TED2002
Mae Jemison: Teach arts and sciences together
Mae Jemison on teaching arts and sciences together
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Mae Jemison is an astronaut, a doctor, an art collector, a dancer ... Telling stories from her own education and from her time in space, she calls on educators to teach both the arts and sciences, both intuition and logic, as one -- to create bold thinkers.
Mae Jemison - Astronaut, engineer, entrepreneur, physician and educator
Astronaut Dr. Mae Jemison‘s inclusive, audacious journey to improving life here on earth and beyond is paving the way for human interstellar travel. Full bio
Astronaut Dr. Mae Jemison‘s inclusive, audacious journey to improving life here on earth and beyond is paving the way for human interstellar travel. Full bio
Double-click the English transcript below to play the video.
00:15
What I want to do today is to spend
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ئەوەی ئەمڕۆ بەنیازم ئەنجامی بدەم ئەوەیە
00:17
some time talking about some stuff that's
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کە باس لە هەندێ شت بکەم کە
00:19
sort of giving me a little bit of
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کە کەمێک
00:21
existential angst, for lack of a better word,
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نیگەرانی دەرونییان پێ بەخشیوم - وشەی باشترم لەلا نیە
00:24
over the past couple of years, and
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لە چەند ساڵی رابردودا، و
00:26
basically, these three quotes
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بە کورتییەکەی ئەم سێ وتەیە
00:29
tell what's going on.
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بارودۆخەکە رون دەکەنەوە.
00:31
"When God made the color purple,
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"کاتێ خودا رەنگی وەنەوشەیی دروست کرد
00:33
God was just showing off," Alice Walker
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ویستی خۆی دەربخات." ئالیس وۆکەر
00:35
wrote in "The Color Purple," and
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لە "رەنگی وەنەوشەیی"دا ئەمەی نوسیوە، و
00:37
Zora Neale Hurston wrote in
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زۆرا نیال هێرستۆن لە
00:39
"Dust Tracks On A Road,"
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"شوێنی تۆز لەسەر رێگایەک" دا دەڵێت:
00:41
"Research is a formalized curiosity.
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"لێکۆڵینەوە حەزبەزانینکردنێکی رێکخراوە
00:43
It's poking and prying with a purpose."
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گەڕانێکی مەبەستدارە."
00:45
And then finally,
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و دواجار
00:47
when I think about the near future,
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کاتێ بیر لە داهاتویەکی نزیک دەکەمەوە
00:49
you know, we have this attitude, well,
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دەزانیت، ئێمە ئەم هەڵوێستەمان هەیە،
00:51
whatever happens, happens. Right?
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باشە، ئەوەی رو دەدات رو دەدات. راستە؟
00:53
So that goes along with the Chesire Cat
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ئەمە بۆ چێسایەر کات گونجاوە،
00:55
saying, "If you don't care much
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کە دەڵێت "ئەگەر زۆر گوێ نەدەیتێ
00:57
where you want to get to,
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کە دەتەوێت بگەیتە کوێ
00:59
it doesn't much matter which way you go."
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زۆر گرنگ نیە کام رێگەیە هەڵبژێریت."
01:01
But I think it does matter
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بەڵام بە بڕوای من گرنگە
01:03
which way we go, and what road we take,
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بەرەو کوێ دەچین و چ رێگەیەک دەگرینە بەر
01:05
because when I think about design in the
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چونکە کاتێ بیر لە نەخشەسازی دەکەمەوە
01:07
near future, what I think are the most
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لە داهاتویەکی نزیکدا، بە بڕوای من بابەتە
01:09
important issues, what's really
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هەرە گرنگەکان، ئەوەی بە راستی
01:11
crucial and vital is that we need
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زۆر بنەڕەتی و گرنگە ئەوەیە کە پێویستە ئێمە
01:13
to revitalize the arts and sciences
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هونەر و زانست ببوژێنینەوە
01:15
right now in 2002.
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هەر ئێستا لە ساڵی 2002 دا.
01:18
(Applause)
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-چەپڵە-
01:23
If we describe the near future
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ئەگەر ئێمە بڵێین داهاتوی نزیک
01:25
as 10, 20, 15 years from now,
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واتە 10 - 20 - 15 ساڵی داهاتو
01:27
that means that what we do today
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مانای ئەوەیە ئەوەی ئەمڕۆ ئەنجامی دەدەین
01:30
is going to be critically important,
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زۆر گرنگ دەبێت
01:32
because in the year 2015,
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چونکە لە ساڵی 2015 دا
01:34
and the year 2020, 2025, the world
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و لە 2020 و 2025 دا جیهان
01:36
our society is going to be building on,
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و کۆمەڵگاکەمان کاری زیاتری لەسەر دەکات،
01:38
the basic knowledge and abstract ideas,
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زانستە بنەڕەتی و بیرۆکە رەهاکان،
01:40
the discoveries that we came up with today,
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ئەو دۆزینەوانەی کە ئەمڕۆ بەدەستیان دەهێنین،
01:43
just as all these wonderful things we're
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هەر وەک ئەم هەمو شتە سەرنجڕاکێشەی کە ئێمە
01:45
hearing about here at the TED conference
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لێرە لە بارەیانەوە دەبیستین لە کۆنفرانسی تێد دا
01:47
that we take for granted in the world
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کە بە بێ منەتی دەزانین لە جیهاندا
01:49
right now, were really knowledge
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لە ئێستادا، لە راستیدا زانیاری و
01:51
and ideas that came up
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بیرۆکە بون کە دەرکەوتون
01:53
in the '50s, the '60s, and the '70s.
