TED2012
Julie Burstein: 4 lessons in creativity
Džuli Burstajn (Julie Burstein): 4 lekcije iz kreativnosti
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Domaćin na radiju, Džuli Burstajn, govori sa ljudima koji koriste svoju kreativnost dok rade i deli četiri lekcije o tome kako stvarati kada se suočavamo sa izazovom, sumnjom u sebe i gubitkom. Čujte priče režisera Mire Nejer, pisca Ričarda Forda, skulptora Ričarda Sere i fotografa Džoela Mejrovica.
Julie Burstein - Writer and radio producer
As a producer, Julie Burstein builds places to talk (brilliantly) about creative work. Her book "Spark: How Creativity Works" shares what she has learned. Full bio
As a producer, Julie Burstein builds places to talk (brilliantly) about creative work. Her book "Spark: How Creativity Works" shares what she has learned. Full bio
Double-click the English transcript below to play the video.
00:16
On my desk in my office, I keep a small clay pot
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Na svom stolu u kancelariji
držim malu glinenu posudu
držim malu glinenu posudu
00:21
that I made in college. It's raku, which is a kind of pottery
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koju sam napravila na koledžu.
Radi se o rakuu, vrsti grnčarije
Radi se o rakuu, vrsti grnčarije
00:25
that began in Japan centuries ago as a way of
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nastaloj u Japanu pre mnogo vekova
00:30
making bowls for the Japanese tea ceremony.
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kao način pravljenja činija
za obred japanskog čaja.
za obred japanskog čaja.
00:34
This one is more than 400 years old.
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Ova je stara više od 400 godina.
00:37
Each one was pinched or carved out of a ball of clay,
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Svaka je oblikovana ili izvajana
od komada gline
od komada gline
00:41
and it was the imperfections that people cherished.
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i ljudi su cenili male nesavršenosti.
00:46
Everyday pots like this cup take eight to 10 hours to fire.
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Ćupovima kao što je ovaj,
treba od 8 do 10 sati da se ispeku.
treba od 8 do 10 sati da se ispeku.
00:54
I just took this out of the kiln last week, and the kiln itself
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Ovaj sam izvadila prošle nedelje
iz peći, a samoj peći
iz peći, a samoj peći
00:57
takes another day or two to cool down, but raku
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treba još dan ili dva
da se ohladi, dok je raku
da se ohladi, dok je raku
01:01
is really fast. You do it outside, and you take the kiln
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zaista brz. Sve ovo radite
napolju i zagrejete peć.
napolju i zagrejete peć.
01:06
up to temperature. In 15 minutes, it goes to 1,500 degrees,
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Za 15 minuta temperatura
poraste do 1500 stepeni
poraste do 1500 stepeni
01:11
and as soon as you see that the glaze has melted inside,
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i čim vidite da se glazura istopila iznutra,
01:14
you can see that faint sheen, you turn the kiln off,
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možete da vidite bledunjavi sjaj
i tada isključite peć.
i tada isključite peć.
01:17
and you reach in with these long metal tongs,
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Tada uđete ovim dugačkim,
metalnim kleštima,
metalnim kleštima,
01:20
you grab the pot, and in Japan, this red-hot pot
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zgrabite ćup i u Japanu
ovaj crveni, vreo ćup
ovaj crveni, vreo ćup
01:24
would be immediately immersed in a solution of green tea,
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bi odmah bio uronjen
u rastvor zelenog čaja
u rastvor zelenog čaja
01:29
and you can imagine what that steam would smell like.
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i možete da zamislite
kako bi para mirisala.
kako bi para mirisala.
01:32
But here in the United States, we ramp up the drama
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Ali u SAD-u, zakuvamo malo stvar,
01:36
a little bit, and we drop our pots into sawdust,
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spustimo ćupove u piljevinu,
01:39
which catches on fire, and you take a garbage pail,
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koja počne da gori,
onda uzmete kofu za smeće,
onda uzmete kofu za smeće,
01:42
and you put it on top, and smoke starts pouring out.
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stavite je na vrh i tada
dim počne da izlazi.
dim počne da izlazi.
01:47
I would come home with my clothes reeking of woodsmoke.
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Dolazila sam kući sa odećom
koja se osećala na paljevinu.
koja se osećala na paljevinu.
01:52
I love raku because it allows me to play with the elements.
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Volim raku jer mi dozvoljava
da se poigravam sa elementima.
da se poigravam sa elementima.
01:57
I can shape a pot out of clay and choose a glaze,
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Mogu da oblikujem ćup od gline
i da odaberem glazuru,
i da odaberem glazuru,
02:02
but then I have to let it go to the fire and the smoke,
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ali onda moram da ga
prepustim vatri i dimu,
prepustim vatri i dimu,
02:06
and what's wonderful is the surprises that happen,
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a najdivnija su iznenađenja,
02:08
like this crackle pattern, because it's really stressful
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kao što je ova naprsla šara,
jer ćupovi trpe mnogo stresa.
jer ćupovi trpe mnogo stresa.
