力 |
| 683 | do what they're doing. | 做他们在做什么。 |
| 684 | There's a method to their madness to what they do, the lifestyle that they have. | 他们的疯狂有方法 他们的生活方式。 |
| 685 | That's what I think. | 这就是我的想法。 |
| 686 | So there's a message in that. | 故此有传. |
| 687 | How did his story go? | 他的故事进展如何? |
| 688 | Einstein conceived a paradox at the age of 16, and this is what he said it was. | 爱因斯坦在16岁时构思了一个悖论,这就是他说的. |
| 689 | If I pursue a beam of light with the velocity of C, which is the velocity of light in a | 如果我用C的速度追逐一束光 这就是光的速度 |
| 690 | vacuum, I should observe such a beam of light as a spatially oscillatory electromagnetic | 真空,我应该看到这样的光束 像空间振荡电磁 |
| 691 | field at rest. | 田间休息。 |
| 692 | However, there seems to be no such thing, whether on the basis of experience or | 然而,似乎没有这样的事情,无论是基于经验还是基于经验。 |
| 693 | 根据Maxwell的方程式 | |
| 694 | That's kind of a handful, right? | 有点难受吧? |
| 695 | Actually, it's not that complicated. | 其实没那么复杂 |
| 696 | Just think about you're driving on a freeway and there's a car right in front of you | 想想你在高速公路上开车 前面有辆车 |
| 697 | that's going really fast, and you're driving right behind the car. | 开得真快,你开在车后面 |
| 698 | Well, if the car's going fast and you're going the same speed right behind it, you're | 如果车开得快,你走的速度也一样 |
| 699 | moving the same speed as the car, it doesn't really look like it's moving at all relative | 移动速度和汽车一样, 它看起来并不是真的移动 在所有相对 |
| 700 | to you, right? | 对你,对不对? |
| 701 | It's staying the same distance ahead of you as you move. | 它在你移动前保持同样的距离。 |
| 702 | That's what that means to say, and of course, Maxwell in his equation said, well, | 这就是说,当然, Maxwell在他的方程式中说,嗯, |
| 703 | if I turn on a flashlight, boom, the flashlight, the beam of light goes out at a super high | 如果我打开手电筒,砰,手电筒, 光束在超高处熄灭 |
| 704 | speed C, and it sees electromagnetic fields that are beeping on and off as it moves down. | 速度C,它看到电磁场在向下移动时 响起和响起。 |
| 705 | It's just going like this, moving. | 它只是去像这样,移动。 |
| 706 | But if you were traveling right behind it, you would see that as if it wasn't moving at | 但如果你在后面旅行 你会发现它好像没有移动 |
| 707 | all. | 都一样 |
| 708 | You'd be going the same speed as that light, that beam of light, and it wouldn't look like | 你的速度和光一样,光束, 它不会看起来像 |
| 709 | it was moving at all. | 它在移动。 |
| 710 | That's actually what that says. | 这才是事实 |
| 711 | But they realized, even at that time when he came up with the paradox, there had been | 但是他们意识到,即使在他提出悖论的时候, |
| 712 | some early experiments, and people realized that didn't seem to be possible. | 一些早期的实验 人们意识到这似乎是不可能的。 |
| 713 | For example, when you looked at a beam of light going with the rotation of the Earth | 例如,当你看着一束光 随地球的旋转而去 |
| 714 | or against the rotation of Earth, it didn't seem to make any difference. | 或反对地球自转, 它似乎没有任何区别。 |
| 715 | It always seemed to move at the same speed. | 它似乎总是以同样的速度移动. |
| 716 | So that was kind of the paradox he hit on, really coming out of Maxwell's equations, which | 这有点自相矛盾了, 真正出自马克斯韦的方程式, |
| 717 | was kind of his big interest at that time. | 他当时很感兴趣 |
| 718 | And by the way, this is a picture of Albert Einstein around the age of 15. | 顺便说一句,这是一张照片 阿尔伯特爱因斯坦大约15岁。 |
| 719 | He's really just a cute boy, okay? | 他真是个可爱的男孩,好吗? |