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لە ساڵانی پەنجاکان و شەستەکان و حەفتاکاندا/
01:56
That's the substrate that we're exploiting
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واتە ئەو خوانەی ئێستا سودی لێ دەبینین،
01:59
today, whether it's the internet,
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ئینتەرنێت بێت،
02:01
genetic engineering, laser scanners,
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یاخود ئەندازیاری بۆماوەیی، سکانەری لەیزەری،
02:03
guided missiles, fiber optics, high-definition
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موشەکی ئاراستەکراو، فایبەر ئۆبتیک، چۆنایەتی بەرز
02:05
television, sensing, remote-sensing
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تەلەفزیۆن، هەستکردن، هەستکردنی دور
02:07
from space and the wonderful
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لە بۆشایی ئاسمانەوە و ئەو وێنە
02:09
remote-sensing photos that we see in
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هەستکردنە دورانەی کە دەیبینین
02:11
3D weaving, TV programs like Tracker,
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بەشێوەی سێ رەهەندی، بەرنامەی تەلەفزیۆنە وەکو تراکەر
02:14
and Enterprise, CD rewrite drives,
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وەکو ئینتەرپرایس، درایڤی چاپکردنی سی دی
02:16
flatscreen, Alvin Ailey's Suite Otis,
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شاشەی تەنک، سویت ئۆتسەکەی سەماکەری بەناوبانگ ئەلڤین ئەیلێی
02:19
or Sarah Jones' "Your Revolution Will Not
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یاخود ئەوەی سارا جۆنس کە دەڵێت "شۆڕشەکەی تۆ
02:22
Be Between These Thighs," which
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لە نێوان ئەم شتانەدا نابێت" کە
02:24
by the way was banned by the FCC,
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بۆ ئاگاداریتان لەلایەن ئێف سی سییەوە رێگری لێ کرا،
02:26
or ska, all of these things
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یاخود سکا، هەمو ئەم شتانە
02:28
without question, almost without exception,
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گومانی تیا نیە، تا رادەیەکی زۆر بەبێ هەڵاوێر،
02:30
are really based on ideas
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لە راستیدا هەمویان لەسەر بنەمای بیرۆکە و
02:32
and abstract and creativity
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تیۆری و داهێنانی
02:34
from years before,
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چەندین ساڵ لەوەوبەر دامەزراون
02:36
so we have to ask ourselves,
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بۆیە دەبێ لە خۆمان بپرسین
02:38
what are we contributing to that legacy
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ئێمە بەشدارییمان چیە بۆ ئەو میراتە
02:40
right now? And when I think about it,
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لە ئێستادا؟ و کاتێ بیر لەمە دەکەمەوە
02:42
I'm really worried. To be quite frank,
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بە راستی نیگەرانم. بۆ ئەوەی تەواو راشکاو بم
02:44
I'm concerned. I'm skeptical
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من نیگەرانم. بە گومانم
02:46
that we're doing very much of anything.
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کە ئێمە بڕێکی زۆر هەمو شتێک دەکەین.
02:49
We're, in a sense, failing to act
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ئێمە بە جۆرێک لە جۆرەکان، سەرکەوتو نەبوین لە کرداردا
02:51
in the future. We're purposefully,
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بۆ داهاتو. ئێمە بە مەبەست
02:54
consciously being laggards.
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ئاگایانە لەشقورسین.
02:56
We're lagging behind.
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ئێمە دوا کەوتوین.
02:58
Frantz Fanon, who was a psychiatrist
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فرانتز فانۆن، کە دەرونناس بو
03:00
from Martinique, said, "Each generation
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خەڵکی مارتینیکە دەڵێت "پێویستە هەر نەوەیەک
03:02
must, out of relative obscurity,
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لە ناو نادیارییەکی رێژەیی دا
03:04
discover its mission, and fulfill or betray it."
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ئەرکی خۆی بدۆزێتەوە و یان جێبەجێی بکات، یان خیانەتی لێ بکات."
03:09
What is our mission? What do we have
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ئەرکی ئێمە چیە؟ پێویستە ئێمە
03:11
to do? I think our mission is
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چی بکەین؟ بە بڕوای من ئەرکەکەمان
03:13
to reconcile, to reintegrate
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ئەوەیە هونەر و زانست
03:15
science and the arts, because right now
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پیك بهێنینەوە و ئاشتیان بکەینەوە، چونکە ئێستا
03:18
there's a schism that exists
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جیابونەوەیەک هەیە
03:21
in popular culture. You know,
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لە کلتوری باودا. دەزانیت،
03:23
people have this idea that science
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خەڵک ئەو بیرۆکەیەیان هەیە کە زانست
03:25
and the arts are really separate.
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و هونەر بە راستی لە یەکتر جیاوازن.
