TED演講：學(xué)校扼殺了學(xué)生的創(chuàng)造性
英國(guó)人，爵士，國(guó)際知名的創(chuàng)新、創(chuàng)造力與人力資源專家。他是一名激情的演講家，廣受歡迎，善于以詼諧、激情與機(jī)智的方式傳遞深?yuàn)W的知識(shí)，他告訴全世界的受眾，在全球經(jīng)濟(jì)的新形勢(shì)下，商業(yè)、教育與組織的需求如何變化。下面是小編為大家收集關(guān)于TED演講：學(xué)校扼殺了學(xué)生的創(chuàng)造性，歡迎借鑒參考。
中英對(duì)照演講稿
Good morning. How areyou?It's been great, hasn't it? I've been blown away by the whole thing. Infact, I'm leaving.There have been three themes running through the conferencewhich are relevant to what I want to talk about.
早上好. 還好嗎?很好吧,對(duì)不對(duì)? 我已經(jīng)飄飄然了! 我要飄走了.(笑聲) 這次會(huì)議有三個(gè)主題這三個(gè)主題貫穿會(huì)議始終,并且和我要談的內(nèi)容有關(guān)。
One is the extraordinaryevidence of human creativity in all of the presentations that we've had and inall of the people here. Just the variety of it and the range of it.
其中之一就是人類創(chuàng)造力的偉大例證 這些例證已經(jīng)體現(xiàn)在之前的演講當(dāng)中以及在座各位的身上. 從這些例證中我們看到了創(chuàng)新的多樣化 和多領(lǐng)域.
The secondis that it's put us in a place where we have no idea what's going to happen, interms of the future. No idea how this may play out.
第二點(diǎn)-- 這些創(chuàng)新也讓我們意識(shí)到我們不知道未來(lái)會(huì)發(fā)生什么 完全不知道 未來(lái)會(huì)如何
I have an interest ineducation. Actually, what I find is everybody has an interest in education.Don't you? I find this very interesting. If you're at a dinner party, and yousay you work in education -- Actually, you're not often at dinner parties,frankly.
我對(duì)教育感興趣，事實(shí)上，我發(fā)現(xiàn)每個(gè)人都對(duì)教育感興趣難道不是嗎? 我發(fā)現(xiàn)這很有趣 如果你參加一個(gè)晚宴,你說(shuō) 你在教育部門(mén)工作坦白的講，如果你在教育部門(mén)工作，事實(shí)上你不會(huì)經(jīng)常參加晚宴,
If you work in education,you're not asked.And you're never askedback, curiously. That's strange to me. But if you are, and you say to somebody,you know, they say, "What do you do?"
所以你不會(huì)被問(wèn)及你是做哪行的。你永遠(yuǎn)不會(huì)被問(wèn)到，很奇怪。 但是如果你被問(wèn)及， 他們問(wèn):"你從事什么行業(yè)?"
and you say you work ineducation, you can see the blood run from their face. They're like, "Oh myGod," you know, "Why me?""My one night outall week."But if you ask abouttheir education, they pin you to the wall.
你說(shuō)你在教育部門(mén)工作 你會(huì)發(fā)現(xiàn)他們漲紅了臉,那意思好像是 “我的天啊，”“為什么讓我碰上?整整一周我才出來(lái)一次” 但如果你要他們談?wù)勊麄兊氖芙逃?jīng)歷， 他們會(huì)把你“釘?shù)綁ι?rdquo;.
Because it's one of those thingsthat goes deep with people, am I right? Like religion, and money and otherthings. So I have a big interest in education, and I think we all do. We have ahuge vested interest in it, partly because it's education that's meant to takeus into this future that we can't grasp.
因?yàn)檫@些事情都涉及 個(gè)人的隱私,對(duì)嗎?比如宗教信仰,薪水等 我對(duì)教育特別感興趣,我認(rèn)為我們都是如此。我們對(duì)此有巨大的既得利益，部分因?yàn)榻逃荚冢瑢⑽覀儙胛覀儫o(wú)法掌握的未來(lái)。
If you think of it, children startingschool this year will be retiring in 2065. Nobody has a clue, despite all theexpertise that's been on parade for the past four days, what the world willlook like in five years' time.