02:12
on these pots. They go from 1,500 degrees
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Temperatura se menja
od 1500 stepeni
od 1500 stepeni
02:14
to room temperature in the space of just a minute.
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do sobne temperature
za samo jedan minut.
za samo jedan minut.
02:18
Raku is a wonderful metaphor for the process of creativity.
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Raku je divna metafora
za proces kreativnosti.
za proces kreativnosti.
02:24
I find in so many things that tension between
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Smatram da se tenzija između
02:28
what I can control and what I have to let go
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onoga što mogu i ne mogu
da kontrolišem
da kontrolišem
02:32
happens all the time, whether I'm creating a new radio show
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dešava stalno, bilo da pravim
novi radio program
novi radio program
02:35
or just at home negotiating with my teenage sons.
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ili raspravljam kod kuće
sa svojim sinovima tinejdžerima.
sa svojim sinovima tinejdžerima.
02:40
When I sat down to write a book about creativity,
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Kada sam sela da napišem
knjigu o kreativnosti,
knjigu o kreativnosti,
02:44
I realized that the steps were reversed.
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shvatila sam da su koraci bili obrnuti.
02:47
I had to let go at the very beginning, and I had to
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Morala sam se odreći nekih stvari
na samom početku i morala sam da
na samom početku i morala sam da
02:51
immerse myself in the stories of hundreds of artists
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se udubim u priče stotina umetnika
02:55
and writers and musicians and filmmakers, and as I listened
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i pisaca i muzičara i režisera
i dok sam slušala
i dok sam slušala
03:00
to these stories, I realized that creativity
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ove priče, shvatila sam da kreativnost
03:05
grows out of everyday experiences
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raste iz svakodnevnih iskustava,
03:08
more often than you might think, including
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češće nego što možete da zamislite,
uključujući
uključujući
03:12
letting go.
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i prepuštanje.
03:15
It was supposed to break, but that's okay. (Laughter) (Laughs)
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Trebalo je da se polomi, ali nema veze.
(Smeh)
(Smeh)
03:19
That's part of the letting go, is sometimes it happens
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To je deo procesa puštanja,
nekada se dogodi,
nekada se dogodi,
03:22
and sometimes it doesn't, because creativity also grows
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a nekada se ne dogodi.
Sama kreativnost raste
Sama kreativnost raste
03:25
from the broken places.
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iz polomljenih mesta.
03:28
The best way to learn about anything
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Najbolji način učenja o bilo čemu
03:31
is through stories, and so I want to tell you a story
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je kroz priče, tako da želim
da vam ispričam priču
da vam ispričam priču
03:35
about work and play and about four aspects of life
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o poslu i igri i
o četiri aspekta života,
o četiri aspekta života,
03:40
that we need to embrace
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koje moramo da prihvatimo
03:42
in order for our own creativity to flourish.
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da bi naša kreativnost bujala.
03:46
The first embrace is something that we think,
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Prvo prihvatanje je nešto što mislimo:
03:48
"Oh, this is very easy," but it's actually getting harder,
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"Ovo je veoma lako",
ali zapravo postaje teže,
ali zapravo postaje teže,
03:52
and that's paying attention to the world around us.
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a to je obraćanje pažnje
na svet oko nas.
na svet oko nas.
03:56
So many artists speak about needing to be open,
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Mnogo umetnika govori o tome
da je potrebno biti otvoren,
da je potrebno biti otvoren,
04:01
to embrace experience, and that's hard to do when
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da se prihvati iskustvo,
a to je teško uraditi kada
a to je teško uraditi kada
04:04
you have a lighted rectangle in your pocket that
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imate u džepu nešto što
04:08
takes all of your focus.
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vam oduzima svu pažnju.
04:11
The filmmaker Mira Nair speaks about growing up
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Režiser Mira Nair govori o odrastanju
04:16
in a small town in India. Its name is Bhubaneswar,
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u malom gradu u Indiji.
Zove se Bubanesvar,
Zove se Bubanesvar,
04:20
and here's a picture of one of the temples in her town.
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a evo i slike jednog hrama
u njenom gradu.
u njenom gradu.
04:24
Mira Nair: In this little town, there were like 2,000 temples.
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Mira Nair: U ovom malom gradu,
bilo je oko 2 000 hramova.
bilo je oko 2 000 hramova.
04:27
We played cricket all the time. We kind of grew up
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Igrali smo kriket stalno.