03:27
We think of them as separate
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ئێمە بە جیا و
03:29
and different things, and this idea was
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جیاوازیان دەزانین، و ئەم بیرۆکەیە
03:31
probably introduced centuries ago,
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رەنگە چەند سەدەیەک لەمەوبەر خرابێتە رو
03:33
but it's really becoming critical now,
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بەڵام ئێستا خەریکە زۆر هەستیار دەبێت
03:35
because we're making decisions about our
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چونکە ئێمە رۆژانە بڕیار دەدەین لەسەر
03:37
society every day that,
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کۆمەڵگاکەمان کە
03:40
if we keep thinking that the arts
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ئەگەر بەردەوام بین لەسەر ئەو بیرکردنەوەیەی
03:42
are separate from the sciences,
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کە هونەر لە زانست جیاوازە
03:44
and we keep thinking it's cute to say,
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و وا بزانین کە شتێکی جوانە بڵێین
03:46
"I don't understand anything about this one,
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"هیچ لەمەیان تێ ناگەم
03:48
I don't understand anything about the other
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هیچ لەوی تریان تێ ناگەم""
03:50
one," then we're going to have problems.
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ئەو کاتە کێشەمان توش دەبێت.
03:52
Now I know no one here at TED
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ئێستا دەزانم کەس لێرە لە تێد
03:54
thinks this. All of us, we already know
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بەم شێوەیە بیر ناکاتەوە. هەمومان دەزانین
03:56
that they're very connected, but I'm going
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کە ئەم دوانە زۆر پەیوەندیدارن بەڵام من دەمەوێ
03:58
to let you know that some folks
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پێتان بڵێم کە هەندێ کەس
04:00
in the outside world, believe it or not,
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لە جیهانی دەرەوەدا، بڕوا بکەیت یان نا
04:02
they think it's neat when they say,
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وا دەزانن زۆر باشە کە بڵێن
04:04
"You know, scientists and science is not
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"دەزانی، زاناکان و زانستەکان
04:06
creative. Maybe scientists are ingenious,
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داهێنەر نین. رەنگە زاناکان بلیمەت بن
04:08
but they're not creative.
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بەڵام داهێنەر نین.
04:10
And then we have this tendency, the career
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پاشان ئێمە ئەم مەیلەمان هەیە، راوێژکاری
04:12
counselors and various people say things
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کارەکان و خەڵکی جیاواز قسەی لەم جۆرە دەکەن
04:14
like, "Artists are not analytical.
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"هونەرمەندەکان شیکەرەوە نین.
04:16
They're ingenious, perhaps,
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رەنگە بلیمەت بن
04:19
but not analytical," and
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بەڵام شیکەرەوە نین" و
04:22
when these concepts underly our teaching
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کاتێ ئەم چەمکانە ببنە بنەمای فێرکردنەکەمان
04:24
and what we think about the world,
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و بنەمای بیرکردنەوەمان لە جیهان
04:26
then we have a problem, because we
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ئەوکاتە توشی کێشە دەبین، چونکە ئێمە
04:28
stymie support for everything.
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رێگری لە هاوکاری هەمو شتێک دەکەین.
04:30
By accepting this dichotomy,
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بە قبوڵکردنی ئەم دو حاڵەتییە
04:32
whether it's tongue-in-cheek, when
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چ لەو کاتەدا کە گاڵتە ئامێزە، ئەو کاتەی
04:34
we attempt to accommodate it in our world,
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دەمانەوێ لە جیهانەکەماندا جێی بکەینەوە
04:36
and we try to build our foundation
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و هەوڵ دەدەین بناغەکەمان داڕێژین
04:38
for the world, we're messing up the future,
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بۆ جیهان، ئێمە داهاتو تێک دەدەین
04:40
because, who wants to be uncreative?
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چونکە، کێ دەیەوێ داهێنەر بێت؟
04:42
Who wants to be illogical?
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کێ دەیەوێ نامەنتیقی بێت؟
04:44
Talent would run from either of these fields
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بەهرە لە یەکێک لەم دو بوارەوە سەرچاوە دەگرێت
04:46
if you said you had to choose either.
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ئەگەر پێت بڵێن تۆ دەبێت یەکێکیان هەڵبژێریت.
04:48
Then they're going to go to something
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ئەو کاتە بەرەو ئەوە دەچن
04:50
where they think, "Well, I can be creative
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کە بیر دەکەنەوە دەڵێن "باشە، من دەتوانم داهێنەر بم
04:52
and logical at the same time."
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و لە هەمان کاتیشدا مەنتیقی بم."
04:54
Now I grew up in the '60s and I'll admit it,
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من لە ساڵانی شەستەکاندا گەورە بوم و ددانی پیا دەنێم
04:56
actually, my childhood spanned the '60s,
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لە راستیدا سەردەمی مناڵیم بە ساڵانی شەستەکاندا تێپەڕی
04:59
and I was a wannabe hippie and I always
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و من هیپییەکی چالاک بوم و هەمیشە
05:01
resented the fact that I wasn't really
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ئەو راستییە دەیڕەنجاندم کە من لە راستیدا
05:03
old enough to be a hippie.
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ئەوەندە تەمەنم نیە بتوانم ببم بە هیپی.
05:05
And I know there are people here, the
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و دەزانم خەڵک هەن لێرە
05:07
younger generation who want to be hippies,
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خەڵکی گەنجتر کە دەیانەوێ ببن بە هیپی
05:09
but people talk about the '60s all the time,
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بەڵام خەڵک هەمیشە باسی ساڵانی شەستەکان دەکات
05:11
and they talk about the anarchy
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و باس لەو پاشاگەردانییە دەکەن
05:13
that was there, but when I think about
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کە ئەو کاتە هەبو، بەڵام کاتێ من بیر
05:15
the '60s, what I took away from it was
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لە ساڵانی شەستەکان دەکەمەوە، ئەوەی لێم وەرگرت ئەوە بو
05:17
that there was hope for the future.