大家想想,今年入學(xué)的小孩 2065將退休. 沒(méi)人知道會(huì)怎樣--雖然過(guò)去四天會(huì)議進(jìn)程里都是關(guān)于這方面的專業(yè)討論-- 但我們還是無(wú)法預(yù)知這個(gè)世界 五年后的樣子。
And yet we're meant to be educating them for it.So the unpredictability, I think, is extraordinary.And the third part ofthis is that we've all agreed, nonetheless, on the really extraordinarycapacities that children have -- their capacities for innovation.
這就是為何我們要讓這些孩子接受教育。我認(rèn)為正是未來(lái)的不確定性決定其非同尋常。第三點(diǎn)就是我們都認(rèn)同一個(gè)觀點(diǎn)-- 這些孩子的特別之處正是他們的創(chuàng)新能力。
I mean,Sirena last night was a marvel, wasn't she? Just seeing what she could do. Andshe's exceptional, but I think she's not, so to speak, exceptional in the wholeof childhood. What you have there is a person of extraordinary dedication who found a talent.
我覺(jué)得昨晚Sirena的表現(xiàn)令人驚奇， 對(duì)嗎? 她很出色，但是我認(rèn)為她在孩提時(shí)代時(shí)沒(méi)顯得與眾不同?，F(xiàn)在的教育提倡的是一個(gè)有奉獻(xiàn)精神的老師能發(fā)現(xiàn)一個(gè)天才學(xué)生。
And my contention is, all kids have tremendous talents. And wesquander them, pretty ruthlessly.
So I want to talk abouteducation and I want to talk about creativity. My contention is that creativitynow is as important in education as literacy, and we should treat it with thesame status.
但我認(rèn)為,所有孩子都是偉大的天才。 而我們卻無(wú)情地扼殺了他們的才能。 所以我想談?wù)劷逃?創(chuàng)造力。我認(rèn)為創(chuàng)造力和文化知識(shí)在教育中占同樣比重， 所以這兩方面我們應(yīng)同等對(duì)待。
Thank you.That was it, by the way.Thank you very much.So, 15 minutes left.Well, I was born... no.I heard a great storyrecently -- I love telling it -- of a little girl who was in a drawing lesson.
謝謝。而且， 非常感謝。還剩15分鐘。我出生于--說(shuō)錯(cuò)了.最近我聽(tīng)到一個(gè)很不錯(cuò)的故事--我很愿意講講這個(gè)故事-- 說(shuō)的是一個(gè)小女孩正在上繪畫(huà)課。
She was six, and she was at the back, drawing, and the teacher said this girlhardly ever paid attention, and in this drawing lesson, she did. The teacherwas fascinated. She went over to her, and she said, "What are youdrawing?"
小女孩只有六歲她坐在教室的后排，正在畫(huà)畫(huà)， 而她的老師評(píng)價(jià)她幾乎從不 注意聽(tīng)講，但在繪畫(huà)課上她卻聽(tīng)得很認(rèn)真。老師饒有興趣地走過(guò)去 問(wèn)她：“你在畫(huà)什么?”
And the girl said, "I'm drawing a picture of God." Andthe teacher said, "But nobody knows what God looks like." And thegirl said, "They will, in a minute."
她說(shuō)：“我畫(huà)的是上帝。” 老師說(shuō)：“可是沒(méi)人知道上帝長(zhǎng)什么樣。” 這時(shí)小女孩說(shuō)：“他們馬上就能知道上帝的樣子了。”
When my son was four inEngland -- Actually, he was four everywhere, to be honest.If we're being strictabout it, wherever he went, he was four that year. He was in the Nativity play.Do you remember the story?
我兒子四歲時(shí)在英國(guó)-- 實(shí)際上他那會(huì)兒在哪都四歲.嚴(yán)格地說(shuō)他四歲那年在哪個(gè)國(guó)家記不清了，只記得他四歲那年 去演舞臺(tái)劇《基督誕生》 你們記得那部劇的情節(jié)嗎?