Odrastali smo donekle
Odrastali smo donekle
04:30
in the rubble. The major thing that inspired me,
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na šljunku. Najveća stvar
koja me je inspirisala,
koja me je inspirisala,
04:33
that led me on this path, that made me a filmmaker eventually,
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koja me je vodila na ovom putu,
ono zbog čega sam postala režiser,
ono zbog čega sam postala režiser,
04:37
was traveling folk theater that would come through the town
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bilo je putujuće pozorište,
koje je dolazilo u gradić
koje je dolazilo u gradić
04:40
and I would go off and see these great battles
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i ja bih odlazila i gledala te sjajne bitke
04:43
of good and evil by two people in a school field
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dobra i zla dvoje ljudi na školskom terenu
04:47
with no props but with a lot of, you know,
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bez rekvizita, ali sa mnogo
04:49
passion, and hashish as well, and it was amazing.
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strasti i hašiša.
BIlo je sjajno.
BIlo je sjajno.
04:53
You know, the folk tales of Mahabharata and Ramayana,
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Narodne priče Mahabharata i Ramajana,
04:56
the two holy books, the epics that everything comes out of
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dve svete knjige,
epovi iz kojih sve proizlazi
epovi iz kojih sve proizlazi
04:59
in India, they say. After seeing that Jatra, the folk theater,
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iz Indije, barem tako kažu. Nakon što sam
videla Džatru, narodno pozorište,
videla Džatru, narodno pozorište,
05:03
I knew I wanted to get on, you know, and perform.
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znala sam da želim
da se popnem na binu i nastupam.
da se popnem na binu i nastupam.
05:08
Julie Burstein: Isn't that a wonderful story?
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Džuli Burstajn: Zar ovo nije predivna priča?
05:10
You can see the sort of break in the everyday.
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Možete videti prekid
u kolotečini svakodnevice.
u kolotečini svakodnevice.
05:12
There they are in the school fields, but it's good and evil,
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Na poljima su u školi,
ali u isto vreme je dobro i zlo
ali u isto vreme je dobro i zlo
05:15
and passion and hashish. And Mira Nair was a young girl
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i strast i hašiš.
Mira Nair je bila mlada devojka
Mira Nair je bila mlada devojka
05:20
with thousands of other people watching this performance,
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sa hiljadama drugih ljudi
koji gledaju ovaj nastup,
koji gledaju ovaj nastup,
05:24
but she was ready. She was ready to open up
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ali ona je bila spremna.
Bila je spremna da se otvori
Bila je spremna da se otvori
05:27
to what it sparked in her, and it led her,
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za varnice u njoj i to ju je vodilo,
05:30
as she said, down this path to become
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kao sto je i ona rekla,
ovim putem da postane
ovim putem da postane
05:33
an award-winning filmmaker.
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nagrađeni režiser.
05:36
So being open for that experience that might change you
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Prva stvar koju treba da prihvatimo je
da treba da budemo otvoreni
da treba da budemo otvoreni
05:38
is the first thing we need to embrace.
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za to iskustvo koje bi moglo da nas promeni.
05:41
Artists also speak about how some of their most powerful work
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Umetnici takođe govore o tome
kako neki od njihovih najsnažnijih radova
kako neki od njihovih najsnažnijih radova
05:47
comes out of the parts of life that are most difficult.
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proizlaze iz delova života koji su bili najteži.
05:52
The novelist Richard Ford speaks about
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Romanopisac Ričard Ford govori o
05:56
a childhood challenge that continues to be something
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izazovu iz detinjstva sa kojim se uporno
06:00
he wrestles with today. He's severely dyslexic.
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bori čak i sada.
Ima ozbiljnu disleksiju.
Ima ozbiljnu disleksiju.
06:04
Richard Ford: I was slow to learn to read, went all the way
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Ričard Ford: Sporo sam učio da čitam,
prošao sam kroz
prošao sam kroz
06:07
through school not really reading more than the minimum,
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celo školovanje minimalno čitajući
06:11
and still to this day can't read silently
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Čak ni danas ne mogu da čitam u sebi
06:14
much faster than I can read aloud,
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mnogo brže nego što čitam naglas,
06:17
but there were a lot of benefits to being dyslexic for me
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ali postojalo je mnogo pogodnosti
za mene sa disleksijom
za mene sa disleksijom
06:20
because when I finally did reconcile myself to how slow
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jer kada sam se konačno pomirio
sa tim koliko ću sporo
sa tim koliko ću sporo
06:23
I was going to have to do it, then I think I came very slowly
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morati da čitam, počeo sam da
06:28
into an appreciation of all of those qualities of language
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cenim sve one vrline jezika
06:31
and of sentences that are not just the cognitive
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i rečenica koje nisu samo kognitivni
06:34
aspects of language: the syncopations, the sounds of words,
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aspekti jezika: sinkopacija, zvuci reči,
06:37
what words look like, where paragraphs break,
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kako reči izgledaju,
de se pasusi završavaju,
de se pasusi završavaju,
06:39
where lines break. I mean, I wasn't so badly dyslexic that
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gde se redovi završavaju.
