ABOUT THE SPEAKER
Tim Harford - Economist, journalist, broadcaster
Tim Harford's writings reveal the economic ideas behind everyday experiences.

Why you should listen

In the Undercover Economist column he writes for the Financial Times, Tim Harford looks at familiar situations in unfamiliar ways and explains the fundamental principles of the modern economy. He illuminates them with clear writing and a variety of examples borrowed from daily life.

His book, Adapt: Why Success Always Starts With Failure, argues that the world has become far too unpredictable and complex for today's challenges to be tackled with ready-made solutions and expert opinions. Instead, Harford suggests, we need to learn to embrace failure and to constantly adapt, to improvise rather than plan, to work from the bottom up rather than the top down. His next book, Messy: Thriving in a Tidy-Minded World will be published in September 2016. 

Harford also presents the BBC radio series More or Less, a rare broadcast program devoted, as he says, to "the powerful, sometimes beautiful, often abused but ever ubiquitous world of numbers."

He says: "I’d like to see many more complex problems approached with a willingness to experiment."

More profile about the speaker
Tim Harford | Speaker | TED.com
TEDGlobal>London

Tim Harford: How frustration can make us more creative

蒂姆·哈福德: 如何以挫折激发创造力

Filmed:
3,929,150 views

挑战和问题可能会禁锢你的创作进程······但它可能也会给你带来前所未有的创意,激发你的灵感。结合有史以来最畅销的钢琴独奏专辑背后那个惊奇的故事,蒂姆·哈福德将会说服你在工作中遇到一点麻烦也是有好处的。
- Economist, journalist, broadcaster
Tim Harford's writings reveal the economic ideas behind everyday experiences. Full bio

Double-click the English transcript below to play the video.

00:12
Late晚了 in January一月 1975,
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1975年的一月下旬,
00:15
a 17-year-old-岁 German德语 girl女孩
called Vera维拉 Brandes布兰德斯
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一个叫维拉·布兰德斯的17岁的德国女孩
00:19
walked out onto the stage阶段
of the Cologne科隆 Opera歌剧 House.
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从幕后走上了
科隆歌剧院的舞台。
00:24
The auditorium礼堂 was empty.
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观众席上空无一人。
00:27
It was lit发光的 only by the dim暗淡, green绿色 glow辉光
of the emergency exit出口 sign标志.
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全场仅仅被一个绿色安全出口标志
的昏暗的光微微照亮。
00:32
This was the most
exciting扣人心弦 day of Vera's维拉的 life.
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这一天是维拉生命中
最最激动的一天。
00:36
She was the youngest最年轻的
concert音乐会 promoter启动 in Germany德国,
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她在当时是德国
最年轻的演奏会经纪人,
00:39
and she had persuaded说服了
the Cologne科隆 Opera歌剧 House
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她说服了科隆歌剧院
00:41
to host主办 a late-night深夜 concert音乐会 of jazz爵士乐
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举办美国音乐家——基思·杰瑞特的
00:45
from the American美国 musician音乐家, Keith基思 Jarrett贾勒特.
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一个爵士深夜场音乐会。
00:48
1,400 people were coming未来.
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1400位观众即将到场。
00:51
And in just a few少数 hours小时,
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再过几个小时,
00:53
Jarrett贾勒特 would walk步行 out on the same相同 stage阶段,
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杰瑞特就会走上那个舞台,
00:55
he'd他会 sit down at the piano钢琴
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坐在钢琴旁,
00:57
and without rehearsal排演 or sheet music音乐,
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不经过排练,没有乐谱,
01:01
he would begin开始 to play.
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就开始他的演奏。
01:04
But right now,
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但那时候,
01:05
Vera维拉 was introducing引入 Keith基思
to the piano钢琴 in question,
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维拉向基思展示的
钢琴出了些问题,
01:09
and it wasn't going well.