| 720 | He just happened, obviously very passionate about physics, he just happened to come up | 他只是发生了,显然非常热衷于物理, 他只是碰巧上来了 |
| 721 | with this paradox, this idea. | 与这个悖论, 这个想法。 |
| 722 | If he had not come up with that paradox, his life might have gone in very different directions | 如果他没有想出这个悖论, 他的生活可能会走向非常不同的方向 |
| 723 | that it went. | 已经过去了。 |
| 724 | But he did come up with that at the age of 16. | 但是他16岁时就想到了 |
| 725 | So what happened after that was a long period of creative exploration. | 之后发生了长时间的创造性探索。 |
| 726 | Starting from the paradox Einstein first explored in physics, but he really did not | 从悖论的爱因斯坦开始,他首先在物理学中探索,但他真的没有 |
| 727 | find the answer there. | 在这里找到答案。 |
| 728 | He looked at a lot of different kinds of physics. | 他看了很多不同的物理类型. |
| 729 | Planck's quantum theory is something that he knew, and I think he got from that that | 普朗克的量子理论是 他知道的,我想他从中得到了 |
| 730 | it was okay to challenge the existing ways of thinking, thermodynamics. | 可以挑战现有的思维方式 热力学 |
| 731 | We know from his notes that there were many attempts he made to solve the paradox that | 我们从他的笔记中得知,他多次试图解决这个矛盾: |
| 732 | he didn't think worked, and he threw them out over quite a few years. | 他不认为工作, 他扔了他们 几年多。 |
| 733 | I think when he first came up with the paradox, he probably thought, oh, this is fine, I'll | 我觉得当他第一次想到这个悖论时, 他可能认为, 哦,这很好,我会 |
| 734 | just figure this out, and no big deal. | 想想看,没什么大不了的 |
| 735 | But as the years went by and he could not figure it out, he began to realize, this is | 但随着岁月的流逝 他无法解开 他开始意识到 |
| 736 | a big deal. | 一个大问题。 |
| 737 | How do I solve this paradox? | 我如何解决这个悖论? |
| 738 | But he did not give up. | 但他没有放弃。 |
| 739 | And in fact, he was determined and patient. | 事实上,他是坚定和耐心的。 |
| 740 | In fact, someone asked him, you know, how do you, what qualities do you have that enabled | 事实上,有人问他,你知道,你是如何做到的, 你有什么品质,使 |
| 741 | you to make the discoveries or inventions that you did? | 你要做出你所做的发现或发明? |
| 742 | What he said was, when I had a question, I did not stop until I found an answer I was | 他说,当我有一个问题, 我没有停止 直到我找到一个答案,我是 |
| 743 | fully satisfied with. | 完全满意。 |
| 744 | That's what he said, which is interesting. | 他就是这么说的 这很有趣 |
| 745 | He was very determined and he would not accept an answer that he did not think worked, which | 他下定决心,不会接受他认为行不通的回答。 |
| 746 | I'll come back to in a minute. | 我马上回来 |
| 747 | So after doing the physics, he kind of shifted a little bit to a little more philosophy. | 所以在进行物理研究后, 他有点转向了一点更多的哲学。 |
| 748 | Started probably with Newton's conception of absolute time. | 可能从牛顿的绝对时间概念开始. |
| 749 | He had been exposed to ideas of Ernest Mock in college, who was very critical of an idea | 他在大学时接触到了欧内斯特·莫克的想法 他非常批评一个想法 |
| 750 | that there's something called absolute time. | 有个叫绝对时间的东西 |
| 751 | Now he was working in the patent office in Bern, and in his spare time, he, Einstein forms | 现在他在伯尔尼的专利局工作 在业余时间 他 爱因斯坦 |
| 752 | what he called the Olympia Academy with a few friends. | 他和几个朋友一起叫奥林匹亚学院 |
| 753 | And they read many works in philosophy. | 他们读了很多哲学著作。 |
| 754 | We actually know what they read because they kept a list of what they read. | 我们实际上知道他们读了什么,因为他们保留了他们读的东西的清单。 |