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کە هیوای بە داهاتو هەبو.
05:19
We thought everyone could participate.
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ئێمە بڕوامان وابو هەمو کەس دەتوانێ بەشدار ببێ
05:21
There were wonderful, incredible ideas
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بیرۆکەی نایاب و سەرسوڕهێنەر هەبون
05:23
that were always percolating,
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کە بەردەوام دەهاتنە ئاراوە
05:25
and so much of what's cool or hot today
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و زۆر لەو شتانەی نایاب یان باون لەمڕۆدا
05:28
is really based on some of those concepts,
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لە راستیدا لەسەر هەندێ لەو چەمکانە بنیاد نراون
05:30
whether it's, you know, people trying to
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چ ئەوە بێت کە خەڵک هەوڵ دەدات
05:32
use the prime directive from Star Trek
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کە فرمانە سەرەکییەکە لە ستار ترێکەوە وەرگرێت
05:34
being involved in things, or again that
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کە بەشدارە لە شتەکاندا، یاخود دیسان
05:36
three-dimensional weaving and
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کەرەسە سێ رەهەندییەکانی رستن و فاکس کە
05:38
fax machines that I read about in my
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لە خوێندنەوەی هەفتەنامەکانی
05:40
weekly readers that the technology
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بواری تەکنەلۆجیا و ئەندازیارییدا بینیبوم
05:42
and engineering was just getting started.
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لەو کاتەدا کە تازە دەردەکەوتن.
05:44
But the '60s left me with a problem.
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بەڵام ساڵانی شەستەکان کێشەیەکیان بۆ بەجێ هێشتم
05:46
You see, I always assumed I would go
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دەبینیت، من هەمیشە وام داناوە کە دەچم
05:48
into space, because I followed all of this,
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بۆ ناو بۆشایی، چونکە من شوێن هەمو ئەم شتانە کەوتوم
05:51
but I also loved the arts and sciences.
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بەڵام هەروەها حەزم لە هونەر و زانستیش بووە.
05:54
You see, when I was growing up as
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دەبینیت، کاتێ من گەورە دەبوم
05:56
a little girl and as a teenager,
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وەک کچێکی بچوک و وەک هەرزەکارێک
05:58
I loved designing and making dogs' clothes
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حەزم لە نەخشەسازی و دروستکردنی جلوبەرگ بو بۆ سەگەکان
06:00
and wanting to be a fashion designer.
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و دەمویست ببم بە نەخشەسازی جلوبەرگ.
06:02
I took art and ceramics. I loved dance.
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هونەر و سیرامیکم خوێند. حەزم لە سەما بو.
06:05
Lola Falana. Alvin Ailey. Jerome Robbins.
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لۆلا فالانا. ئالڤین ئایاڵێی. جۆرم رۆبنس.
06:09
And I also avidly followed the Gemini
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و هەروەها بە حەزێکی زۆرەوە شوێن جێمنی و
06:11
and the Apollo programs.
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بەرنامەکانی ئەپۆلۆ دەکەوتم.
06:14
I had science projects and tons of astronomy
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من پرۆژەی زانستی و ژمارەیەکی زۆر کتێبی
06:16
books. I took calculus and philosophy.
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گەردونناسیم هەبو. وانەی کالکولەس و فەلسەفەشم خوێندووە.
06:18
I wondered about the infinity
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بیرم لە بێکۆتایی و
06:20
and the Big Bang theory.
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لە تیۆری دەنگە گەورەکە کردۆتەوە.
06:22
And when I was at Stanford,
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و کاتێ لە ستانفۆرد بوم
06:24
I found myself, my senior year,
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لە دوا قۆناغ دا خۆمم بینییەوە
06:26
chemical engineering major, half the folks
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کە ئەندازیاری کیمیام دەخوێند. نیوەی خەڵك
06:28
thought I was a political science and
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وایان دەزانی زانستی سیاسی و
06:30
performing arts major, which was sort of
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هونەری نمایشی دەخوێنم، چونکە تا رادەیەک راست بو
06:32
true because I was Black Student Union President
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چونکە من سەرۆکی یەکێتی خوێندکارە رەشپێستەکان بوم
06:34
and I did major in some other things,
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و چەند بوارێکی تریشم خوێندبو
06:36
and I found myself the last quarter juggling
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و لە وەرزی کۆتاییدا خۆمم بینییەوە
06:38
chemical engineering separation processes,
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بەردەوام سەرقاڵی پرۆسەی جیاکردنەوەی ئەندازیاری کیمیاوییم،
06:40
logic classes, nuclear magnetic resonance
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سەرقاڵی وانەی مەنتیقی و دەنگدانەوەی
06:42
spectroscopy, and also producing
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شەپۆلیی موگناتیسیی ناوەکی و هەروەها سەرقاڵی بەرهەمهێنان و
06:44
and choreographing a dance production,
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دانانی شێوازی سەماکردن بوم.