No, it was big, it was abig story. Mel Gibson did the sequel, you may have seen it."Nativity II."But James got the part of Joseph, which we were thrilled about. We consideredthis to be one of the lead parts.
應(yīng)該記不得，情節(jié)太長(zhǎng)。 故事太長(zhǎng)。梅爾.吉布森演過(guò)那部劇的續(xù)集。 你們也許看過(guò)，叫《基督誕生II》。我兒子James在那部舞臺(tái)劇里演Joseph, 我們?yōu)榇撕芘d奮。 我們以為那是個(gè)主要角色。
We had the place crammed full of agents inT-shirts: "James Robinson IS Joseph!"He didn't have tospeak, but you know the bit where the three kings come in? They come in bearinggifts, gold, frankincense and myrrh. This really happened.
我們給觀眾們發(fā)了T恤： 上面印著“James Robinson 扮演 Joseph"他的角色不一定有臺(tái)詞，劇情是 三個(gè)國(guó)王拿著禮物走進(jìn)來(lái) 他們分別拿著黃金，乳香精油，沒(méi)藥精油。演出開(kāi)始了。
We were sitting there and I think they just went out of sequence, because we talked to thelittle boy afterward and we said, "You OK with that?" And he said,"Yeah, why? Was that wrong?" They just switched. The three boys camein, four-year-olds with tea towels on their heads,
我們坐在觀眾席上 我認(rèn)為他們應(yīng)該按順序出場(chǎng)， 演出結(jié)束后我們對(duì)James說(shuō)： “你們剛才演的對(duì)嗎?”他說(shuō)：“對(duì)啊，怎么了，哪錯(cuò)了嗎?”其實(shí)他們把劇情改了。 他們是這么演的：三個(gè)小演員出場(chǎng)， 四歲的小家伙們頭上戴著擦杯子用的毛巾,
and they put these boxes down, and the first boy said, "I bring you gold." And the second boysaid, "I bring you myrrh." And the third boy said, "Frank sentthis."
他們放下手上拿的盒子 第一個(gè)孩子說(shuō)：“我?guī)?lái)了黃金。” 第二個(gè)孩子說(shuō)：“我?guī)?lái)了沒(méi)藥精油。”第三個(gè)孩子說(shuō)：“Frank帶來(lái)了這個(gè)”
What these things have incommon is that kids will take a chance. If they don't know, they'll have a go.Am I right? They're not frightened of being wrong. I don't mean to say that being wrong is the same thing as being creative.
以上例子的共同點(diǎn)就是孩子們?cè)敢饷半U(xiǎn)。 對(duì)于未知的事物，他們?cè)敢馊L試。 難道不是嗎?即使嘗試的結(jié)果是錯(cuò)誤的，他們也不懼怕。當(dāng)然，我并不認(rèn)為錯(cuò)誤的嘗試等同于創(chuàng)新。
What we do know is, if you'renot prepared to be wrong, you'll never come up with anything original -- ifyou're not prepared to be wrong. And by the time they get to be adults, mostkids have lost that capacity.
但我們都知道 如果你不打算做錯(cuò)誤的嘗試 你永遠(yuǎn)不會(huì)創(chuàng)造出新東西。 如果你不想讓孩子們做錯(cuò)誤的嘗試，等他們長(zhǎng)大了，多數(shù)孩子就會(huì)喪失創(chuàng)新的能力。
They have become frightened of being wrong. Andwe run our companies like this. We stigmatize mistakes. And we're now running national education systems where mistakes are the worst thing you can make. And the result is that we are educating people out of their creative capacities.
那就會(huì)使他們也變得懼怕錯(cuò)誤的嘗試。 這種情況也存在于公司經(jīng)營(yíng)方面。 我們不能容忍任何錯(cuò)誤。這就使得現(xiàn)在的教育體系成為最不能容忍錯(cuò)誤的領(lǐng)域。 這樣做的后果就是我們的教育體制正在扼殺孩子們的創(chuàng)造力。甚至可以說(shuō)，是我們所受的教育讓我們喪失了創(chuàng)造力。
But something strikes you when you move to America and travel around the world: Every education system on Earth has the same hierarchy of subjects. Every one. Doesn't matter where you go.