Nisam bio toliko dislektičan
Nisam bio toliko dislektičan
06:42
I was disabled from reading. I just had to do it
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da nisam mogao uopšte da čitam.
Samo sam morao da čitam
Samo sam morao da čitam
06:45
really slowly, and as I did, lingering on those sentences
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veoma sporo. I dok sam
otezao sa rečenicama,
otezao sa rečenicama,
06:50
as I had to linger, I fell heir to language's other qualities,
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počeo sam ceniti ostale kvalitete jezika,
06:54
which I think has helped me write sentences.
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što mi je pomoglo da pišem rečenice.
06:57
JB: It's so powerful. Richard Ford, who's won the Pulitzer Prize,
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DžB: Ovo je toliko snažno. Ričard Ford,
koji je osvojio Pulicerovu nagradu,
koji je osvojio Pulicerovu nagradu,
07:01
says that dyslexia helped him write sentences.
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kaže da mu je disleksija
pomogla da piše rečenice.
pomogla da piše rečenice.
07:07
He had to embrace this challenge, and I use that word
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Morao je da prihvati ovaj izazov
i namerno koristim ovu reč.
i namerno koristim ovu reč.
07:09
intentionally. He didn't have to overcome dyslexia.
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Nije morao da pobedi disleksiju.
07:14
He had to learn from it. He had to learn to hear the music
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Morao je da od nje uči. Morao je
da uči da čuje muziku
da uči da čuje muziku
07:17
in language.
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u jeziku.
07:20
Artists also speak about how pushing up against
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Umetnici takođe govore
kako im prevazilaženje
kako im prevazilaženje
07:25
the limits of what they can do, sometimes pushing
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sopstvenih mogućnosti,
ponekad izvan
ponekad izvan
07:28
into what they can't do, helps them focus
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svojih granica,
pomaže da se usredsrede
pomaže da se usredsrede
07:31
on finding their own voice.
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na pronalazak sopstvenog glasa.
07:35
The sculptor Richard Serra talks about how,
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Skulptor Ričard Sera
govori o tome kako je,
govori o tome kako je,
07:39
as a young artist, he thought he was a painter,
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kao mladi umetnik,
mislio da je slikar.
mislio da je slikar.
07:42
and he lived in Florence after graduate school.
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Živeo je u Firenci
nakon studija.
nakon studija.
07:46
While he was there, he traveled to Madrid,
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Dok je bio tamo,
otputovao je u Madrid,
otputovao je u Madrid,
07:49
where he went to the Prado to see this picture
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gde je otišao u Prado da vidi ovu sliku
07:51
by the Spanish painter Diego Velázquez.
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španskog slikara Diega Velaskeza.
07:55
It's from 1656, and it's called "Las Meninas,"
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Slika je iz 1656. i zove se "Las Meninas".
08:00
and it's the picture of a little princess
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Radi se o slici male princeze
08:02
and her ladies-in-waiting, and if you look over
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i njenih dvorskih dama
i ako pogledate preko
i ako pogledate preko
08:06
that little blonde princess's shoulder, you'll see a mirror,
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ramena te male, plave princeze,
videćete ogledalo
videćete ogledalo
08:09
and reflected in it are her parents, the King and Queen
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i u njemu su odrazi njenih roditelja,
kralja i kraljice
kralja i kraljice
08:13
of Spain, who would be standing where you might stand
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Španije, koji možda stoje gde vi stojite
08:16
to look at the picture.
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da gledate u sliku.
08:18
As he often did, Velázquez put himself in this painting too.
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Kao što je obično činio,
Velaskez je i sebe stavio u sliku.
Velaskez je i sebe stavio u sliku.
08:23
He's standing on the left with his paintbrush in one hand
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Stoji sa leve strane sa četkicom u jednoj ruci
08:28
and his palette in the other.
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i paletom u drugoj.
08:30
Richard Serra: I was standing there looking at it,
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Ričard Sara: Stajao sam tamo
i gledao u nju,
i gledao u nju,
08:32
and I realized that Velázquez was looking at me,
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kada sam shvatio
da Velaskez gleda u mene
da Velaskez gleda u mene
08:35
and I thought, "Oh. I'm the subject of the painting."
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i tada sam pomislio:
"Ja sam subjekat slike."
"Ja sam subjekat slike."
08:39
And I thought, "I'm not going to be able to do that painting."
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Pomislio sam: "Neću moći
da naslikam tu sliku."
da naslikam tu sliku."
08:41
I was to the point where I was using a stopwatch
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Došlo je do toga da sam koristio štopericu,
08:44
and painting squares out of randomness,
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slikao nasumično kvadrate
08:49
and I wasn't getting anywhere. So I went back and dumped
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i nisam ništa postizao.
Vratio sam se i bacio sam
Vratio sam se i bacio sam
08:51
all my paintings in the Arno, and I thought, I'm going to just start playing around.