06:46
and I had to do the lighting and the
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و دەبو من روناکی و
06:48
design work, and I was trying to figure out,
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نەخشەسازییەکە ئەنجام بدەم، و هەوڵم دەدا بزانم
06:51
do I go to New York City
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ئایا دەچم بۆ نیۆیۆرک سیتی
06:53
to try to become a professional dancer,
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بۆ ئەوەی هەوڵ بدەم ببم بە سەماکارێکی پیشەیی
06:55
or do I go to medical school?
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یاخود دەچمە کۆلێجی پزیشکی؟
06:58
Now, my mother helped me figure
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دایکم یارمەتی دام
07:00
that one out. (Laughter)
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ئەمە چارەسەر بکەم. -پێکەنین-
07:03
But when I went into space,
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بەڵام کاتێ چومە بۆشاییەوە
07:05
when I went into space I carried a number
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کاتێ چومە بۆشاییەوە لەگەڵ خۆمدا
07:07
of things up with me. I carried a poster
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کۆمەڵێک شتم برد. پۆستەرێکم برد
07:09
by Alvin Ailey, which you can figure out
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کە هی ئەلڤن ئایڵێی بو، کە ئێستا دەتوانن بیبینن
07:11
now, I love the dance company.
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من حەزم لە سەمایە.
07:13
An Alvin Ailey poster of Judith Jamison
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پۆستەرێکی ئەلڤن ئایڵێی لەسەر جودیث جەمسن
07:15
performing the dance "Cry," dedicated to all
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کە سەمای "گریان" ئەنجام دەدەن، پێشکەشە بە هەمو
07:17
black women everywhere. A Bundu statue,
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ژنە رەشپێستەکانی جیهان. پەیکەرێکی بوندو
07:19
which was from the Women's Society
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کە لە کۆمەڵگای ژنانەوە
07:21
in Sierra Leone, and a certificate for the
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لە سیرالیۆنەوە هاتبو، و هەروەها بڕوانامنەیەک لە
07:23
Chicago Public School students to work to
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خوێندکارانی خوێندنگەی گشتی شیکاگۆوە کە کار بکەن بۆ
07:25
improve their science and math,
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پەرەپێدانی زانست و بیرکارییەکەیان
07:27
and folks asked me,
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و خەڵک لێی پرسیم
07:29
"Why did you take up what you took up?"
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"بۆچی ئەم شتانەت برد؟"
07:31
And I had to say,
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من ناچار بوم بڵێم
07:33
"Because it represents human creativity,
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"چونکە ئەمە دەرخەری داهێنەرایەتی مرۆڤە،
07:35
the creativity that allowed us, that we were
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ئەو داهێنەرایەتییەی کە رێگەی پێداین، کە ئێمە
07:37
required to have to conceive and build
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داوامان لێ کراوە تێبگەین و کەشتی ئاسمانی
07:39
and launch the space shuttle, springs from
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دروست بکەین و بینێرینە ئاسمان، ئەمە لە هەمان سەرچاوەوە هاتووە
07:42
the same source as the imagination and
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کە ئەو خەیاڵ و شیکردنەوەیەی ویستووە
07:44
analysis it took to carve a Bundu statue,
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بۆ هەڵکۆڵینی پەیکەری بوندو پێویست بووە،
07:47
or the ingenuity it took to design,
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یان ئەو بلیمەتییەی کە پێویست بووە بۆ نەخشەسازی
07:50
choreograph, and stage "Cry."
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بۆ داڕشتنی سەما، و نمایشکردنی "گریان"
07:53
Each one of them are different
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هەر یەکە لەم
07:55
manifestations, incarnations, of creativity,
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دەربڕین و بەرجەستەکردنانەی داهێنان
07:58
avatars of human creativity,
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دەرخەری داهێنەرایەتی مرۆڤن
08:01
and that's what we have to reconcile
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و ئەمەیە کە پێویستە ئاشتی بکەینەوە
08:03
in our minds, how these things fit together.
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لە مێشکماندا، کە چۆن ئەم شتانە پێکەوە دەگونجێن.
08:05
The difference between arts and sciences
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جیاوازی نێوان هونەر و زانست
08:07
is not analytical versus intuitive, right?
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بریتی نیە لە جیاوازی نێوان شیکردنەوە و لەخۆوە زانین، راستە؟
08:10
E=MC squared required
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وزە یەکسانە بە بارستایی کەڕەتی دوجای خێرایی
08:13
an intuitive leap, and then you had
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پێویستی بە بازدانێکی لەخۆوەزانین هەبو، پاشان نۆرەی
08:15
to do the analysis afterwards.
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شیکردنەوەکە هاتووە.
08:17
Einstein said, in fact, "The most beautiful
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لە راستیدا ئەنیشتاین وتوێتی "جوانترین شت
08:19
thing we can experience is the mysterious.
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کە بتوانین ئەزمونی بکەین بریتییە لە نەزانراو.
08:22
It is the source of all true art and science."
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ئەوە سەرچاوەی هەمو راستی و زانستەکان."
08:25
Dance requires us to express and want
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سەما داوای دەربڕین و ئامادەیی
08:27
to express the jubilation in life, but then you
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دەربڕینی خۆشییەکانی ژیانمان لێ دەکات، بەڵام دواتر تۆ
08:29
have to figure out, exactly
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دەبێ بزانیت کە بە وردی
08:31
what movement do I do to make sure
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چ جوڵەیەک دەبێت بکەیت
08:33
that it comes across correctly?