但搬到美國(guó)后，有些事使我印象深刻 如果你周游世界 你會(huì)發(fā)現(xiàn)每個(gè)國(guó)家的教育體系都存在相同的學(xué)科等級(jí)制度。沒(méi)有例外。不論哪個(gè)國(guó)家。
You'd think it would be other wise, but it isn't. At the top are mathematicsand languages, then the humanities, and at the bottom are the arts. Everywhereon Earth. And in pretty much every system too, there's a hierarchy within thearts.
你認(rèn)為也許會(huì)有例外，但沒(méi)有。排在最前面的學(xué)科是數(shù)學(xué)和語(yǔ)言，接下去是人文學(xué)科，藝術(shù)排在最后。世界上所有國(guó)家都是如此。而且相同的還有就是在藝術(shù)學(xué)科范圍內(nèi)也有等級(jí)制。
Art and music are normally given a higher status in schools than dramaand dance. There isn't an education system on the planet that teaches danceeveryday to children the way we teach them mathematics.
通常學(xué)校把美術(shù)課和音樂(lè)課看的較重要 然后是戲劇課和舞蹈課。沒(méi)有哪個(gè)國(guó)家的教育體系 天天安排舞蹈課 但卻每天都安排數(shù)學(xué)課。
Why? Why not? I thinkthis is rather important. I think math is very important, but so is dance.Children dance all the time if they're allowed to, we all do. We all have bodies, don't we? Did I miss a meeting?
為什么?為什么不呢?我認(rèn)為舞蹈課很重要。 我認(rèn)為舞蹈課和數(shù)學(xué)課同樣重要。 如果有允許，孩子們會(huì)不停地跳舞，我們也一樣。 我們都有體會(huì)，對(duì)嗎?
If you were to visiteducation, as an alien, and say "What's it for, public education?" I think you'd have to conclude, if you look at the output, who really succeeds bythis, who does everything that they should,
如果你以一個(gè)外國(guó)人的身份來(lái)參觀我們的教育體系， 帶著這樣的問(wèn)題：“公辦教育的目的是什么?”那么當(dāng)你看到我們的教育體系產(chǎn)業(yè)化的發(fā)展，我相信，你就會(huì)明白 是誰(shuí)在真正從中受益， 是誰(shuí)被教導(dǎo)著該做什么不該做什么，
who gets all the brownie points,who are the winners -- I think you'd have to conclude the whole purpose ofpublic education throughout the world is to produce university professors.Isn't it?
是誰(shuí)得了滿分，誰(shuí)是第一名-- 關(guān)于公辦教育的目的，我想你會(huì)得出這樣的結(jié)論 世界上所有的公辦教育 都以培養(yǎng)大學(xué)教授為目的。難道不是嗎?
They're the people who come out the top. And I used to be one, so there.And I like university professors,but you know, we shouldn't hold them up as the high-water mark of all humanachievement.
因?yàn)榇髮W(xué)教授是象牙塔尖上的人。我也曾是一名大學(xué)教授，也是塔尖上的人。我傾慕大學(xué)教授的學(xué)識(shí)，但 我們不應(yīng)該用這樣一個(gè)頭銜作為衡量一個(gè)人成功與否的分水嶺。
They're just a form of life, another form of life. But they'rerather curious, and I say this out of affection for them. There's somethingcurious about professors in my experience -- not all of them, but typically,they live in their heads.
其實(shí)大學(xué)教授只是360行中的一行， 只不過(guò)他們比較好求知， 我這樣說(shuō)不是因?yàn)閷?duì)他們的傾慕。 在我看來(lái)，大學(xué)教授有個(gè)特點(diǎn)-- 雖然不是共性，但很典型--他們只用腦子生活。
They live up there, and slightly to one side. They'redisem bodied, you know, in a kind of literal way. They look upon their body as aform of transport for their heads.Don't they? It's a way ofgetting their head to meetings.