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sve svoje slike u Arno i došao na ideju
da jednostavno počnem da se igram.
da jednostavno počnem da se igram.
08:54
JB: Richard Serra says that so nonchalantly, you might
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DžB: Ričard Sara kaže to tako
nonšalantno, možda ste
nonšalantno, možda ste
08:57
have missed it. He went and saw this painting by a guy
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propustili nešto.
Otišao je da vidi ovu sliku čoveka,
Otišao je da vidi ovu sliku čoveka,
09:00
who'd been dead for 300 years, and realized,
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koji je mrtav već 300 godina i shvatio:
09:04
"I can't do that," and so Richard Serra went back
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"Ne mogu ja ovo",
tako da se Ričard Sera vratio
tako da se Ričard Sera vratio
09:08
to his studio in Florence, picked up all of his work
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u svoj studio u Firenci,
pokupio sav svoj rad
pokupio sav svoj rad
09:11
up to that point, and threw it in a river.
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do tog trenutka i sve bacio u reku.
09:15
Richard Serra let go of painting at that moment,
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Ričard Sera je u tom trenutku
odustao od slikarstva,
odustao od slikarstva,
09:18
but he didn't let go of art. He moved to New York City,
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ali nije odustao od umetnosti.
Preselio se u Njujork,
Preselio se u Njujork,
09:22
and he put together a list of verbs
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gde je sastavio listu glagola
09:25
— to roll, to crease, to fold —
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- prevrtati, nabrati, saviti -
09:28
more than a hundred of them, and as he said,
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više od stotinu glagola
i kako je rekao,
i kako je rekao,
09:31
he just started playing around. He did these things
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počeo je da se igra sa njima.
Radio je ovo
Radio je ovo
09:33
to all kinds of material. He would take a huge sheet of lead
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svim materijalima.
Uzeo bi ogromnu tablu olova
Uzeo bi ogromnu tablu olova
09:36
and roll it up and unroll it. He would do the same thing
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i uvio bi ga i odvio.
Isto bi uradio
Isto bi uradio
09:40
to rubber, and when he got to the direction "to lift,"
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sa gumom i kada je došao
do uputstva "podići",
do uputstva "podići",
09:45
he created this, which is in the Museum of Modern Art.
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napravio je ovo, što se nalazi
u Muzeju moderne umetnosti.
u Muzeju moderne umetnosti.
09:50
Richard Serra had to let go of painting
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Ričard Sera je morao
da odustane od slikarstva
da odustane od slikarstva
09:53
in order to embark on this playful exploration
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da bi se ukrcao na ovo veselo istraživanje,
09:57
that led him to the work that he's known for today:
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koje ga je dovelo do dela
po kome je danas poznat:
po kome je danas poznat:
10:00
huge curves of steel that require our time and motion
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ogrome krive čelika, koje zahtevaju
naše vreme i kretanje
naše vreme i kretanje
10:06
to experience. In sculpture,
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da bi se iskusile. Ričard Sera
10:09
Richard Serra is able to do what he couldn't do in painting.
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je u stanju da uradi sa skulpturom
ono što nije mogao u slikarstvu.
ono što nije mogao u slikarstvu.
10:13
He makes us the subject of his art.
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On nas čini subjektima svoje umetnosti.
10:17
So experience and challenge
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Iskustvo i izazov
10:21
and limitations are all things we need to embrace
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i ograničenja su sve što treba da prihvatimo
10:25
for creativity to flourish.
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da bi naša kreativnost procvetala.
10:27
There's a fourth embrace, and it's the hardest.
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Postoji četvrta stvar koju treba
da prihvatimo i najteža je.
da prihvatimo i najteža je.
10:31
It's the embrace of loss,
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Prihvatanje gubitka,
10:33
the oldest and most constant of human experiences.
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najstarije i najpostojanije ljudsko iskustvo.
10:37
In order to create, we have to stand in that space
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Da bismo stvarali, moramo
da stojimo u tom prostoru
da stojimo u tom prostoru
10:40
between what we see in the world and what we hope for,
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između onoga što vidimo u svetu
i onoga čemu se nadamo
i onoga čemu se nadamo
10:44
looking squarely at rejection, at heartbreak,
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i da jasno posmatramo odbijanje,
slamanje srca,
slamanje srca,
10:49
at war, at death.
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rat, smrt.
10:51
That's a tough space to stand in.
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Vrlo je teško stajati u tom prostoru.
10:54
The educator Parker Palmer calls it "the tragic gap,"
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Nastavnik Parker Palmer to naziva
"tragičnom provalijom",
"tragičnom provalijom",
10:59
tragic not because it's sad but because it's inevitable,
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tragičnom ne zato što je tužna,
već zato što je neizbežna,
već zato što je neizbežna,
11:03
and my friend Dick Nodel likes to say,
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a moj prijatelj Dik Nodel voli da kaže:
11:06
"You can hold that tension like a violin string
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"Možeš da održavaš tu tenziju kao žicu violine
11:09
and make something beautiful."