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而且情况不是太好。
01:11
Jarrett贾勒特 looked看着 to the instrument仪器
a little warily翼翼,
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杰瑞特仔细地看了看那个钢琴,
01:13
played发挥 a few少数 notes笔记,
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弹了几个音,
01:15
walked around it,
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绕着钢琴走了一圈之后,
01:16
played发挥 a few少数 more notes笔记,
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又弹了几个音,
01:18
muttered喃喃 something to his producer制片人.
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跟他的制作人嘟囔了几句。
01:19
Then the producer制片人
came来了 over to Vera维拉 and said ...
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然后制作人过去跟维拉说——
01:24
"If you don't get a new piano钢琴,
Keith基思 can't play."
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“如果你们弄不来一台新的钢琴,
基思今天就弹不成了。”
01:30
There'd这红色 been a mistake错误.
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其实当时是出错了。
01:31
The opera歌剧 house had provided提供
the wrong错误 instrument仪器.
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歌剧院没准备好乐器。
01:33
This one had this harsh苛刻,
tinny尖细 upper register寄存器,
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那台钢琴的高音部听起来
又尖又刺耳,
因为其中的所有毛毡都磨损坏了。
01:36
because all the felt had worn磨损的 away.
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01:39
The black黑色 notes笔记 were sticking症结,
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黑键听起来感觉拖拖拉拉,
01:42
the white白色 notes笔记 were out of tune,
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白键走调了,
01:44
the pedals踏板 didn't work
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脚踏板也坏了,
01:46
and the piano钢琴 itself本身 was just too small.
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而且那台钢琴也特别小。
01:48
It wouldn't不会 create创建 the volume
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那钢琴根本弹不出足够大的声音
01:50
that would fill a large space空间
such这样 as the Cologne科隆 Opera歌剧 House.
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来让像科隆歌剧院
这么大空间里的观众都听到。
01:54
So Keith基思 Jarrett贾勒特 left.
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所以基思·杰瑞特就走了。
01:58
He went and satSAT outside in his car汽车,
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他走出去坐在他的车里,
02:01
leaving离开 Vera维拉 Brandes布兰德斯
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留下了维拉·布兰德斯在那里
02:03
to get on the phone电话
to try to find a replacement替代 piano钢琴.
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打电话试着弄来一台能用的钢琴。
02:07
Now she got a piano钢琴 tuner调谐器,
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她找到了个钢琴调音师,
02:09
but she couldn't不能 get a new piano钢琴.
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但她弄不到新钢琴。
02:12
And so she went outside
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然后她也出去了,
02:14
and she stood站在 there in the rain,
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站在雨中,
02:17
talking to Keith基思 Jarrett贾勒特,
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开始跟基思·杰瑞特交谈,
02:20
begging乞讨 him not to cancel取消 the concert音乐会.
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求他不要取消那场音乐会。
02:24
And he looked看着 out of his car汽车
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他看向车外
02:25
at this bedraggled荒废,
rain-drenched雨淋 German德语 teenager青少年,
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那个全身被雨浇透的
德国年轻人,
02:30
took pity可怜 on her,
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心中升起了同情,
02:32
and said,
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说道,
02:33
"Never forget忘记 ... only for you."
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“别忘了啊——我只为你这样做。”
02:39
And so a few少数 hours小时 later后来,
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然后几个小时之后,
杰瑞特真的走到了歌剧院的舞台上,
02:40
Jarrett贾勒特 did indeed确实 step out
onto the stage阶段 of the opera歌剧 house,
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02:45
he satSAT down at the unplayable无法播放 piano钢琴
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他坐到那个弹不了的钢琴旁边
02:49
and began开始.
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开始了演奏。
02:51
(Music音乐)
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(音乐)
03:04
Within moments瞬间 it became成为 clear明确
that something magical神奇 was happening事件.
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当音乐逐渐响起的时候,
神奇的事情发生了。
03:10
Jarrett贾勒特 was avoiding避免
those upper registers寄存器,
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杰瑞特避开了那些高音部分,
03:12
he was sticking症结 to the middle中间
tones of the keyboard键盘,
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他一直用键盘上的中音区部分演奏,
03:15
which哪一个 gave the piece
a soothing抚慰的, ambient周围 quality质量.
