TED演讲 | 学校扼杀创造力

Good morning. How are you? It's been great, hasn't it?

早上好，还好吗? 很好吧，对不对?

I've been blown away by the whole thing. In fact, I'm leaving.

我已经飘飘然了! 我要飘走了。

There have been three themes running through the conference which are relevant to what I want to talk about.

这次会议有三个主题，这三个主题贯穿会议始终，并且和我要谈的内容有关。

One is the extraordinary evidence of human creativity in all of the presentations that we've had and in all of the people here.

其中之一就是人类创造力的伟大例证，这些例证已经体现在之前的演讲当中，以及在座各位的身上。

Just the variety of it and the range of it.

从这些例证中我们看到了创新的多样化和多领域。

The second is that it's put us in a place where we have no idea what's going to happen, in terms of the future.

第二点，这些创新也让我们意识到，我们不知道未来会发生什么。

No idea how this may play out.

完全不知道未来会如何。

I have an interest in education. Actually, what I find is everybody has an interest in education. Don't you?

我对教育感兴趣。事实上，我发现每个人都对教育感兴趣。难道不是吗?

I find this very interesting. If you're at a dinner party, and you say you work in education

我发现这很有趣。如果你参加一个晚宴，你说你在教育部门工作，

Actually, you're not often at dinner parties, frankly.

坦白的讲，如果你在教育部门工作，事实上你不会经常参加晚宴。

If you work in education, you're not asked.

所以你不会被问及你是做哪行的。

And you're never asked back, curiously. That's strange to me.

你永远不会被问到，很奇怪。

But if you are, and you say to somebody, you know, they say, "What do you do?"

但是如果你被问及，他们问：“你从事什么行业?”

and you say you work in education, you can see the blood run from their face.

你说你在教育部门工作，你会发现他们涨红了脸，

They're like, "Oh my God," you know, "Why me? My one night out all week."

那意思好像是“我的天啊，为什么让我碰上？整整一周我才出来一次”。

But if you ask about their education, they pin you to the wall.

但如果你要他们谈谈他们的受教育经历，他们会把你“钉到墙上”。

Because it's one of those things that goes deep with people, am I right?

因为这些事情都涉及个人的隐私，对吗?

Like religion, and money and other things.

比如宗教信仰，薪水等。

So I have a big interest in education, and I think we all do.

我对教育特别感兴趣，我认为我们都是如此。

We have a huge vested interest in it, partly because it's education that's meant to take us into this future that we can't grasp.

我们对此有巨大的既得利益，部分因为教育旨在将我们带入我们无法掌握的未来。

If you think of it, children starting school this year will be retiring in 2065.

大家想想，今年入学的小孩，2065将退休。

Nobody has a clue, despite all the expertise that's been on parade for the past four days,

没人知道会怎样，虽然过去四天会议进程里都是关于这方面的专业讨论，

what the world will look like in five years' time.

但我们还是无法预知这个世界五年后的样子。

And yet we're meant to be educating them for it.

这就是为何我们要让这些孩子接受教育。

So the unpredictability, I think, is extraordinary.

我认为正是未来的不确定性决定其非同寻常。

And the third part of this is that we've all agreed, nonetheless,

第三点就是我们都认同一个观点，

on the really extraordinary capacities that children have -- their capacities for innovation.

这些孩子的特别之处正是他们的创新能力。

I mean, Sirena last night was a marvel, wasn't she? Just seeing what she could do.

我觉得昨晚Sirena的表现令人惊奇，对吗？

And she's exceptional, but I think she's not, so to speak, exceptional in the whole of childhood.

她很出色，但是我认为她在孩提时代时没显得与众不同。

What you have there is a person of extraordinary dedication who found a talent.

现在的教育提倡的是，一个有奉献精神的老师能发现一个天才学生。

And my contention is, all kids have tremendous talents. And we squander them, pretty ruthlessly.

但我认为所有孩子都是伟大的天才。而我们却无情地扼杀了他们的才能。

So I want to talk about education and I want to talk about creativity.

所以我想谈谈教育和创造力。

My contention is that creativity now is as important in education as literacy,

我认为创造力和文化知识在教育中占同样比重，

and we should treat it with the same status. Thank you.

所以这两方面我们应同等对待。谢谢。

I heard a great story recently -- I love telling it -- of a little girl who was in a drawing lesson.