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i da napraviš nešto prelepo."
11:13
That tension resonates in the work of the photographer
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Ta tenzija rezonira u radu fotografa
11:16
Joel Meyerowitz, who at the beginning of his career was
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Džoela Majerovica, koji je
na početku svoje karijere
na početku svoje karijere
11:19
known for his street photography, for capturing a moment
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bio poznat po uličnoj fotografiji,
po hvatanju trenutka
po hvatanju trenutka
11:22
on the street, and also for his beautiful photographs
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na ulici, a isto tako
i po prelepim fotografijama
i po prelepim fotografijama
11:26
of landscapes -- of Tuscany, of Cape Cod,
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pejzaža - Toskane, Kejp Koda,
11:30
of light.
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svetlosti.
11:32
Joel is a New Yorker, and his studio for many years
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Džoel je Njujorčanin i njegov studio se
godinama nalazio
godinama nalazio
11:36
was in Chelsea, with a straight view downtown
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u Čelsiju, sa pogledom
pravo na centar grada,
pravo na centar grada,
11:40
to the World Trade Center, and he photographed
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na Svetski trgovinski centar i fotografisao je
11:42
those buildings in every sort of light.
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te zgrade pod svakim mogućim svetlom.
11:47
You know where this story goes.
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Znate u kom se pravcu ova priča kreće.
11:50
On 9/11, Joel wasn't in New York. He was out of town,
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9.11. Džoel nije bio u Njujorku.
Bio je van grada,
Bio je van grada,
11:53
but he raced back to the city, and raced down to the site
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ali je požurio nazad u grad
i požurio je do lokacije
i požurio je do lokacije
11:58
of the destruction.
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uništenja.
12:00
Joel Meyerowitz: And like all the other passersby,
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Džoel Mejerovic: Kao i ostali prolaznici,
12:02
I stood outside the chain link fence on Chambers
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stajao sam izvan ograde od lanaca
na uglu ulica Čejmbers
na uglu ulica Čejmbers
12:05
and Greenwich, and all I could see was the smoke
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i Grinič i mogao sam da vidim samo dim
12:07
and a little bit of rubble, and I raised my camera
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i malo šljunka.
Podigao sam kameru
Podigao sam kameru
12:11
to take a peek, just to see if there was something to see,
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da provirim, samo da vidim
da li je bilo ičega,
da li je bilo ičega,
12:14
and some cop, a lady cop, hit me on my shoulder,
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kada me je neka policajka
udarila po ramenu
udarila po ramenu
12:18
and said, "Hey, no pictures!"
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i rekla: "Hej! Nema fotografisanja!"
12:20
And it was such a blow that it woke me up,
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Bio je to tako jak udarac, da me je probudio,
12:24
in the way that it was meant to be, I guess.
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pretpostavljam da je bilo suđeno
da se to tako desi.
da se to tako desi.
12:28
And when I asked her why no pictures, she said,
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Kada sam je pitao zašto
nema fotografisanja, rekla je:
nema fotografisanja, rekla je:
12:30
"It's a crime scene. No photographs allowed."
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"Ovo je mesto zločina.
Fotografisanje nije dozvoljeno."
Fotografisanje nije dozvoljeno."
12:33
And I asked her, "What would happen if I was a member
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Tada sam je pitao:
"Šta bi se desilo da sam član
"Šta bi se desilo da sam član
12:34
of the press?" And she told me,
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novinara?" Rekla mi je:
12:36
"Oh, look back there," and back a block was the press corps
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"Pogledaj tamo", iza se nalazila grupa novinara,
12:41
tied up in a little penned-in area,
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zatvorena u malom ograničenom prostoru
12:44
and I said, "Well, when do they go in?"
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i rekao sam: "Kada oni ulaze?",
12:46
and she said, "Probably never."
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odgovorila je: "Verovatno nikada."
12:48
And as I walked away from that, I had this crystallization,
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Dok sam se udaljavao,
jasno sam shvatio,
jasno sam shvatio,
12:53
probably from the blow, because it was an insult in a way.
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verovatno od udarca jer to je
na neki način bila uvreda.
na neki način bila uvreda.
12:56
I thought, "Oh, if there's no pictures,
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Pomislio sam: "Ako nema fotografisanja,
12:58
then there'll be no record. We need a record."
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onda neće biti ni zabeleške.
Potrebna nam je zabeleška."
Potrebna nam je zabeleška."
13:01
And I thought, "I'm gonna make that record.
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Pomislio sam: "Ja ću to zabeležiti.
13:03
I'll find a way to get in, because I don't want to
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Naći ću način da uđem
jer ne želim da
jer ne želim da
13:05
see this history disappear."