| 755 | In fact, the first thing they read was Plato, interestingly, and they read a lot of other | 事实上,他们读的第一件事是柏拉图,有趣的是, 他们读了很多其他 |
| 756 | things. | 东西。 |
| 757 | It really was just a reading group. | 这真的只是一个阅读组。 |
| 758 | Shows a lot of dedication, doesn't it? | 表现了很多奉献,不是吗? |
| 759 | He's working full time and did all of this just in the evenings and on the weekends, | 他全天工作 晚上和周末都这样 |
| 760 | and also had a small child at that time. | 那时还有一个小孩 |
| 761 | So a very busy person. | 所以一个非常忙的人。 |
| 762 | But it's a great example of the evolution or broadening of a guiding conception to start | 但它是一个伟大的例子 进化或扩大 指导概念开始 |
| 763 | {\fn黑体\fs22\bord1\shad0\3aHBE\4aH00\fscx67\fscy66\2cHFFFFFF\3cH808080}从一个悖论中意识到 {\fn黑体\fs22\bord1\shad0\3aHBE\4aH00\fscx67\fscy66\2cHFFFFFF\3cH808080}哇 我真的得到这来 | |
| 764 | ideas if I'm going to solve this paradox. | 如果我要解决这个矛盾 |
| 765 | Eventually, he was led to David Hume's, I think I didn't say that, he was led ultimately | 最终,他被带往大卫·休姆家, 我想我没有说,他最终被带往了 |
| 766 | to David Hume's Treatise of Human Nature. | 给大卫·休姆的"人性治疗" |
| 767 | And that was really how he resolved this paradox. | 这就是他解决这个矛盾的方法。 |
| 768 | Hume argues we have no conception of how much time passes apart from definite sequences | 休姆说,我们没有概念 有多少时间离开 明确序列 |
| 769 | of events or changes of state. | 事件或状态变化。 |
| 770 | Hume argued we measure time as one sequence of events in relation to a second sequence, | 休姆说,我们测量时间是 与第二个序列相关的一系列事件, |
| 771 | such as the second hand on a clock goes all the way around and we say, oh, I've been | 就像钟上的第二只手 到处走,我们说,哦,我一直 |
| 772 | talking for one minute. | 说话一分钟。 |
| 773 | All it is is we measure one event, how long has this professor been talking in relation | 我们只衡量一个事件 这个教授谈了多久 |
| 774 | to another series of events, which is a clock, that clock right there on the wall. | 在另一系列的事件, 这是一个时钟, 就在墙上的时钟。 |
| 775 | It's just one thing in relation to another thing. | 和另外一件事有关 |
| 776 | That's what it means to measure time. | 即是量时之义. |
| 777 | And the thing about that is time is defined constructively. | 时间是建设性的。 |
| 778 | We construct the measure of time. | 我们构建时间的尺度。 |
| 779 | That's actually all David Hume, very brilliant philosopher, 200 years before Albert Einstein | 其实都是大卫·休姆,非常聪明的哲学家 比阿尔伯特·爱因斯坦早200年 |
| 780 | he wrote that. | 他写的 |
| 781 | But nobody had made this connection. | 但没人能建立这种联系 |
| 782 | So after what he described as years of groping, actually 10 years of searching, Einstein | 因此,经过他描述的多年的寻觅, 实际上是10年的寻找,爱因斯坦 |
| 783 | connected Hume's approach with the paradox and electrodynamics of moving bodies. | 将休姆的方法与运动体的悖论和电动力学联系起来. |
| 784 | And this is as he later recounted it. | 这是他后来叙述的。 |
| 785 | He was speaking with Mikkel Besso, his close friend in Bern. | 他当时和他在伯尔尼的密友米克尔·贝索(Mikkel Besso)交谈. |
| 786 | This is what he said. | 这就是他说的。 |
| 787 | Then suddenly I understood where the key to this problem lay. | 然后突然我明白了 问题的关键所在 |
| 788 | The next day we met again. | 次日又相见. |
| 789 | Without even greeting him, I said, thank you. | 没有问候他,我说,谢谢你。 |
| 790 | I've completely solved the problem. | 我已经彻底解决了这个问题。 |
| 791 | An analysis of the concept of time was my solution. | 对时间概念的分析是我的解决办法。 |