而且偏重于大腦的一側(cè)。用書(shū)面語(yǔ)來(lái)說(shuō)就是--他們腦體分離。 他們只是把身體當(dāng)作 大腦的載體而已，難道不是嗎? (笑聲)這個(gè)載體可以載著大腦去開(kāi)會(huì)。
If you want real evidenceof out-of-body experiences, get yourself along to a residential conference ofsenior academics, and pop into the discotheque on the final night.And there, you will seeit. Grown men and women writhing uncontrollably, off the beat.
如果你想親身體驗(yàn) 你就去參加一次會(huì)議 --學(xué)術(shù)研討會(huì)，然后在會(huì)議結(jié)束后再去迪廳蹦迪。 (笑聲)在那你會(huì)看到，成年男女在不和樂(lè)拍地瘋狂搖擺。
Waiting until it ends sothey can go home and write a paper about it.Our education system ispredicated on the idea of academic ability. And there's a reason. Around theworld, there were no public systems of education, really, before the 19thcentury.
期待夜晚的結(jié)束好回家寫(xiě)篇關(guān)于蹦迪的論文。注重培養(yǎng)學(xué)術(shù)能力的觀點(diǎn)根植于我們的教育體系之中。 形成這種狀況還有個(gè)原因-- 所有國(guó)家的教育體系在最初建立時(shí) 也就是在19世紀(jì)之前--那時(shí)教育還不是公共事業(yè)。
They all came into being to meet the needs of industrialism. So thehierarchy is rooted on two ideas.Number one, that the mostuseful subjects for work are at the top.
那時(shí)建立教育體系 是為了滿足工業(yè)化發(fā)展的需要。 所以有兩點(diǎn)基本的等級(jí)原則。 第一點(diǎn)，對(duì)工作最實(shí)用的科目是最重要的科目。
So you were probably steered benignly away from things at school when you were a kid, things you liked, on thegrounds that you would never get a job doing that. Is that right? Don't domusic, you're not going to be a musician; don't do art, you won't be an artist.
這樣就能輕易地避開(kāi)孩子們喜歡的科目，從小就不讓他們碰觸。 理由就是 不這樣學(xué)就找不到工作。對(duì)嗎? 別玩音樂(lè)了，你成不了音樂(lè)家; 別畫(huà)畫(huà)了，你成不了藝術(shù)家。
Benign advice -- now, profoundly mistaken. The whole world is engulfed in arevolution.And the second isacademic ability, which has really come to dominate our view of intelligence,because the universities designed the system in their image.
這些溫和的忠告--筑成現(xiàn)在的大錯(cuò)。全世界都被卷入了工業(yè)革命的熱潮。 第二點(diǎn)，學(xué)術(shù)能力已經(jīng)成為 衡量好學(xué)生的主要標(biāo)準(zhǔn)這種標(biāo)準(zhǔn)是那些大學(xué)自己制定的。
If you think ofit, the whole system of public education around the world is a protractedprocess of university entrance. And the consequence is that manyhighly-talented, brilliant, creative people think they're not,
只要你思考一下就會(huì)發(fā)現(xiàn)整個(gè)教育體系 不論哪個(gè)國(guó)家的公共教育都是一種按部就班的程序 最終目標(biāo)是為了考入大學(xué)。造成的后果就是許多很有天才的有創(chuàng)造力的學(xué)生被鈍化了。
because thething they were good at at school wasn't valued, or was actually stigmatized.And I think we can't afford to go on that way.
因?yàn)檫@些學(xué)生發(fā)現(xiàn)他們的專長(zhǎng)在學(xué)校 并不受重視甚至還受到蔑視。 我認(rèn)為我們不能再這樣扼殺孩子們的天才了。
By the way, there's ashaft of nerves that joins the two halves of the brain called the corpuscallosum. It's thicker in women. Following off from Helen yesterday, this isprobably why women are better at multi-tasking. Because you are, aren't you?