最近我听到一个很不错的故事。我很愿意讲讲这个故事，说的是一个小女孩正在上绘画课。

She was six, and she was at the back, drawing,

小女孩只有六岁，她坐在教室的后排，正在画画，

and the teacher said this girl hardly ever paid attention, and in this drawing lesson, she did.

而她的老师评价她几乎从不注意听讲，但在绘画课上她却听得很认真。

The teacher was fascinated. She went over to her, and she said, "What are you drawing?"

老师饶有兴趣地走过去，问她：“你在画什么？”

And the girl said, "I'm drawing a picture of God."

她说：“我画的是上帝。”

And the teacher said, "But nobody knows what God looks like."

老师说：“可是没人知道上帝长什么样。”

And the girl said, "They will, in a minute."

这时小女孩说：“他们马上就能知道上帝的样子了。”

When my son was four in England -- Actually, he was four everywhere, to be honest.

我儿子四岁时在英国，实际上他那会儿在哪都四岁。

If we're being strict about it, wherever he went, he was four that year.

严格地说他四岁那年在哪个国家记不清了。

He was in the Nativity play. Do you remember the story?

只记得他四岁那年去演舞台剧《基督诞生》。你们记得那部剧的情节吗？

No, it was big, it was a big story. Mel Gibson did the sequel, you may have seen it.

应该记不得，情节太长。故事太长。梅尔·吉布森演过那部剧的续集。你们也许看过。

"Nativity II." But James got the part of Joseph, which we were thrilled about.

叫《基督诞生II》。我儿子James在那部舞台剧里演Joseph，我们为此很兴奋。

We considered this to be one of the lead parts. We had the place crammed full of agents in T-shirts: "James Robinson IS Joseph!"

我们以为那是个主要角色。我们给观众们发了T恤：上面印着“James Robinson扮演Joseph”。

He didn't have to speak, but you know the bit where the three kings come in?

他的角色不一定有台词，剧情是三个国王拿着礼物走进来。

They come in bearing gifts, gold, frankincense and myrrh. This really happened.

他们分别拿着黄金，乳香精油，没药精油。演出开始了。

We were sitting there and I think they just went out of sequence,

我们坐在观众席上，我认为他们应该按顺序出场，

because we talked to the little boy afterward and we said, "You OK with that?"

演出结束后我们对James说：“你们刚才演的对吗？”

And he said, "Yeah, why? Was that wrong?" They just switched.

他说：“对啊，怎么了，哪错了吗？”其实他们把剧情改了。

The three boys came in, four-year-olds with tea towels on their heads,

他们是这么演的：三个小演员出场，四岁的小家伙们头上戴着擦杯子用的毛巾，

and they put these boxes down, and the first boy said, "I bring you gold."

他们放下手上拿的盒子，第一个孩子说：“我带来了黄金。”

And the second boy said, "I bring you myrrh."

第二个孩子说：“我带来了没药精油。”

And the third boy said, "Frank sent this."

第三个孩子说：“Frank带来了这个”。

What these things have in common is that kids will take a chance.

以上例子的共同点就是孩子们愿意冒险。

If they don't know, they'll have a go. Am I right?

对于未知的事物，他们愿意去尝试。难道不是吗？

They're not frightened of being wrong. I don't mean to say that being wrong is the same thing as being creative.

即使尝试的结果是错误的，他们也不惧怕。当然，我并不认为错误的尝试等同于创新。

What we do know is, if you're not prepared to be wrong,

但我们都知道，如果你不打算做错误的尝试，

you'll never come up with anything original -- if you're not prepared to be wrong.

你永远不会创造出新东西。如果你不想让孩子们做错误的尝试，

And by the time they get to be adults, most kids have lost that capacity.

等他们长大了，多数孩子就会丧失创新的能力。

They have become frightened of being wrong. And we run our companies like this. We stigmatize mistakes.

那就会使他们也变得惧怕错误的尝试。这种情况也存在于公司经营方面。我们不能容忍任何错误。

And we're now running national education systems where mistakes are the worst thing you can make.

这就使得现在的教育体系成为最不能容忍错误的领域。

And the result is that we are educating people out of their creative capacities.

这样做的后果就是，我们的教育体制正在扼杀孩子们的创造力。

Picasso once said this, he said that all children are born artists.