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1868
vidim kako istorija nestaje."
13:07
JB: He did. He pulled in every favor he could,
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DžB: To je i uradio. Potegao je
sve veze koje je mogao
sve veze koje je mogao
13:12
and got a pass into the World Trade Center site,
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i nabavio propusnicu za lokaciju
Svetskog trgovinskog centra,
Svetskog trgovinskog centra,
13:14
where he photographed for nine months almost every day.
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gde je devet meseci fotografisao
skoro svaki dan.
skoro svaki dan.
13:18
Looking at these photographs today brings back
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Dok gledam ove fotografije danas,
vraća mi se
vraća mi se
13:21
the smell of smoke that lingered on my clothes
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2905
miris dima koji je bio svuda po mojoj odeći
13:24
when I went home to my family at night.
224
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kada sam uveče odlazila kući porodici.
13:26
My office was just a few blocks away.
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Moja kancelarija je bila samo
nekoliko ulica udaljena.
nekoliko ulica udaljena.
13:30
But some of these photographs are beautiful,
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Međutim, neke od ovih fotografija su prelepe
13:33
and we wondered, was it difficult for Joel Meyerowitz
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i zapitali smo se,
da li je bilo teško Džoelu Mejerovicu
da li je bilo teško Džoelu Mejerovicu
13:36
to make such beauty out of such devastation?
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da napravi takvu lepotu od takvog razaranja?
13:41
JM: Well, you know, ugly, I mean, powerful
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DžM: Znate, ružno, mislim, moćno
13:44
and tragic and horrific and everything, but
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i tragično i strašno i sve, ali je
13:47
it was also as, in nature, an enormous event
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u isto vreme, kao u prirodi, ogroman događaj
13:52
that was transformed after the fact into this residue,
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koji je pretvoren nakon tog čina u ovaj ostatak.
13:57
and like many other ruins
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Kao i mnoge druge ruševine
13:59
— you go to the ruins of the Colosseum or the ruins of a cathedral someplace —
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- odete do ruševina Koloseuma
ili do ruševina neke katedrale -
ili do ruševina neke katedrale -
14:03
and they take on a new meaning when you watch the weather.
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i one dobiju novo značenje
kada posmatrate vreme.
kada posmatrate vreme.
14:07
I mean, there were afternoons I was down there,
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Bilo je poslepodneva kada sam bio tamo
14:09
and the light goes pink and there's a mist in the air
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i kada bi svetlo postalo roze,
kada bi bilo magle u vazduhu
kada bi bilo magle u vazduhu
14:13
and you're standing in the rubble, and I found myself
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i stajao bih na šutu
i tada sam shvatao da
i tada sam shvatao da
14:17
recognizing both the inherent beauty of nature
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prepoznajem urođenu lepotu prirode
14:21
and the fact that nature, as time,
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i činjenicu da priroda, kao i vreme,
14:23
is erasing this wound.
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briše ovu ranu.
14:27
Time is unstoppable, and it transforms the event.
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3834
Vreme se ne može zaustaviti
i ono transformiše događaj.
i ono transformiše događaj.
14:31
It gets further and further away from the day,
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Dok dan prolazi,
14:33
and light and seasons temper it in some way,
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svetlost i godišnja doba
smiruju sve ovo na neki način.
smiruju sve ovo na neki način.
14:37
and it's not that I'm a romantic. I'm really a realist.
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Nije da sam romantičar,
zapravo sam vrlo realističan.
zapravo sam vrlo realističan.
14:41
The reality is, there's the Woolworth Building
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3484
Realnost je da je Vulvort zgrada
14:45
in a veil of smoke from the site, but it's now like a scrim
247
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5828
u velu dima sa ruševina,
samo što je sada kao vrisak
samo što je sada kao vrisak
14:51
across a theater, and it's turning pink,
248
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koji se razleže preko pozorišta
i pretvara se u roze,
i pretvara se u roze,
14:55
you know, and down below there are hoses spraying,
249
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3103
niže dole gumena creva prskaju,
14:58
and the lights have come on for the evening, and the water
250
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3009
noćna svetla su se pojavila i voda
15:01
is turning acid green because the sodium lamps are on,
251
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postaje zelena jer su se upalile
sodijumske lampe.
sodijumske lampe.
15:05
and I'm thinking, "My God, who could dream this up?"
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Tada sam pomislio: "O moj bože!
Ko je mogao ovo i da zamisli?"
Ko je mogao ovo i da zamisli?"
15:07
But the fact is, I'm there, it looks like that,
253
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Međutim, činjenica je da sam tamo,
15:11
you have to take a picture.
254
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izgleda tako da morate da slikate.
15:13
JB: You have to take a picture. That sense of urgency,
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DžB: Morate da slikate.
Osećaj nužde,
Osećaj nužde,
15:16
of the need to get to work, is so powerful in Joel's story.