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这使得音乐非常舒缓,
还有环绕音的效果了。
03:19
But also, because the piano钢琴 was so quiet安静,
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而且,因为那台钢琴的声音太小了,
03:22
he had to set up these rumbling隆隆,
repetitive重复 riffs即兴 in the bass低音.
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他要在低音区制造一些
有轰隆隆声的即兴重复片段。
03:26
And he stood站在 up twisting盘曲,
pounding重击 down on the keys按键,
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他还站起来转身
用力敲击琴键,
03:32
desperately拼命 trying to create创建 enough足够 volume
to reach达到 the people in the back row.
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极力地想要弹出大一些的音量
好让后排的观众们都能听见。
03:37
It's an electrifying通电 performance性能.
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那次表演很令人兴奋。
03:39
It somehow不知何故 has this peaceful平静的 quality质量,
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既有安静的质感,
03:42
and at the same相同 time it's full充分 of energy能源,
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同时又充满力量,
03:44
it's dynamic动态.
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非常有活力。
03:47
And the audience听众 loved喜爱 it.
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观众们很喜欢这次演出。
03:49
Audiences观众 continue继续 to love it
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而观众们在演出之后继续保持了对它的热爱,
03:51
because the recording记录 of the KölnLN Concert音乐会
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因为那场科隆音乐会的录音
03:54
is the best-selling最畅销 piano钢琴 album专辑 in history历史
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是有史以来最畅销的钢琴曲专辑
03:56
and the best-selling最畅销
solo独奏 jazz爵士乐 album专辑 in history历史.
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和有史以来最畅销的
爵士独奏专辑。
04:02
Keith基思 Jarrett贾勒特 had been handed a mess食堂.
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基思·杰瑞特遇到了个麻烦。
04:06
He had embraced拥抱 that mess食堂, and it soared飙升.
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他容忍了那个麻烦,
并想出了解决的创意。
04:12
But let's think for a moment时刻
about Jarrett's贾勒特的 initial初始 instinct直觉.
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但让我们想一想
杰瑞特的直觉。
04:17
He didn't want to play.
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他其实一开始并不想演奏。
04:18
Of course课程,
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当然,
04:20
I think any of us,
in any remotely远程 similar类似 situation情况,
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我想我们每一个人,
当遇到类似的情况时,
04:23
would feel the same相同 way,
we'd星期三 have the same相同 instinct直觉.
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可能都会有同样的感觉,
我们可能会有同样的直觉。
04:25
We don't want to be asked
to do good work with bad tools工具.
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我们不想被要求用糟糕的工具
干出好活。
04:29
We don't want to have to overcome克服
unnecessary不必要 hurdles障碍.
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我们也不愿意
克服不必要的麻烦。
04:34
But Jarrett's贾勒特的 instinct直觉 was wrong错误,
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但是杰瑞特的直觉是错的,
04:37
and thank goodness善良 he changed his mind心神.
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不过感谢老天他改了主意。
04:39
And I think our instinct直觉 is also wrong错误.
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我觉得我们的直觉也是错的。
04:44
I think we need to gain获得
a bit more appreciation升值
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我觉得我们需要对那些
因为必须解决一些小麻烦
04:48
for the unexpected意外 advantages优点
of having to cope应付 with a little mess食堂.
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而获得的出人意料的优势
而心怀感激。
04:55
So let me give you some examples例子
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我来给大家举一些例子,
04:57
from cognitive认知 psychology心理学,
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从认知心理学,
05:00
from complexity复杂 science科学,
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复杂性科学,
05:01
from social社会 psychology心理学,
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社会心理学,
05:03
and of course课程, rock 'n''N' roll.
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当然还有摇滚乐的角度来看一看。
05:05
So cognitive认知 psychology心理学 first.
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那么首先是认知心理学。
05:07
We've我们已经 actually其实 known已知 for a while
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我们都已经很明白了
一些特定的困难,
05:09
that certain某些 kinds of difficulty困难,
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05:11
certain某些 kinds of obstacle障碍,
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和一些特定的障碍的存在
05:13
can actually其实 improve提高 our performance性能.