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بۆ ئەوەی سەماکەت بە شێوەیەکی راست ئەنجام بدەیت؟
08:35
The difference between arts and sciences
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هەروەها جیاوازییەکانی نێوان هونەر و زانست
08:37
is also not constructive versus
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بریتی نیە لە دروستکەر و
08:39
deconstructive, right? A lot of people
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هەڵوەشێنەر، راستە؟ زۆر کەس
08:41
think of the sciences as deconstructive.
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زانست بە شتێکی هەڵوەشێنەر دەزانن.
08:43
You have to pull things apart.
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پێویستە تۆ شتەکان لەیەکتر بکەیتەوە.
08:45
And yeah, sub-atomic physics
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و بەڵێ ، فیزیای ناوەکی
08:47
is deconstructive. You literally try to
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هەڵوەشێنەرە. تۆ بە تەواوی هەوڵ دەدەیت
08:49
tear atoms apart to understand
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گەردیلەکان هەڵوەشێنیت بۆ ئەوەی تێ بگەیت
08:51
what's inside of them. But sculpture, from
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کە چییان تێدایە. بەڵام پەیکەر،
08:53
what I understand from great sculptors,
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وەک ئەوەی لە پەیکەرسازە مەزنەکانەوە فێری بوم،
08:55
is deconstructive, because you see a piece
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هەڵوەشێنەرە، چونکە تۆ پارچەیەک دەبینیت
08:57
and you remove what doesn't
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و ئەو شتانە لادەبەیت کە پێویست ناکات
08:59
need to be there.
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لەوێدا بن.
09:01
Biotechnology is constructive.
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بایۆتەکنەلۆجیا دروستکەرە.
09:03
Orchestral arranging is constructive.
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رێکخستنی ئۆرکێسترایی دروستکەرە.
09:05
So in fact we use constructive and
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کەواتە ئێمە لە راستیدا تەکنیکەکانی
09:07
deconstructive techniques in everything.
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دروستکەر و هەڵوەشێنەر لە هەمو شتێکدا بەکار دەهێنین.
09:09
The difference between science
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جیاوازی نێوان زانست و
09:12
and the arts is not that they
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هونەر ئەوە نیە کە ئەمانە
09:15
are different sides of the same coin, even,
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دو دیوی جیاوازی هەمان دراو بن، تەنانەت
09:17
or even different parts
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دو بەشی جیاوازی
09:19
of the same continuum, but rather
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هەمان زنجیرە بن، بەڵکو
09:21
they're manifestations of the same thing.
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ئەوانە دەربڕینی هەمان شتن.
09:24
Different quantum states of an atom?
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حاڵەتی جیاوازی کوانتۆمی هەمان گەردیلەن؟
09:26
Or maybe if I want to be more 21st century
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یاخود ئەگەر بمەوێ زیاتر سەدەی بیستویەکی بم
09:28
I could say that they are different harmonic
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دەتوانم بڵێم دەنگدانەوەی جیاوازی
09:30
resonances of a superstring.
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دەنگدانەوەی هەمان ژێن.
09:32
But we'll leave that alone. (Laughter)
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بەڵام با واز لەمەیان بهێنین. -پێکەنین-
09:34
They spring from the same source.
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هەردوکیان لەهەمان سەرچاوەوە هەڵدەقوڵێن
09:36
The arts and sciences are avatars of
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هونەر و زانست دەرخەرئ
09:38
human creativity. It's our attempt
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داهێنەرایەتی مرۆڤن. هەوڵدانی ئێمەن
09:40
as humans to build an understanding
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وەکو مرۆڤ بۆ تێگەیشتن لە
09:42
of the universe, the world around us.
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گەردون، لە جیهانی چواردەورمان.
09:44
It's our attempt to influence things,
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هەوڵدانی ئێمەن بۆ تێگەیشتن لە شتەکان
09:46
the universe internal to ourselves
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لەو گەردونەی ناو خۆمان و
09:48
and external to us.
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دەرەوەمان.
09:50
The sciences, to me, are manifestations
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بە لای منەوە زانست دەرخەری
09:52
of our attempt to express
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هەوڵەکانمانە بۆ دەربڕین
09:55
or share our understanding,
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یاخود هاوبەشی پێکردنی تێگەیشتنەکانمان
09:57
our experience, to influence the universe
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یاخود ئەزمونەکانمان، بۆ کارکردنە سەر گەردونەکەی
09:59
external to ourselves.
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دەرەوەی خۆمان.
10:02
It doesn't rely on us as individuals.
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ئەوە ناکەوێتەوە سەر خۆمان وەکو تاکەکەس.
10:04
It's the universe, as experienced
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ئەوە گەردونە، وەک هەموان
10:06
by everyone, and the arts manifest
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ئەزمونی دەکەن، و هونەر دەرخەری
10:08
our desire, our attempt to share
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ئارەزو و هەوڵدانەکەمانە بۆ هاوبەشی پێکردن
10:11
or influence others through experiences
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یاخود بۆ کاریگەری خستنە سەر خەڵکانی تر لە رێگەی ئەو ئەزمونانەوە
10:14
that are peculiar to us as individuals.
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کە تایبەتە بە ئێمە وەکو تاکەکەس.
10:16
Let me say it again another way:
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بهێڵە با بە شێوەیەکی تر دوبارەی بکەمەوە:
10:18
science provides an understanding
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10:20
of a universal experience, and
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10:23
arts provides a universal understanding
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10:26
of a personal experience.