| 792 | Time cannot be absolutely defined. | 时间不能绝对界定。 |
| 793 | And there is an inseparable relation between time and signal velocity. | 时间和信号速度之间有着不可分割的关系。 |
| 794 | So I really connected it to Hume. | 所以我真的把它和休姆联系起来了。 |
| 795 | I won't go through the physics. | 我不会通过物理。 |
| 796 | Actually, in my class, I do a little picture to show why this is true. | 实际上,在我的课堂上,我做一个小图片来显示为什么这是真实的。 |
| 797 | It actually is very, very simple. | 这其实非常非常简单。 |
| 798 | But we won't do that on a Sunday afternoon for you. | 但我们星期天下午不会为你这么做 |
| 799 | But there's two things that are interesting about what he said there. | 但有两件事是有趣的 他在那里说的话。 |
| 800 | Number one is there really was a dramatic moment. | 第一,确实有一个戏剧性的时刻。 |
| 801 | He's working on this thing, this paradox, for 10 years. | 他正在研究这个东西, 这个悖论,十年。 |
| 802 | And then suddenly he sees the answer. | 忽然见答. |
| 803 | So the dramatic moments happen. | 所以戏剧性的时刻发生了。 |
| 804 | But if I just told you that moment, it would be kind of meaningless. | 但如果我告诉你那一刻,那就毫无意义了。 |
| 805 | Because behind that moment was the original paradox at 16. | 因为那个时刻背后是16岁时的最初悖论. |
| 806 | And then all those years of searching, and then reading philosophy, | 然后这么多年的搜寻, 然后读哲学, |
| 807 | and finally David Hume, where he finally made the connection. | 最后,大卫・休姆,在那里他终于建立了联系。 |
| 808 | That's how it actually happened. | 事情就是这样发生的。 |
| 809 | Second point is, interestingly, he had this insight, | 第二点是,有趣的是, 他有这个洞察力, |
| 810 | one of the two greatest insights probably of his life in physics, | 可能是他物理学生涯中 最伟大的见解之一 |
| 811 | while he was talking to his close friend. | 在他和密友说话的时候 |
| 812 | Actually, his closest friend as an adult, Mikhail Beso. | 实际上,他作为成年人最亲密的朋友米哈伊尔·贝索. |
| 813 | And we often think of Einstein as pretty much of a loner, a lone thinker, | 我们常常认为爱因斯坦是孤独的 孤独的思想家 |
| 814 | which he was. | 他曾经是。 |
| 815 | He loved to sail, spent a lot of time thinking. | 他喜欢航海,花了很多时间思考. |
| 816 | But interestingly, this idea happened while he was talking with his friend. | 但有趣的是,这个想法发生在他和朋友谈话时. |
| 817 | So I think there's a lesson in that. | 所以我觉得这里面有个教训 |
| 818 | It's very good to have someone to talk to about your ideas, | 很高兴有人来谈谈你的想法 |
| 819 | a mentor, a friend, whatever it might be, really for him. | 一个导师,一个朋友, 不管是什么, 真的很适合他。 |
| 820 | It turned out it was important to have somebody to talk to about it, | 结果发现有个人来谈谈很重要 |
| 821 | just give him that chance to express his own ideas. | 给他机会表达自己的想法 |
| 822 | All right, this is somebody who wrote about this, | 好吧,这是有人 谁写这个, |
| 823 | that David Hume was the key connection. | 大卫·休姆是关键的联系人 |
| 824 | I think we'll leave that alone, in the interest of time here. | 我想为了时间起见,我们不谈这个 |
| 825 | Albert Einstein's guiding principle was relativity, | 阿尔伯特·爱因斯坦的指导原则是相对论 |
| 826 | what we call the principle of relativity. | 我们称之为相对论的原则。 |
| 827 | And what's interesting is he was very strict in his application of this principle. | 有趣的是,他在应用这一原则时非常严格. |
| 828 | More or less said, doesn't matter what your frame of reference is, | 或多或少地说, 不管你的参照基准是什么, |
| 829 | physics and the way physics happens has to be the same for everybody. | 物理学和物理学的发生方式 对每个人都一样 |
| 830 | That was his rule. | 这是他的规矩 |
| 831 | That was the guiding principle. | 这是指导原则。 |