毕加索曾说过: “孩子们是天生的艺术家”。

The problem is to remain an artist as we grow up.

问题是我们长大后能否继续保有艺术灵感。

I believe this passionately, that we don't grow into creativity, we grow out of it.

我坚信：我们随着年龄的增长而丧失了创造力。

Or rather, we get educated out of it. So why is this?

甚至可以说，是我们所受的教育让我们丧失了创造力。为什么会这样？

I lived in Stratford-on-Avon until about five years ago. In fact, we moved from Stratford to Los Angeles.

五年前，我住在Stratford-on-Avon。现在我已经搬到了洛杉矶。

So you can imagine what a seamless transition that was.

可想而知，这是个多么合乎逻辑的移居。

Actually, we lived in a place called Snitterfield, just outside Stratford, which is where Shakespeare's father was born.

其实，那时我们住在Snitterfield，就在Stratford郊外，那里是莎士比亚父亲的出生地。

Are you struck by a new thought? I was.

你有过灵感吗？我曾经有过。

You don't think of Shakespeare having a father, do you? Do you?

你没把莎士比亚和他的父亲联想在一起，对吗？

Because you don't think of Shakespeare being a child, do you?

因为你忽略了莎士比亚也曾经是个孩子，对吗？

Shakespeare being seven? I never thought of it.

莎士比亚七岁时什么样？我从没想过。

I mean, he was seven at some point. He was in somebody's English class, wasn't he?

他七岁时的某个特定场景。比如他在上英语课，想想他在上英语课。

How annoying would that be? "Must try harder."

多么不可思议。“你要努力学习”。

Being sent to bed by his dad, you know, to Shakespeare, "Go to bed, now! And put the pencil down."

你能想象他父亲边说边把他抱上床，“现在该睡觉了，放下笔。

"And stop speaking like that. It's confusing everybody."

别再写那些东西了，别人都看不懂。”

Anyway, we moved from Stratford to Los Angeles, and I just want to say a word about the transition.

话说远了，刚才说到我们从Stratford搬到洛杉矶，我想说的是。

My son didn't want to come. I've got two kids; he's 21 now, my daughter's 16.

对于这次搬家，我儿子并不愿意。我有两个孩子。儿子现在21岁了，女儿16岁。

He didn't want to come to Los Angeles. He loved it, but he had a girlfriend in England.

我儿子不愿搬到洛杉矶。虽然他喜欢这，但在英国，他有个女友。

This was the love of his life, Sarah. He'd known her for a month.

是他的最爱，叫Sarah。他们认识只有一个月后就开始交往了。

Mind you, they'd had their fourth anniversary, because it's a long time when you're 16.

我们要搬家时他们已交往了4年。这对于16岁的年龄来说已经很长了。

He was really upset on the plane, he said, "I'll never find another girl like Sarah."

我儿子上了飞机后很郁闷，他说：“我再也找不到像Sarah那样的女孩了。”

And we were rather pleased about that, frankly...

但说实话，做为家长的我们为此很庆幸。

Because she was the main reason we were leaving the country.

因为那个女孩是我们搬家的主要原因。

But something strikes you when you move to America and travel around the world:

但搬到美国后，有些事使我印象深刻：

Every education system on Earth has the same hierarchy of subjects. Every one.

如果你周游世界，你会发现每个国家的教育体系都存在相同的学科等级制度。没有例外。

Doesn't matter where you go. You'd think it would be otherwise, but it isn't.

不论哪个国家。你认为也许会有例外，但没有。

At the top are mathematics and languages, then the humanities, and at the bottom are the arts.

排在最前面的学科是数学和语言，接下去是人文学科，艺术排在最后。

Everywhere on Earth. And in pretty much every system too, there's a hierarchy within the arts.

世界上所有国家都是如此。而且相同的还有，就是在艺术学科范围内也有等级制。

Art and music are normally given a higher status in schools than drama and dance.

通常学校把美术课和音乐课看的较重要，然后是戏剧课和舞蹈课。

There isn't an education system on the planet that teaches dance everyday to children the way we teach them mathematics.

没有哪个国家的教育体系天天安排舞蹈课，但却每天都安排数学课。

Why? Why not? I think this is rather important. I think math is very important, but so is dance.