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10:29
That's what we have to think about,
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10:31
that they're all part of us, they're
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10:33
all part of a continuum.
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10:35
It's not just the tools, it's not just
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10:37
the sciences, you know, the mathematics
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10:39
and the numerical stuff and the statistics,
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10:41
because we heard, very much on this
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10:43
stage, people talked about music
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10:45
being mathematical. Right? Arts don't just
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10:47
use clay, aren't the only ones that use clay,
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10:49
light and sound and movement.
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10:52
They use analysis as well.
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10:55
So people might say, well,
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10:57
I still like that intuitive versus analytical
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10:59
thing, because everybody wants to do the
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11:01
right brain, left brain thing, right?
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11:03
We've all been accused of being
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11:05
right-brained or left-brained at some point
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11:07
in time, depending on who
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we disagreed with. (Laughter)
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You know, people say intuitive, you know
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that's like you're in touch with nature,
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in touch with yourself and relationships.
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Analytical: you put your mind to work, and
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I'm going to tell you a little secret. You all
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know this though, but sometimes people
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use this analysis idea, that things are
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outside of ourselves, to be, say, that this
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is what we're going to elevate
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as the true, most important sciences, right?
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And then you have artists, and you all
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know this is true as well,
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artists will say things about scientists
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because they say they're too concrete,
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they're disconnected with the world.
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But, we've even had that here on stage,
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so don't act like you don't know
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what I'm talking about. (Laughter)
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We had folks talking about the Flat Earth
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Society and flower arrangers, so there's
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this whole dichotomy that we continue
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to carry along, even when we know better.
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And folks say we need to choose either or.
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But it would really be foolish to choose
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either one, right?
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Intuitive versus analytical?
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That's a foolish choice. It's foolish,
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just like trying to choose between
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being realistic or idealistic.
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You need both in life. Why do people
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do this? I'm just gonna quote
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a molecular biologist, Sydney Brenner,
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who's 70 years old so he can say this. He said,
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"It's always important to distinguish
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between chastity and impotence."
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Now... (Laughter)
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I want to share with you
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a little equation, okay?
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How do understanding science
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and the arts fit into our lives
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and what's going on and the things
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that we're talking about here
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at the design conference, and this is
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a little thing I came up with, understanding
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and our resources and our will
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cause us to have outcomes.
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Our understanding is our science, our arts,
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our religion, how we see the universe
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around us, our resources, our money,
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our labor, our minerals, those things
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that are out there in the world we have
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to work with.
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But more importantly, there's our will.
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This is our vision, our aspirations
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of the future, our hopes, our dreams,
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our struggles and our fears.
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Our successes and our failures influence
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what we do with all of those, and to me,
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design and engineering, craftsmanship and
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skilled labor, are all the things that work on
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this to have our outcome,
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which is our human quality of life.
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Where do we want the world to be?
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And guess what?
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Regardless of how we look at this, whether
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we look at arts and sciences are separate
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or different, they're both being influenced
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now and they're both having problems.
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I did a project called S.E.E.ing the Future:
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Science, Engineering and Education, and
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it was looking at how to shed light on
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most effective use of government funding.
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We got a bunch of scientists in all stages
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of their careers. They came to Dartmouth
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College, where I was teaching, and they
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talked about with theologians and financiers,
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what are some of the issues of public
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funding for science and engineering
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research? What's most important about it?
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There are some ideas that emerged that
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I think have really powerful parallels
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to the arts. The first thing they said was that
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the circumstances that we find ourselves in
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today in the sciences and engineering that
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made us world leaders is very different
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than the '40s, the '50s, and the '60s
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and the '70s when we emerged
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as world leaders, because we're no longer
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in competition with fascism, with
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Soviet-style communism, and by the way
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that competition wasn't just military,
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it included social competition
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and political competition as well,
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that allowed us to look at space
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as one of those platforms to prove
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that our social system was better.
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Another thing they talked about was the
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infrastructure that supports the sciences
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is becoming obsolete. We look at
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universities and colleges, small, mid-sized
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community colleges across the country,
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their laboratories are becoming obsolete,
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and this is where we train most of our
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science workers and our researchers,
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and our teachers, by the way,
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and then that there's a media that doesn't
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support the dissemination of any more than
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the most mundane and inane of information.
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There's pseudo-science, crop circles,
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alien autopsy, haunted houses,
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or disasters. And that's what we see.
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And this isn't really the information
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you need to operate in everyday life
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and figure out how to participate in this
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democracy and determine what's going on.
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They also said that there's a change
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in the corporate mentality. Whereas
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government money had always been there
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for basic science and engineering research,
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we also counted on some companies to do
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some basic research, but what's happened
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now is companies put more energy into
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short-term product development
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than they do in basic engineering
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and science research.
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And education is not keeping up.
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In K through 12, people are taking out
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wet labs. They think if we put a computer
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in the room it's going to take the place
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of actually, we're mixing the acids,
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we're growing the potatoes.
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And government funding is decreasing
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in spending and then they're saying,
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let's have corporations take over,
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and that's not true. Government funding
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should at least do things like recognize
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cost-benefits of basic science and
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engineering research. We have to know
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that we have a responsibility
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as global citizens in this world.