| 832 | And interestingly, at that time, there were people solving physics problems | 有趣的是,当时有人解决物理问题 |
| 833 | where people in different frames of reference were actually using physics. | 不同参考框中的人实际上在使用物理。 |
| 834 | The laws of physics were different for them. | 他们的物理定律不同。 |
| 835 | And Einstein said he could not stand that. | 爱因斯坦说他受不了 |
| 836 | He felt that it had to be very strictly applied. | 他认为,必须非常严格地加以执行。 |
| 837 | It was always the same. | 总是一样 |
| 838 | So he rejected many potential solutions that did not fit, | 所以他拒绝了许多可能不合适的解决方案, |
| 839 | would not stop until he found an answer that satisfied him. | 直到他找到一个令他满意的答案 |
| 840 | The creative link was to Hume. | 创意链接是和休姆的. |
| 841 | And then he also did some great thought experiments to come up with general relativity. | 之后他还做了一些伟大的思想实验,来提出一般相对论. |
| 842 | We can talk about that later if you want, but I'll want to write this minute. | 如果你想的话,我们可以晚点再谈 但我现在要写 |
| 843 | But in his little book about relativity theory, | 但在他的小书 关于相对论, |
| 844 | which Einstein published right after the general theory, | 爱因斯坦在一般理论发表之后 |
| 845 | the whole book is about the principle of relativity | 全书是关于相对论的原则 |
| 846 | and the strictness of which you have to apply it in these different situations. | 以及您必须对这些不同情况加以应用的严格性。 |
| 847 | So he was really committed. | 所以他很执着 |
| 848 | That does remind me a little bit of Steve Jobs, I think, | 这确实让我想起了史蒂夫·乔布斯 我想 |
| 849 | two individuals who had guiding principles they were very, very committed to. | 有指导原则的两个人,他们非常、非常致力于。 |
| 850 | And so they would require those to hold or use them in ways that other people really didn't, | 所以他们要求那些持有或使用他们的方式 其他人真的没有, |
| 851 | because other people were not as committed to them. | 因为其他人没有像他们那样投入。 |
| 852 | So something else I love to do in organizations is have people articulate | 所以在组织里我更喜欢做的 是让人们说清楚 |
| 853 | what are your guiding principles or what are our guiding principles as an organization. | 你的指导原则是什么,我们作为一个组织的指导原则是什么。 |
| 854 | That's very important, or creative work in particular, to do that. | 这是非常重要的, 或特别创造性的工作, 做到这一点。 |
| 855 | It isn't always as clearly articulated as Steve Jobs understood it to be or Albert Einstein did. | 它并不总是像史蒂夫·乔布斯所理解的那么清晰 爱因斯坦就是这样 |
| 856 | All right, that brings me to the last part here, | 好吧,这就是我在这里的最后一个部分, |
| 857 | which is let's talk about some managerial implications real quick, | 我们来谈谈管理上的问题吧 |
| 858 | because I'm aware of the time here. | 因为我知道在这里的时间。 |
| 859 | I want to leave some time for questions for sure. | 我想留点时间问问题 |
| 860 | Number one, manage the process, okay? | 第一,管理程序,好吗? |
| 861 | That's the first thing I tell organizations when they bring me in | 我首先要告诉组织 他们把我带进来的时候 |
| 862 | to do a workshop around creativity and innovation. | 围绕创造力和创新问题举办讲习班。 |
| 863 | It's a process, manage it as a process. | 这是一个过程,管理它作为一个过程。 |
| 864 | Individual and team paths, you should think about what those are, | 个人和团队的路径, 你应该思考这些是什么, |
| 865 | what is the learning, what are the projects. | 什么是学习, 什么是项目。 |
| 866 | Being reflective, looking back over what the learning journeys have been is really important. | 反省一下,回顾一下学习历程 是非常重要的。 |