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实际上可以提升我们的表现。
05:15
For example,
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举例来说,
05:17
the psychologist心理学家 Daniel丹尼尔 Oppenheimer奥本海默,
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心理学家丹尼尔·奥本海默
05:18
a few少数 years年份 ago,
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几年前
05:20
teamed联手 up with high school学校 teachers教师.
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和一些高中老师进行了一次合作。
05:22
And he asked them to reformat格式化 the handouts讲义
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他要求老师们重新规定
05:24
that they were giving
to some of their classes.
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他们的一些课堂教课
所用讲义的格式。
05:28
So the regular定期 handout讲义 would be formatted格式化
in something straightforward直截了当,
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普通讲义的格式
都是很直截了当的,
05:31
such这样 as Helvetica黑体 or Times New Roman罗马.
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比如Helvetica或Times New Roam字体。
05:34
But half these classes were getting得到
handouts讲义 that were formatted格式化
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但其中一半的课堂将会得到
重新规定格式的讲义,
比如用Haettenschweiler
这种棱角分明的字体,
05:37
in something sort分类 of intense激烈,
like HaettenschweilerHaettenschweiler,
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05:41
or something with a zesty灿烂 bounce弹跳,
like Comic滑稽 SansSANS italicized斜体.
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或者是斜体Comic Sans
这种看起来有跳跃性的漫画字体。
05:45
Now, these are really ugly丑陋 fonts字体,
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这些字体是很丑的,
05:47
and they're difficult fonts字体 to read.
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并且不易读。
05:49
But at the end结束 of the semester学期,
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但在那个学期的期末,
05:51
students学生们 were given特定 exams考试,
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学生们考试的时候,
05:54
and the students学生们 who'd谁愿意 been asked
to read the more difficult fonts字体,
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那些被要求读了一个学期
复杂字体的学生们,
最后很多学科的成绩
05:58
had actually其实 doneDONE better on their exams考试,
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06:00
in a variety品种 of subjects主题.
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反而更好。
06:01
And the reason原因 is,
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原因就是,
06:03
the difficult font字形 had slowed放缓 them down,
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读更复杂的字体让他们塌下心来,
06:06
forced被迫 them to work a bit harder更难,
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逼着他们付出更多的努力,
对他们正在读的东西
就会多一些思考,
06:08
to think a bit more
about what they were reading,
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可以更好地理解······
06:11
to interpret it ...
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06:13
and so they learned学到了 more.
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所以他们学到的就更多。
06:16
Another另一个 example.
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再看另一个例子。
06:18
The psychologist心理学家 Shelley雪莱 Carson卡森
has been testing测试 Harvard哈佛 undergraduates本科生
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心理学家谢利·卡尔森
给哈佛大学的毕业生做测试
06:23
for the quality质量
of their attentional注意力 filters过滤器.
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来研究他们注意力的过滤能力。
06:26
What do I mean by that?
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知道我说的是什么意思吗?
06:28
What I mean is,
imagine想像 you're in a restaurant餐厅,
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我的意思就是,
想象你在一个餐厅中,
06:30
you're having a conversation会话,
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正在和人交谈,
06:32
there are all kinds of other conversations对话
going on in the restaurant餐厅,
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而餐厅中有很多
各种各样的交谈正在进行着,
06:35
you want to filter过滤 them out,
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你想要从中过滤出信息,
06:36
you want to focus焦点
on what's important重要 to you.
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你想要专注于
对你有用的信息。
06:38
Can you do that?
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你能做到吗?
06:40
If you can, you have
good, strong强大 attentional注意力 filters过滤器.
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如果你可以的话,你就有
很好、很强的注意力过滤能力。
06:43
But some people really struggle斗争 with that.
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但是有些人确实不容易做到。
06:45
Some of Carson's卡森的 undergraduate大学本科
subjects主题 struggled挣扎 with that.