大腦本來(lái)就是 由神經(jīng)來(lái)連接左腦和右腦 這個(gè)連接部分叫胼胝體。女性大腦中的這個(gè)部分比男性的要厚。昨天聽(tīng)了Helen的演講受到啟發(fā)，我認(rèn)為 腦部特征可能使女性更善于應(yīng)對(duì)頭緒紛亂的事情。 對(duì)嗎?
There's a raft of research, but I know it from my personal life. If my wife iscooking a meal at home -- which is not often, thankfully.
雖然關(guān)于這方面的研究有很多，但我對(duì)于這方面的了解其實(shí)來(lái)源于我的親身體驗(yàn)。我妻子在家做飯時(shí)-- 感謝上帝，她不常做飯，
No, she's good at somethings, but if she's cooking, she's dealing with people on the phone, she'stalking to the kids, she's painting the ceiling, she's doing open-heart surgeryover here.
雖然她不擅廚藝但很擅長(zhǎng)其他一些事-- 不過(guò)她做飯時(shí)總是 打打電話，和孩子們說(shuō)說(shuō)話，給天棚刷刷漆， 還在旁邊做開(kāi)胸手術(shù)。
If I'm cooking, the door is shut, the kids are out, the phone's onthe hook, if she comes in I get annoyed. I say, "Terry, please, I'm tryingto fry an egg in here.""Give me abreak."
而我做飯時(shí)就會(huì)關(guān)上廚房門(mén)，不讓孩子們進(jìn)來(lái)打擾，不打電話，這時(shí)如果我妻子進(jìn)來(lái)我會(huì)很生氣。 我會(huì)這樣對(duì)我妻子說(shuō)：“Terry，我在煎雞蛋，請(qǐng)你別打擾。”
Actually, do you know that old philosophical thing, if a tree falls in a forest and nobody hears it,did it happen? Remember that old chestnut? I saw a great t-shirt recently,which said, "If a man speaks his mind in a forest, and no woman hears him,is he still wrong?"
大家都知道那句有哲理的話-- 如果森林里有棵樹(shù)倒了可沒(méi)人聽(tīng)到， 那是否意味著沒(méi)發(fā)生過(guò)?記得這句話嗎? 最近我看到一件很棒的T恤，上面印著：“如果一個(gè)男人說(shuō)出他的心聲 卻是在森林里說(shuō)的，而且沒(méi)被女人聽(tīng)到， 那應(yīng)該不算犯錯(cuò)吧?”
And the third thing aboutintelligence is, it's distinct. I'm doing a new book at the moment called"Epiphany," which is based on a series of interviews with peopleabout how they discovered their talent.
培養(yǎng)好學(xué)生的第三個(gè)原則就是-- 個(gè)性化。我目前在寫(xiě)本書(shū)-- 書(shū)名叫《頓悟》，素材來(lái)自一些 訪談，訪談內(nèi)容是關(guān)于怎樣發(fā)現(xiàn) 自身的才能。
I'm fascinated by how people got to be there.It's really prompted by a conversation I had with a wonderful woman who maybemost people have never heard of, Gillian Lynne. Have you heard of her? Somehave.
對(duì)于這點(diǎn)我很感興趣。 激發(fā)我寫(xiě)這本書(shū)的原因是一次對(duì)話我采訪了一位很優(yōu)秀的女士，也許很多人 沒(méi)聽(tīng)說(shuō)過(guò)這個(gè)人，她叫Gillian Lynne, 你們知道這個(gè)人嗎?應(yīng)該有人知道吧。
She's a choreographer, and everybody knows her work. She did"Cats" and "Phantom of the Opera." She's wonderful. I usedto be on the board of The Royal Ballet, as you can see. Anyway, Gillian and Ihad lunch one day and I said,
她是一個(gè)舞蹈編劇所有人都知道她的作品。 她編舞的作品有《貓》、《歌劇魅影》。 她很有才華。我在英國(guó)看過(guò)由皇家芭蕾舞團(tuán)演出的她的作品。 你們也看過(guò)她的作品。 有一次，我和Gillian 吃午飯，我問(wèn)她：
"How did you get to be a dancer?" It was interesting.When she was at school, she was really hopeless. And the school,in the '30s, wrote to her parents and said, "We think Gillian has alearning disorder." She couldn't concentrate; she was fidgeting.