| 867 | Organizations that do a good job, like Pixar or Apple at times, they do that. | 做得很好的组织,比如皮克斯或苹果公司, 他们这样做。 |
| 868 | Most organizations, even today, they don't do it. | 大多数组织,即使是今天,也不这样做. |
| 869 | So then they don't really pick up on one of the patterns, how is creativity happening for us. | 所以他们并不真正了解其中一种模式, 创造力如何发生在我们身上。 |
| 870 | Building your context, we talked all about context. | 建立你的背景, 我们谈论所有的背景。 |
| 871 | If Albert Einstein hadn't gone out and read David Hume, | 如果阿尔伯特·爱因斯坦没出去读戴维·休姆的话 |
| 872 | I'm not sure he would have made that creative link, ever solve that paradox. | 我不确定他会不会做出 创造性的联系, 永远解决这个悖论。 |
| 873 | So helping to build the context and extending it in ways that are going to be fruitful, | 因此,帮助建立环境,并以富有成果的方式扩展环境, |
| 874 | that's really up to the managers in a lot of ways, right, | 这在很多方面都取决于管理者 |
| 875 | to help guide people to build a context where those connections could happen. | 帮助引导人们建立一个可以实现这些联系的环境。 |
| 876 | Within the organization, the culture is important, openness, | 在组织内部,文化是重要的,开放的, |
| 877 | support for exploring and trying, and failing, | 支持探索和尝试,以及失败, |
| 878 | 因为Virginia Woolf和Albert Einstein和Jack Dorsey 都是他们三个 | |
| 879 | there were many failures along the way. | 沿途有许多失败. |
| 880 | Mentoring, I think, is super important. | 我认为,指导非常重要。 |
| 881 | Again, we saw with Albert Einstein, talking to his friend was the key moment. | 我们再次看到阿尔伯特·爱因斯坦 和他朋友谈话是关键时刻 |
| 882 | So helping to support those conversations seems important. | 因此,帮助支持这些对话似乎很重要。 |
| 883 | The third one is dealing with creative blockages. | 第三个是处理创造性障碍。 |
| 884 | That's a whole separate topic. | 这是一个完全独立的话题。 |
| 885 | We could do a whole workshop discussion just about that. | 我们可以做一个整个工作坊的讨论 仅仅关于这一点。 |
| 886 | I'll have students come to me in my class and say, | 我会让学生在我课堂上来找我说 |
| 887 | I'm taking this class because I'm not a creative person. | 我上这个课是因为我不是个有创造力的人 |
| 888 | I say, well, everybody can be creative, every single person. | 我说,每个人都可以创造,每个人。 |
| 889 | And if somebody isn't being creative, the better way to think about it is, | 如果有人没有创造力, 更好的思考方式是, |
| 890 | what is stopping them? | 什么在阻止他们? |
| 891 | What is preventing them from being creative? | 是什么使他们无法创造? |
| 892 | Let's find the blockage, and then we can help them work to improve | 让我们找到阻塞,然后我们就可以 帮助他们工作改善 |
| 893 | on that particular part of the process. | 关于这一进程的特定部分。 |
| 894 | So managers, you should always be thinking in those terms. | 所以,管理者,你应该 总是思考这些方面。 |
| 895 | I think about what are the blocks? | 我想到这些街区是什么? |
| 896 | How do we improve them? | 我们如何改善它们? |
| 897 | Lots of exercises that you can do around that topic. | 你可以围绕这个话题做很多练习。 |
| 898 | Something I like to do, ask employees to articulate guiding conceptions, | 我喜欢做一些事情,要求雇员 阐明指导概念, |
| 899 | and then discuss, because there's creativity in the overlaps between | 然后讨论,因为有创意 在重叠 |
| 900 | different people's guiding conceptions, | 不同的人的指导思想, |
| 901 | and there's also creativity in the differences between them. | 并且他们之间的区别也有创造力. |
| 902 | So either way, you benefit, and you learn, | 所以不管怎么样,你受益,你学到, |
| 903 | and you might find some new creative connections and ideas to explore. | 你可能会找到一些新的 创造性的联系和想法来探索。 |