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一些卡尔森实验的毕业生
也或多或少地缺乏这种能力。
06:49
They had weak filters过滤器,
they had porous多孔 filters过滤器 --
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他们的过滤能力不强,
容易把很多关键信息漏掉——
06:52
let a lot of external外部 information信息 in.
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但却会引入很多外部信息。
06:55
And so what that meant意味着 is they were
constantly经常 being存在 interrupted间断
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意思就是说他们会不断地
06:58
by the sights景点 and the sounds声音
of the world世界 around them.
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被他们周围世界中的声色所干扰。
07:01
If there was a television电视 on
while they were doing their essays随笔,
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如果当他们写作的时候
旁边有一台开着的电视,
07:04
they couldn't不能 screen屏幕 it out.
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他们排除不了电视的干扰。
07:05
Now, you would think
that that was a disadvantage坏处 ...
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现在,你可能会觉得
这是个缺点······
07:09
but no.
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但并不是。
07:10
When Carson卡森 looked看着 at what
these students学生们 had achieved实现,
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当卡尔森观察这些学生的表现时,
07:14
the ones那些 with the weak filters过滤器
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那些过滤能力较弱的学生
07:16
were vastly大大 more likely容易
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极有可能
07:18
to have some real真实
creative创作的 milestone里程碑 in their lives生活,
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在他们的一生中
建立真正的创造性的里程碑,
07:21
to have published发表 their first novel小说,
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更可能出版他们的第一部小说,
07:24
to have released发布 their first album专辑.
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或者发行第一张唱片。
07:27
These distractions分心 were actually其实
gristsgrists to their creative创作的 mill.
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这些外部的干扰实际上
激发了他们的创意机能。
07:30
They were able能够 to think outside the box
because their box was full充分 of holes.
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他们可以跳出固有的思维模式,
因为他们的思维模式中全是“小孔”。
07:36
Let's talk about complexity复杂 science科学.
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让我们聊一聊复杂性科学。
07:37
So how do you solve解决 a really complex复杂 --
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那么你们是怎么解决一个真正复杂的——
07:39
the world's世界 full充分
of complicated复杂 problems问题 --
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这个世界充满了
复杂的问题——
你们是怎么解决一个
确实复杂的问题的呢?
07:41
how do you solve解决
a really complicated复杂 problem问题?
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比如,你试着去制造
一台喷气式发动机。
07:44
For example, you try to make a jet喷射 engine发动机.
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07:46
There are lots and lots
of different不同 variables变量,
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这工作存在着
很多不同的可变因素,
07:48
the operating操作 temperature温度, the materials物料,
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工作温度、材料、
07:50
all the different不同 dimensions尺寸, the shape形状.
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所有不同的维度、形状。
07:52
You can't solve解决 that kind
of problem问题 all in one go,
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你不能一次性解决
全部这些问题,
07:55
it's too hard.
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那太难了。
那你会怎么做呢?
07:56
So what do you do?
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07:57
Well, one thing you can do
is try to solve解决 it step-by-step一步步.
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你所能做的就是
试着一步一步地解决。
08:02
So you have some kind of prototype原型
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你做出了几种原型出来,
08:04
and you tweak it,
you test测试 it, you improve提高 it.
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然后你会做出一些改变,
做一下测试之后再改进。
08:08
You tweak it, you test测试 it, you improve提高 it.
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再做出一些改变,
做一下测试之后再改进。
08:12
Now, this idea理念 of marginal边缘 gains收益
will eventually终于 get you a good jet喷射 engine发动机.
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这种边际增益的理念最终可以让你
做出一个很好的喷气式发动机。
08:17
And it's been quite相当 widely广泛
implemented实施 in the world世界.
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这种方法在全世界
都广泛应用。
08:20
So you'll你会 hear about it, for example,
in high performance性能 cycling循环,
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你可能会听说,
比如在高性能循环领域,
08:24
web卷筒纸 designers设计师 will talk about trying
to optimize优化 their web卷筒纸 pages网页,
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网页设计师会讨论
试图优化他们的网站,
08:27
they're looking
for these step-by-step一步步 gains收益.