为什么？为什么不是每天安排舞蹈课呢？我认为舞蹈课很重要。我认为舞蹈课和数学课同样重要。

Children dance all the time if they're allowed to, we all do.

如果有允许，孩子们会不停地跳舞，我们也一样。

We all have bodies, don't we? Did I miss a meeting?

我们都有身体，对吗？我错过了一场会议吗？

Truthfully, what happens is, as children grow up, we start to educate them progressively from the waist up.

事实上，随着孩子年龄增长，我们开始教导他们别的东西。

And then we focus on their heads. And slightly to one side.

而随着他们长大，我们更关注的是他们的头脑。而且略微偏重大脑的一侧。

If you were to visit education, as an alien, and say "What's it for, public education?"

如果你以一个外国人的身份来参观我们的教育体系，带着这样的问题：“公办教育的目的是什么？”

I think you'd have to conclude, if you look at the output, who really succeeds by this,

那么当你看到我们的教育体系产业化的发展，我相信，你就会明白是谁在真正从中受益，

who does everything that they should, who gets all the brownie points, who are the winners

是谁被教导着该做什么不该做什么，是谁得了满分，谁是第一名。

I think you'd have to conclude the whole purpose of public education throughout the world is to produce university professors.

关于公办教育的目的，我想你会得出这样的结论，世界上所有的公办教育都以培养大学教授为目的。

Isn't it? They're the people who come out the top. And I used to be one, so there.

难道不是吗？因为大学教授是象牙塔尖上的人。我也曾是一名大学教授，也是塔尖上的人。

And I like university professors, but you know, we shouldn't hold them up as the high-water mark of all human achievement.

我倾慕大学教授的学识，但我们不应该用这样一个头衔作为衡量一个人成功与否的分水岭。

They're just a form of life, another form of life.

其实大学教授只是360行中的一行。

But they're rather curious, and I say this out of affection for them.

只不过他们比较好求知，我这样说不是因为对他们的倾慕。

There's something curious about professors in my experience -- not all of them, but typically, they live in their heads.

在我看来，大学教授有个特点，虽然不是共性，但很典型，他们只用脑子生活。

They live up there, and slightly to one side. They're disembodied, you know, in a kind of literal way.

而且偏重于大脑的一侧。用书面语来说就是，他们脑体分离。

They look upon their body as a form of transport for their heads. Don't they?

他们只是把身体当作大脑的载体而已，难道不是吗？

It's a way of getting their head to meetings.

这个载体可以载着大脑去开会。

If you want real evidence of out-of-body experiences,

如果你想亲身体验，

get yourself along to a residential conference of senior academics, and pop into the discotheque on the final night.

你就去参加一次会议，学术研讨会，然后在会议结束后再去迪厅蹦迪。

And there, you will see it. Grown men and women writhing uncontrollably, off the beat.

在那你会看到成年男女在不和乐拍地疯狂摇摆。

Waiting until it ends so they can go home and write a paper about it.

期待夜晚的结束，好回家写篇关于蹦迪的论文。

Our education system is predicated on the idea of academic ability. And there's a reason.

注重培养学术能力的观点根植于我们的教育体系之中。形成这种状况还有个原因。

Around the world, there were no public systems of education, really, before the 19th century.

所有国家的教育体系在最初建立时，也就是在19世纪之前，那时教育还不是公共事业。

They all came into being to meet the needs of industrialism.

那时建立教育体系是为了满足工业化发展的需要。

So the hierarchy is rooted on two ideas.

所以有两点基本的等级原则。

Number one, that the most useful subjects for work are at the top.

第一点，对工作最实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,

这样就能轻易地避开孩子们喜欢的科目，从小就不让他们碰触。

on the grounds that you would never get a job doing that. Is that right?

理由就是不这样学就找不到工作。对吗？

Don't do music, you're not going to be a musician; don't do art, you won't be an artist.

别玩音乐了，你成不了音乐家；别画画了，你成不了艺术家。

Benign advice -- now, profoundly mistaken. The whole world is engulfed in a revolution.

这些温和的忠告--筑成现在的大错。全世界都被卷入了工业革命的热潮。

And the second is academic ability, which has really come to dominate our view of intelligence,

第二点，学术能力已经成为衡量好学生的主要标准，

because the universities designed the system in their image.