| 904 | And you should also articulate and discuss guiding principles, | 你也应该阐明和讨论指导原则, |
| 905 | because those are the things, as we saw, | 因为这些东西,正如我们所见, |
| 906 | that are really important in making a project finally work, | 真正重要的是 使一个项目最终工作, |
| 907 | solving your problems. | 解决你的问题。 |
| 908 | One thing I do in my class is we talk about some outstanding organizations | 我在班上做的一件事 就是我们谈论一些杰出的组织 |
| 909 | 像Kixar,史蒂夫・乔布斯在苹果,SpaceX。 | |
| 910 | These three organizations are very innovative. | 这三个组织非常创新。 |
| 911 | They articulate and structure their process. | 它们阐明和安排其进程。 |
| 912 | But then we have students talk about their own work experience | 但是,然后我们让学生谈论 他们自己的工作经验 |
| 913 | in companies they've worked in. | 他们在公司工作过 |
| 914 | And man, there's a big, big difference. | 和男人,有一个很大的区别。 |
| 915 | Most organizations, different industries, often smaller. | 大多数组织,不同的行业,往往规模较小. |
| 916 | They have not structured the process. | 他们没有安排这一进程的结构。 |
| 917 | Ideas are lost. | 思想迷茫. |
| 918 | There's disagreements. | 有分歧. |
| 919 | Lack of organizational memory. | 缺乏组织记忆。 |
| 920 | It's just kind of like this chaotic situation. | 就像这种混乱的局面 |
| 921 | So there's a lot to be learned by comparing different organizations | 所以通过比较不同的组织可以学到很多东西 |
| 922 | and how they go about working with creativity, I would say. | 以及他们如何以创造力工作,我会说。 |
| 923 | Finally, just mention AI and creativity. | 最后,只提及AI和创造力. |
| 924 | AI is on a lot of people's minds, of course. | 当然,AI在很多人的心目中。 |
| 925 | We could talk about this a lot, but two things I'll mention about it | 我们可以谈很多, 但我会提到两件事 |
| 926 | in relation to what I do. | 关于我的工作。 |
| 927 | First thing is, each person's context is unique. | 首先,每个人的背景都是独特的。 |
| 928 | Okay, I've kind of showed you that a little bit today. | 好吧,我今天给你看了一点 |
| 929 | AI is funny. | 人工智能很有趣。 |
| 930 | The modern AI, like the chat GPT, it's actually a common data pool. | 现代AI与聊天GPT一样,实际上是一个常见的数据集合. |
| 931 | And so to actually get to an individual's creative potential, | 所以为了真正发挥个人的创造潜力, |
| 932 | and so to actually get to an individual's creative potential, | 为了真正发挥个人的创造潜力 |
| 933 | What are you going to have to do with that common huge, | 你和那个普通的巨人有什么关系? |
| 934 | vast amount of information? | 大量的资讯? |
| 935 | You're going to have to subtract a lot. | 你要减掉很多 |
| 936 | I mean, really a lot, because that person doesn't know | 我的意思是,真的很多, 因为那个人不知道 |
| 937 | most of what's in there. | 里面的大部分东西 |
| 938 | And then you're going to have to add back | 然后,你必须补充回来 |
| 939 | the special parts of that person's context that | 这个人的背景的特殊部分 |
| 940 | are not in there because they're not part of the internet world. | 因为他们不是互联网世界的一部分 |
| 941 | 就像Virginia Woolf的经历一样 | |
| 942 | of her loss of her mother and how that would feel, | 她失去了她的母亲 以及那会是什么感觉, |
| 943 | that's something very personal. | 这是非常私人的事情。 |
| 944 | So you really have to subtract a lot | 所以,你真的要减去很多 |
| 945 | and add that in to get closer to a representation | 并加上这一点,以便更接近代表 |
| 946 | of a particular person's context. | 特定的人的背景。 |
| 947 | And of course, there's a lot of role of intuition | 当然,有很多直觉的作用 |
| 948 | for the guidance, for the guiding conceptions. | 是指导的,是指导的。 |