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他们会寻找
这些逐步收益。
08:30
That's a good way
to solve解决 a complicated复杂 problem问题.
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这是一个解决
复杂困难问题的好方法。
08:34
But you know what would
make it a better way?
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但你知道更好的方法
是什么吗?
08:38
A dash短跑 of mess食堂.
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针对一系列的麻烦。
08:41
You add randomness随机性,
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你可以随意一点,
08:43
early on in the process处理,
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在工作的初期阶段,
08:44
you make crazy moves移动,
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你可以做一些疯狂的事,
08:46
you try stupid things that shouldn't不能 work,
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你可以试着做一些并不管用的傻事情,
08:49
and that will tend趋向 to make
the problem-solving解决问题 work better.
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而这可能会使解决问题的效果更好。
08:52
And the reason原因 for that is
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原因就是
08:54
the trouble麻烦 with the step-by-step一步步 process处理,
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一步一步地解决问题,
08:56
the marginal边缘 gains收益,
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所谓的边际增益,
08:57
is they can walk步行 you
gradually逐渐 down a dead end结束.
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会逐渐带你走进死胡同。
09:01
And if you start开始 with the randomness随机性,
that becomes less likely容易,
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但如果你一开始就随意一些,
那结果就会不太一样了,
09:05
and your problem-solving解决问题
becomes more robust强大的.
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你解决问题会变得更加高效。
09:10
Let's talk about social社会 psychology心理学.
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我们来谈一谈社会心理学。
09:12
So the psychologist心理学家 Katherine凯瑟琳 Phillips菲利普斯,
with some colleagues同事,
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心理学家凯瑟琳·菲利普斯
和几个同事
09:15
recently最近 gave murder谋杀 mystery神秘
problems问题 to some students学生们,
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最近把神秘谋杀案
交给了一些学生解决,
09:19
and these students学生们
were collected in groups of four
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这些学生编为四人一组,
09:22
and they were given特定 dossiers档案
with information信息 about a crime犯罪 --
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他们每组都得到了
含有一个案件信息的卷宗——
09:26
alibis借口 and evidence证据,
witness见证 statements声明 and three suspects犯罪嫌疑人.
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包括不在场证明和证据,
证人证言和三个嫌疑犯。
09:31
And the groups of four students学生们
were asked to figure数字 out who did it,
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编成四人一组的这些学生们
被要求要找出真凶,
09:35
who committed提交 the crime犯罪.
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找出到底是谁犯了罪。
09:37
And there were two treatments治疗
in this experiment实验.
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这个实验中有两种分组。
09:40
In some cases these were four friends朋友,
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一部分分组中,组中的四个人都是好朋友,
09:44
they all knew知道 each other well.
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他们互相之间非常了解。
09:46
In other cases,
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另一种分组,
09:47
three friends朋友 and a stranger陌生人.
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组内有三个好朋友,一个陌生人。
09:51
And you can see where I'm going with this.
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你可能知道了我要说什么。
09:53
Obviously明显 I'm going to say
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很显然我会说
09:54
that the groups with the stranger陌生人
solved解决了 the problem问题 more effectively有效,
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那种有个陌生人的组
解决问题更加高效,
09:57
which哪一个 is true真正, they did.
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这是真的,他们确实做到了。
09:59
Actually其实, they solved解决了 the problem问题
quite相当 a lot more effectively有效.
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实际上,他们解决问题的效率
非常高。
10:03
So the groups of four friends朋友,
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那种四人都是好朋友的组,
10:07
they only had a 50-50 chance机会
of getting得到 the answer回答 right.
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他们只有一半的几率找出了真凶。
10:10
Which哪一个 is actually其实 not that great --
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这可真不怎么样——
10:11
in multiple choice选择, for three answers答案?
50-50's not good.