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potrebe da počnete da radite,
toliko je moćna u Džoelovoj priči.
toliko je moćna u Džoelovoj priči.
15:22
When I saw Joel Meyerowitz recently, I told him how much
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3353
Kada sam nedavno videla Džoela Mejerovica,
rekla sam mu koliko
rekla sam mu koliko
15:25
I admired his passionate obstinacy, his determination
258
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3785
se divim njegovoj strasnoj upornosti,
njegovoj odlučnosti
njegovoj odlučnosti
15:29
to push through all the bureaucratic red tape to get to work,
259
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4583
da se suprotstavi birokratskim procedurama
da bi radio,
da bi radio,
15:34
and he laughed, and he said, "I'm stubborn,
260
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a on se nasmejao i rekao: "Tvrdoglav sam,
15:36
but I think what's more important
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2404
ali mislim da je moj strastveni optimizam
15:38
is my passionate optimism."
262
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3461
važniji."
15:42
The first time I told these stories, a man in the audience
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Prvi put kada sam ispričala ove priče,
jedan čovek iz publike
jedan čovek iz publike
15:45
raised his hand and said, "All these artists talk about
264
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je podigao ruku i rekao:
"Svi ovi umetnici govore
"Svi ovi umetnici govore
15:48
their work, not their art, which has got me thinking about
265
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o svom poslu, ne o svojoj umetnosti,
što me je navelo da razmišljam
što me je navelo da razmišljam
15:53
my work and where the creativity is there,
266
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2668
o mom poslu i gde je kreativnost u tome,
15:56
and I'm not an artist." He's right. We all wrestle
267
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4628
a nisam umetnik."
U pravu je. Svi se borimo
U pravu je. Svi se borimo
16:00
with experience and challenge, limits and loss.
268
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4616
sa iskustvom i izazovima,
ograničenjima i gubicima.
ograničenjima i gubicima.
16:05
Creativity is essential to all of us,
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Kreativnost je ključna za sve nas,
16:07
whether we're scientists or teachers,
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bilo da smo naučnici ili profesori,
16:10
parents or entrepreneurs.
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roditelji ili preduzetnici.
16:14
I want to leave you with another
272
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Želim da vas ostavim sa još jednom
16:16
image of a Japanese tea bowl. This one
273
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slikom japanske činije za čaj.
16:19
is at the Freer Gallery in Washington, D.C.
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Ova je u Frir Galeriji u Vašingtonu.
16:22
It's more than a hundred years old and you can still see
275
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Stara je više od sto godina
i dalje možete da vidite
i dalje možete da vidite
16:25
the fingermarks where the potter pinched it.
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utisnute otiske prstiju grnčara.
16:28
But as you can also see, this one did break
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Ali isto tako možete da vidite da je naprsla
16:31
at some point in its hundred years.
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u nekom trenutku u toku tih sto godina.
16:34
But the person who put it back together,
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Osoba koja ju je ponovo sastavila,
16:37
instead of hiding the cracks,
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umesto da je sakrila naprsline,
16:39
decided to emphasize them, using gold lacquer to repair it.
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odlučila je da ih naglasi koristeći
zlatni lak da je popravi.
zlatni lak da je popravi.
16:45
This bowl is more beautiful now, having been broken,
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Ova činija, nakon što je bila polomljena,
sada je lepša
sada je lepša
16:50
than it was when it was first made,
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nego što je bila kada je bila napravljena
16:53
and we can look at those cracks, because
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i možemo da gledamo te naprsline jer one
16:55
they tell the story that we all live,
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pričaju priču koju svi proživljavamo,
16:57
of the cycle of creation and destruction,
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priču ciklusa stvaranja i rušenja,
17:01
of control and letting go, of picking up the pieces
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kontrolisanja i prepuštanja,
skupljanja delova
skupljanja delova
17:06
and making something new.
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i pravljenja nečeg novog.
17:08
Thank you. (Applause)
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Hvala vam.
(Aplauz)
(Aplauz)
ABOUT THE SPEAKER
Julie Burstein - Writer and radio producerAs a producer, Julie Burstein builds places to talk (brilliantly) about creative work. Her book "Spark: How Creativity Works" shares what she has learned.
Why you should listen
From where does creativity flow? In 2000, Julie Burstein created Public Radio International's show Studio 360 to explore pop culture and the arts. Hosted by novelist Kurt Andersen and produced at WNYC, the show is a guide to what's interesting now -- and asks deep questions about the drive behind creative work. Now, Burstein has written Spark: How Creativity Works, filled with stories about artists, writers and musicians (like Chuck Close, Isabel Allende, Patti Lupone). Burstein is the host of pursuitofspark.com full of conversations about creative approaches to the challenges, possibilities and pleasures of everyday life and work. She also "loves sitting in for Leonard Lopate."
Julie Burstein | Speaker | TED.com