这种标准是那些大学自己制定的。

If you think of it, the whole system of public education around the world is a protracted process of university entrance.

只要你思考一下就会发现，整个教育体系，不论哪个国家的公共教育，都是一种按部就班的程序，最终目标是为了考入大学。

And the consequence is that many highly-talented, brilliant, creative people think they're not,

造成的后果就是许多很有天才的有创造力的学生被钝化了，

because the thing they were good at at school wasn't valued, or was actually stigmatized.

因为这些学生发现他们的专长在学校并不受重视甚至还受到蔑视。

And I think we can't afford to go on that way.

我认为我们不能再这样扼杀孩子们的天才了。

In the next 30 years, according to UNESCO, more people worldwide will be graduating through education than since the beginning of history.

根据联合国教科文组织的统计，今后30年全世界毕业的学生将超过过去的总和。

More people, and it's the combination of all the things we've talked about

这就是人口增长造成的，人口增长关系到我们谈论的许多话题，

technology and its transformation effect on work, and demography and the huge explosion in population.

包括技术和技术变革对生产力的影响、人口统计学及人口爆炸。

Suddenly, degrees aren't worth anything. Isn't that true?

很快，文凭就不再有含金量了。是这样吧？

When I was a student, if you had a degree, you had a job.

我上学那会儿，有文凭就有工作。

If you didn't have a job, it's because you didn't want one. And I didn't want one, frankly.

那时候如果你没工作，那是因为你不想找。说实话，我那时候就是这样。

But now kids with degrees are often heading home to carry on playing video games,

但现在的状况是，孩子们有文凭却经常呆在家里打电脑游戏，

because you need an MA where the previous job required a BA, and now you need a PhD for the other.

因为以前只要学士学位的工作岗位，现在需要硕士学位，现在还没毕业的孩子将来就得有个博士学位才好找工作。

It's a process of academic inflation. And it indicates the whole structure of education is shifting beneath our feet.

这就是学术学位的通货膨胀。这是整个教育体系坍塌的前兆。

We need to radically rethink our view of intelligence.

我们必须从根本上反思我们评价好学生的标准。

We know three things about intelligence. One, it's diverse.

培养人才有三个原则。第一，多样化。

We think about the world in all the ways that we experience it.

我们认知世界的角度不同。

We think visually, we think in sound, we think kinesthetically.

有的从视觉角度，有的从听觉角度，有的从美学角度。

We think in abstract terms, we think in movement.

有的从抽象的角度，有的从动态的角度。

Secondly, intelligence is dynamic.

第二，好学生应该是充满活力的。

If you look at the interactions of a human brain,

如果观察一下人类大脑的内部组织，

as we heard yesterday from a number of presentations, intelligence is wonderfully interactive.

就像我们昨天所看到的演讲中演示的，大脑发育具有关联性。

The brain isn't divided into compartments.

大脑不应被分成几部分。

In fact, creativity -- which I define as the process of having original ideas that have value

其实我认为应该创造性地把大脑看作一整套工序，生产有价值的原创想法的工序，

more often than not comes about through the interaction of different disciplinary ways of seeing things.

这种原创想法往往来自互动的思考方式，而不是呆板的常规模式。

By the way, there's a shaft of nerves that joins the two halves of the brain called the corpus callosum. It's thicker in women.

大脑本来就是由神经来连接左脑和右脑，这个连接部分叫胼胝体。女性大脑中的这个部分比男性的要厚。

Following off from Helen yesterday, this is probably why women are better at multi-tasking. Because you are, aren't you?

昨天听了Helen的演讲受到启发，我认为，脑部特征可能使女性更善于应对头绪纷乱的事情。对吗？

There's a raft of research, but I know it from my personal life.

虽然关于这方面的研究有很多，但我对于这方面的了解其实来源于我的亲身体验。

If my wife is cooking a meal at home -- which is not often, thankfully.

我妻子在家做饭时--感谢上帝，她不常做饭。

No, she's good at some things, but if she's cooking, she's dealing with people on the phone,

虽然她不擅厨艺，但很擅长其他一些事，不过她做饭时总是打打电话，

she's talking to the kids, she's painting the ceiling, she's doing open-heart surgery over here.