“Gillian,你是怎樣成為舞蹈家的?她回答說(shuō)：說(shuō)起來(lái)很有意思，她上學(xué)的時(shí)候， 覺(jué)得自己完全沒(méi)有希望。她上學(xué)那會(huì)兒是1930年代， 老師給她家長(zhǎng)寫(xiě)信說(shuō)：“我們認(rèn)為 Gillian患有學(xué)習(xí)障礙癥。”她無(wú)法集中注意力，她老是坐不安生。
I think now they'd say she had ADHD. Wouldn't you? But this was the 1930s, and ADHDhadn't been invented at this point. It wasn't an available condition.People weren't aware theycould have that.
用現(xiàn)在的話講，那意思就是 她有多動(dòng)癥。你們也這么想吧?但那時(shí)候是1930年代， “多動(dòng)癥”這個(gè)詞還沒(méi)出現(xiàn)。 那個(gè)老師用詞不當(dāng)。那時(shí)候人們還不知道用“多動(dòng)癥”這個(gè)詞。
What I think it comes tois this: Al Gore spoke the other night about ecology and the revolution thatwas triggered by Rachel Carson.
現(xiàn)在，我想說(shuō)的是--AL Gore 曾在這里做過(guò)一次演講 內(nèi)容是關(guān)于生態(tài)學(xué)以及RachelCarson引發(fā)的那次環(huán)境保護(hù)運(yùn)動(dòng)。
I believe our only hope for the future is toadopt a new conception of human ecology, one in which we start to reconstituteour conception of the richness of human capacity. Our education system has mined our minds in the way that we strip-mine the earth: for a particularcommodity.
我相信對(duì)于未來(lái)，我們的唯一出路是貫徹一種新的人性化生態(tài)的思想， 也就是說(shuō)我們應(yīng)重新定義人類能力的多樣化。 我們的教育體系培養(yǎng)我們的方式 正如我們開(kāi)采地球的方式--以功利為目的。
And for the future, it won't serve us. We have to rethink thefundamental principles on which we're educating our children.There was a wonderfulquote by Jonas Salk, who said,
但這種方式對(duì)于未來(lái)將不再適用。我們必須重新思考那些最基本的準(zhǔn)則 也就是我們教育孩子的準(zhǔn)則。 Jonas Salk曾說(shuō)過(guò)：
"If all the insects were to disappear fromthe Earth, within 50 years all life on Earth would end. If all human beingsdisappeared from the Earth, within 50 years all forms of life wouldflourish." And he's right.
“如果所有的昆蟲(chóng)都從地球上消失的話， 那么50年之內(nèi)，所有生命也將從地球上消失。 而如果人類從地球上消失的話， 那么50年之內(nèi)，其他物種會(huì)活得更好。” 他說(shuō)的很對(duì)。
What TED celebrates isthe gift of the human imagination. We have to be careful now that we use thisgift wisely and that we avert some of the scenarios that we've talked about.
TED倡導(dǎo)的是人類的創(chuàng)造性思維。 現(xiàn)在，我們必須運(yùn)用這種思維方式小心地 避開(kāi)那些按部就班的規(guī)則。
And the only way we'll do it is by seeing our creative capacities for therichness they are and seeing our children for the hope that they are. And our task is to educate their whole being, so they can face this future.
達(dá)到這個(gè)目的唯一的方法就是運(yùn)用創(chuàng)造力 最大限度地發(fā)揮創(chuàng)造力，而且 用孩子們喜歡的方式培養(yǎng)他們。我們的任務(wù) 是全方位地培養(yǎng)孩子，這樣他們才能面對(duì)未來(lái)的社會(huì)。
By the way-- we may not see this future, but they will. And our job is to help them makesomething of it.Thank you very much.
順便說(shuō)句--我們可能活不到未來(lái)那天 但孩子們會(huì)。而我們要做的就是幫助 他們能在未來(lái)有所作為。謝謝大家。
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