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We have to look at the education
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of humans. We need to build our resources
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today to make sure that they're trained so
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that they understand the importance of
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these things, and we have to support
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the vitality of science, and that doesn't
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mean that everything has to have one thing
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that's going to go on, or we know
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exactly what's going to be the outcome of it,
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but that we support the vitality and the
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intellectual curiosity that goes along,
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and if you think about those parallels
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to the arts, the competition
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with the Bolshoi Ballet spurred
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the Joffrey and the New York City Ballet
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to become better.
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16:41
Infrastructure museums, theaters,
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movie houses across the country
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are disappearing. We have more
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television stations with less to watch,
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we have more money spent on
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rewrites to get old television programs
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in the movies.
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We have corporate funding now that,
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when it goes to some company, when it
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goes to support the arts, it almost requires
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that the product be part of the picture
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that the artist draws, and we have
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stadiums that are named over and over
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again by corporations.
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In Houston, we're trying to figure out
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what to do with that Enron Stadium thing.
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(Laughter) And fine arts and education
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in the schools is disappearing, and we have
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a government that seems like it's gutting
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the NEA and other programs,
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so we have to really stop and think,
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what are we trying to do
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with the sciences and the arts?
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There's a need to revitalize them.
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We have to pay attention to it. I just want
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to tell you really quickly what I'm doing.
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17:36
(Applause)
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I want to tell you what I've been doing
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a little bit since... I feel this need
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to sort of integrate some of the ideas
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that I've had and run across over time.
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One of the things that I found out
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is that there's a need to repair
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the dichotomy between the mind and body
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as well. My mother always told me,
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you have to be observant, know what's
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going on in your mind and your body,
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and as a dancer I had this tremendous
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faith in my ability to know my body,
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just as I knew how to sense colors.
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Then I went to medical school, and I was
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supposed to just go on
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what the machine said about bodies.
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You know, you would ask patients
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questions and some people would tell you,
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"Don't, don't, don't listen to what
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the patients said." We know that patients
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know and understand their bodies better,
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but these days we're trying to divorce them
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from that idea. We have to reconcile the
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patient's knowledge of their body
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with physician's measurements.
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We had someone talk about
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measuring emotions and getting machines
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to figure out what, to keep us
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from acting crazy. Right?
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No, we shouldn't measure,
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we shouldn't use machines
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to measure road rage and then do
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something to keep us from engaging in it.
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18:51
Maybe we can have machines help us
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to recognize that we have road rage and
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then we need to know how to control that
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without the machines. We even need to be
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able to recognize that without the machines.
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What I'm very concerned about
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is how do we bolster our self-awareness
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as humans, as biological organisms?
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Michael Moschen spoke of having to teach
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and learn how to feel with my eyes,
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to see with my hands.
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We have all kinds of possibilities to use
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our senses by, and that's
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what we have to do.
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That's what I want to do, is to try to use
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bioinstrumentation, those kind of things
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to help our senses in what we do,
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and that's the work I've been doing now as
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a company called BioSentient Corporation.
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I figured I'd have to do that ad, because
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I'm an entrepreneur, because entrepreneur
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says that that's somebody who does what
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they want to do because they're not broke
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enough that they have to get a real job.
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(Laughter) But that's the work I'm doing
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with BioSentient Corporation trying to figure
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out how do we integrate these things?
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Let me finish by saying that
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my personal design issue for the future
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is really about integrating, to think about
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that intuitive and that analytical.
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The arts and sciences are not separate.
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High school physics lesson before you
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leave. High school physics teacher used to
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hold up a ball. She would say this ball
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has potential energy, but nothing
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will happen to it, it can't do any work
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20:14
until I drop it and it changes states.
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I like to think of ideas as potential energy.
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They're really wonderful, but nothing
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will happen until we risk
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putting them into action.
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20:26
This conference is filled
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with wonderful ideas.
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We're going to share lots of things
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with people, but nothing's going to happen
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until we risk putting those ideas into action.
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We need to revitalize the arts and sciences
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of today, we need to take responsibility
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for the future. We can't hide behind saying
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it's just for company profits,
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or it's just a business, or I'm an artist
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or an academician.
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Here's how you judge what you're doing.
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I talked about that balance between
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intuitive, analytical.
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20:56
Fran Lebowitz, my favorite cynic,
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she said the three questions
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of greatest concern, now I'm going to
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add on to design, is,
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"Is it attractive?"
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That's the intuitive.
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"Is it amusing?" The analytical.
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"And does it know its place?"
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The balance. Thank you very much.
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(Applause)
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ABOUT THE SPEAKER
Mae Jemison - Astronaut, engineer, entrepreneur, physician and educatorAstronaut Dr. Mae Jemison‘s inclusive, audacious journey to improving life here on earth and beyond is paving the way for human interstellar travel.
Why you should listen
Dr. Mae Jemison, the first woman of color in space, is at the forefront of integrating physical and social sciences with art and culture to solve problems and foster innovation. Leading the 100 Year Starship seed funded by DARPA to ensure interstellar capabilities, she exploits her experience as a physician, engineer, social scientist and dancer to build a global movement generating radical leaps in knowledge, technology and humanity.
A member of the National Academies, Jemison founded two technology companies and nonprofit Dorothy Jemison Foundation, was Area Peace Corps Medical Officer for Sierra Leone and Liberia -- and appeared on Star Trek.
Mae Jemison | Speaker | TED.com