和孩子们说说话，给天棚刷刷漆，还在旁边做开胸手术。

If I'm cooking, the door is shut, the kids are out, the phone's on the hook, if she comes in I get annoyed.

而我做饭时就会关上厨房门，不让孩子们进来打扰，不打电话，这时如果我妻子进来我会很生气。

I say, "Terry, please, I'm trying to fry an egg in here. Give me a break."

我会这样对我妻子说：“Terry，我在煎鸡蛋，请你别打扰。”

Actually, do you know that old philosophical thing, if a tree falls in a forest and nobody hears it, did it happen?

大家都知道那句有哲理的话，如果森林里有棵树倒了可没人听到，那是否意味着没发生过？

Remember that old chestnut? I saw a great t-shirt recently, which said,

记得这句话吗？最近我看到一件很棒的T恤，上面印着：

"If a man speaks his mind in a forest, and no woman hears him, is he still wrong?"

“如果一个男人说出他的心声，却是在森林里说的，而且没被女人听到，那应该不算犯错吧？”

And the third thing about intelligence is, it's distinct.

培养好学生的第三个原则就是个性化。

I'm doing a new book at the moment called "Epiphany,"

我目前在写本书，书名叫《顿悟》，

which is based on a series of interviews with people about how they discovered their talent.

素材来自一些访谈，访谈内容是关于怎样发现自身的才能。

I'm fascinated by how people got to be there.

对于这点我很感兴趣。

It's really prompted by a conversation I had with a wonderful woman who maybe most people have never heard of, Gillian Lynne.

激发我写这本书的原因是一次对话，我采访了一位很优秀的女士，也许很多人没听说过这个人，她叫Gillian Lynne，

Have you heard of her? Some have. She's a choreographer, and everybody knows her work.

你们知道这个人吗？应该有人知道吧。她是一个舞蹈编剧，所有人都知道她的作品。

She did "Cats" and "Phantom of the Opera." She's wonderful.

她编舞的作品有《猫》、《歌剧魅影》。她很有才华。

I used to be on the board of The Royal Ballet, as you can see.

我在英国看过由皇家芭蕾舞团演出的她的作品。你们也看过她的作品。

Anyway, Gillian and I had lunch one day and I said, "How did you get to be a dancer?" It was interesting.

有一次，我和Gillian吃午饭，我问她：“Gillian，你是怎样成为舞蹈家的？”说起来很有意思。

When she was at school, she was really hopeless.

她上学的时候，觉得自己完全没有希望。

And the school, in the '30s, wrote to her parents and said, "We think Gillian has a learning disorder."

她上学那会儿是1930年代，老师给她家长写信说：“我们认为Gillian患有学习障碍症。”

She couldn't concentrate; she was fidgeting. I think now they'd say she had ADHD. Wouldn't you?

她无法集中注意力，她老是坐不安生。用现在的话讲，那意思就是她有多动症。你们也这么想吧？

But this was the 1930s, and ADHD hadn't been invented at this point. It wasn't an available condition.

但那时候是1930年代，“多动症”这个词还没出现。那个老师用词不当。

People weren't aware they could have that.

那时候人们还不知道用“多动症”这个词。

Anyway, she went to see this specialist. So, this oak-paneled room,

于是Gillian去看病。

and she was there with her mother, and she was led and sat on this chair at the end,

她妈妈带她去的，医生让她坐在椅子上，她把手压在腿下，

and she sat on her hands for 20 minutes while this man talked to her mother about the problems Gillian was having at school.

这样过了20分钟，她妈妈一直在向医生讲述Gillian在学校的表现。

Because she was disturbing people; her homework was always late; and so on, little kid of eight.

她在学校不安生，她总是晚交作业等等，其实不过是个才8岁的孩子。

In the end, the doctor went and sat next to Gillian, and said,

最后，医生走过去坐到Gillian的旁边对她说：

"I've listened to all these things your mother's told me, I need to speak to her privately. Wait here.

“Gillian，你妈妈跟我说了很多，现在我想和你妈妈单独谈谈。

We'll be back; we won't be very long," and they went and left her.

你在这儿等一下，我们马上谈完。”医生和她妈妈出去了。

But as they went out of the room, he turned on the radio that was sitting on his desk.

但医生在出去时，把在办公桌上的收音机打开了。

And when they got out, he said to her mother, "Just stand and watch her."