| 949 | Second thing I find interesting with AI | 第二,我发现有趣的是AI |
| 950 | is that there's such a rush to completion because AI, | 这么急于完成 因为AI, |
| 951 | these programs just generate something so fast, don't they? | 这些程序只是产生的东西这么快,不是吗? |
| 952 | Which is really fun. | 这真的很有趣。 |
| 953 | But I've also learned working with students | 但我也学过跟学生一起工作 |
| 954 | is that you kind of have to slow down | 是那种你必须慢下来 |
| 955 | to allow the partially formed half-baked ideas | 允许部分形成的半成熟思想 |
| 956 | to be explored more and developed creatively. | 将进行更多的探索和创造性的发展。 |
| 957 | I mean, that's really where the guiding principles come in, | 我的意思是,这是真正的 在那里的指导原则, |
| 958 | to help you find the correct missing | 帮助您找到正确的缺失 |
| 959 | piece that takes some time. | 需要一些时间。 |
| 960 | So in terms of the human computer interface, which | 因此,在人类计算机接口方面, |
| 961 | is very important here, we kind of | 这里很重要 我们有点 |
| 962 | have to slow the computer part. | 电脑要减速 |
| 963 | We have to work it out so the human time | 我们必须想办法,所以人类的时间 |
| 964 | frame is relevant to the process to allow the human creativity | 框架与允许人类创造力的进程相关 |
| 965 | to be brought into the process, I would say. | 我要说,将参与这一进程。 |
| 966 | All right. | 好吧,我们走。 |
| 967 | What's next? | 接下来呢? |
| 968 | I mean, really, what's next for me and what I'm doing? | 我的意思是,真的, 什么是接下来我和我在做什么? |
| 969 | What's next for the world would be all kinds of things. | 接下来的世界将会是各种各样的事物。 |
| 970 | Let's wrap up with this. | 后结此经. |
| 971 | This is a painting by Vanessa Lemon. | 这是凡妮莎·莱蒙的画 |
| 972 | She's a Southern California artist. | 她是南加州的艺术家. |
| 973 | It's called Holding On and Letting Go. | 这叫"坚持"和"放走" |
| 974 | And she wrote about this painting. | 她写了这幅画 |
| 975 | She was a transformation manifested. | 她是一个表现的转变。 |
| 976 | I like that phrase. | 我喜欢这句话。 |
| 977 | I'm really interested in modeling the life journeys | 我真的很有兴趣做人生旅程的模特 |
| 978 | that happen. | 发生。 |
| 979 | Each person follows a unique life path. | 每个人走独特的人生道路。 |
| 980 | And creativity happens when a person's life path intersects | 当一个人的人生道路交汇时 就会有创造力 |
| 981 | creatively with their field and their culture, | 以他们的领域和文化创造力, |
| 982 | and they get the opportunities to make those connections. | 他们有机会建立这种联系。 |
| 983 | So to me, it's about modeling the life path | 所以对我来说,这是关于 模拟人生的道路 |
| 984 | and developing that inner world of experiences and knowledge | 并发展内在的经验和知识世界 |
| 985 | and what's important, like guiding principles, | 和什么是重要的, 像指导原则, |
| 986 | and modeling how it intersects with opportunities | 模拟它与机会的交织 |
| 987 | (原始内容存档于2017-09-21). In the field and the culture. | |
| 988 | That kind of connection is, I think, | 那种联系是,我认为, |
| 989 | where the individual contributes to their field | 在个人对其领域作出贡献的情况下 |
| 990 | and their culture. | 和他们的文化。 |
| 991 | And we have so much more to do in learning more about that | 我们还有很多事情要做 在学习更多 |
| 992 | and understanding how individuals | 并理解个人 |
| 993 | make those contributions. | 做出这些贡献。 |
| 994 | So thank you so much. | 非常感谢 |
| 995 | It's been my pleasure to talk to you this afternoon. | 我很高兴今天下午能和你谈谈 |
| 996 | Thank you so much, Professor Feinstein. | 非常感谢,费斯坦教授 |
| 997 | Thank you. | 谢谢 |
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