在他们走出房间后，医生对她妈妈说: “我们就站在这儿观察一下她。”

And the minute they left the room, she was on her feet, moving to the music.

他们离开房间后，Gillian站起来，随着音乐跳起舞来。

And they watched for a few minutes and he turned to her mother and said,

她妈妈和医生在门外看了几分钟，医生对她妈妈说：

"Mrs. Lynne, Gillian isn't sick; she's a dancer. Take her to a dance school."

“Lynne太太，Gillian没病，她是个舞蹈天才。让她去上舞蹈学校吧。”

I said, "What happened?" She said, "She did. I can't tell you how wonderful it was.

话说到这，我问Gillian：“后来怎么样了？” 她回答道：“我妈妈送我去了舞蹈学校。我无法形容那里有多棒。

We walked in this room and it was full of people like me.

那里有很多像我这样的人。

People who couldn't sit still. People who had to move to think."

都是些坐不住的人。我们必须在动态中才能思考。”

Who had to move to think. They did ballet, they did tap, jazz; they did modern; they did contemporary.

在动态中才能思考。他们跳芭蕾，跳踢踏舞，跳爵士舞，跳现代舞。

She was eventually auditioned for the Royal Ballet School; she became a soloist; she had a wonderful career at the Royal Ballet.

后来她考入皇家芭蕾舞学校，成为芭蕾舞女主演，事业发展很成功。

She eventually graduated from the Royal Ballet School, founded the Gillian Lynne Dance Company, met Andrew Lloyd Webber.

从皇家芭蕾舞学校毕业后，她成立了自己的公司，Gillian Lynne舞蹈公司，遇到了Andrew Lloyd Weber。

She's been responsible for some of the most successful musical theater productions in history,

她负责担任过一些极其成功的音乐剧的编舞，

she's given pleasure to millions, and she's a multi-millionaire.

她给数以万计的观众带来了艺术享受，她也是个亿万富翁。

Somebody else might have put her on medication and told her to calm down.

可是，有人也许曾认为她有多动症，命令她“冷静”。

What I think it comes to is this: Al Gore spoke the other night about ecology and the revolution that was triggered by Rachel Carson.

现在，我想说的是：AL Gore曾在这里做过一次演讲，内容是关于生态学以及Rachel Carson引发的那次环境保护运动。

I believe our only hope for the future is to adopt a new conception of human ecology,

我相信对于未来，我们的唯一出路是贯彻一种新的人性化生态的思想，

one in which we start to reconstitute our conception of the richness of human capacity.

也就是说我们应重新定义人类能力的多样化。

Our education system has mined our minds in the way that we strip-mine the earth: for a particular commodity.

我们的教育体系培养我们的方式，正如我们开采地球的方式，以功利为目的。

And for the future, it won't serve us.

但这种方式对于未来将不再适用。

We have to rethink the fundamental principles on which we're educating our children.

我们必须重新思考那些最基本的准则，也就是我们教育孩子的准则。

There was a wonderful quote by Jonas Salk, who said,

Jonas Salk曾说过：

"If all the insects were to disappear from the Earth, within 50 years all life on Earth would end.

“如果所有的昆虫都从地球上消失的话，那么50年之内，所有生命也将从地球上消失。

If all human beings disappeared from the Earth, within 50 years all forms of life would flourish." And he's right.

而如果人类从地球上消失的话，那么50年之内，其他物种会活得更好。”他说的很对。

What TED celebrates is the gift of the human imagination.

TED倡导的是人类的创造性思维。

We have to be careful now that we use this gift wisely and that we avert some of the scenarios that we've talked about.

现在，我们必须运用这种思维方式小心地避开那些按部就班的规则。

And the only way we'll do it is by seeing our creative capacities for the richness they are

达到这个目的唯一的方法，就是运用创造力，最大限度地发挥创造力，

and seeing our children for the hope that they are.

而且用孩子们喜欢的方式培养他们。

And our task is to educate their whole being, so they can face this future.

我们的任务是全方位地培养孩子，这样他们才能面对未来的社会。

By the way -- we may not see this future, but they will.

顺便说句，我们可能活不到未来那天，但孩子们会。

And our job is to help them make something of it. Thank you very much.

而我们要做的就是帮助他们能在未来有所作为。谢谢大家。