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只有三个备选答案的单选题,
只有一半几率答对了可不怎么样。
10:14
(Laughter笑声)
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(笑声)
10:16
The three friends朋友 and the stranger陌生人,
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那种三个好朋友一个陌生人的组,
即使那个陌生人
没有得到任何额外信息,
10:17
even though虽然 the stranger陌生人
didn't have any extra额外 information信息,
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10:20
even though虽然 it was just a case案件
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即使他们组员之间
10:22
of how that changed the conversation会话
to accommodate容纳 that awkwardness重仓股,
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需要不断改变交谈的方式
来缓解尴尬。
10:28
the three friends朋友 and the stranger陌生人,
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但三个好朋友和一个陌生人的组
10:30
they had a 75 percent百分 chance机会
of finding发现 the right answer回答.
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仍然有75%的几率
找出真凶。
10:32
That's quite相当 a big leap飞跃 in performance性能.
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这两种表现实在差距很大。
10:34
But I think what's really interesting有趣
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但我觉得真正有趣的
不仅仅是三个好朋友和
一个陌生人的组做得更好,
10:36
is not just that the three friends朋友
and the stranger陌生人 did a better job工作,
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10:40
but how they felt about it.
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而是他们参加这次实验的感受。
10:42
So when Katherine凯瑟琳 Phillips菲利普斯
interviewed采访 the groups of four friends朋友,
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当凯瑟琳·菲利普斯
采访四个好朋友的组时,
10:47
they had a nice不错 time,
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他们说感觉很开心,
10:49
they also thought they'd他们会 doneDONE a good job工作.
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他们同样也觉得自己做得很好。
10:52
They were complacent自满.
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他们很满足。
10:54
When she spoke to the three
friends朋友 and the stranger陌生人,
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当她采访三个好朋友
和一个陌生人的组时,
10:57
they had not had a nice不错 time --
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他们说他们相处的不是很好——
10:58
it's actually其实 rather difficult,
it's rather awkward尴尬 ...
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他们相处得比较困难,
互相之间还很尴尬······
11:02
and they were full充分 of doubt怀疑.
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工作之中充满了疑惑。
11:06
They didn't think they'd他们会 doneDONE a good job工作
even though虽然 they had.
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即使他们已经做得很好了,
然而他们还是觉得不太好。
11:10
And I think that really exemplifies例证了
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而我觉得这可以很好地例证
11:11
the challenge挑战 that we're
dealing交易 with here.
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我们今天讨论的问题。
11:14
Because, yeah --
228
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因为,其实——
11:16
the ugly丑陋 font字形,
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难看的字体,
11:18
the awkward尴尬 stranger陌生人,
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尴尬的陌生人,
11:20
the random随机 move移动 ...
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随意的工作方法······
11:22
these disruptions中断 help us solve解决 problems问题,
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这些阻碍使我们更好地解决问题,
11:25
they help us become成为 more creative创作的.
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它们使我们更加迸发创意。
11:28
But we don't feel that they're helping帮助 us.
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但我们却并不觉得这些帮助了我们。
11:30
We feel that they're
getting得到 in the way ...
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我们觉得它们阻碍了我们······
11:33
and so we resist.
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我们就跟它们对抗。
11:36
And that's why the last example
is really important重要.
237
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这就是为什么这最后一个例子
特别重要的原因。
11:39
So I want to talk about somebody
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我来给你们介绍
11:41
from the background背景
of the world世界 of rock 'n''N' roll.
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4936
来自摇滚世界的一个人。
11:46
And you may可能 know him,
he's actually其实 a TED-sterTED-STER.
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你们可能认识他,
他是个实实在在的TED迷。
11:49
His name名称 is Brian布赖恩 Eno伊诺.
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他叫布莱恩·伊诺。
11:50
He is an ambient周围 composer作曲家 --
rather brilliant辉煌.
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他是个环境音乐作曲家——
非常优秀。
11:53
He's also a kind of catalyst催化剂
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他也是过去40年中
11:57
behind背后 some of the great
rock 'n''N' roll albums专辑 of the last 40 years年份.
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很多摇滚乐巨作诞生的催化剂。
12:01
He's worked工作 with David大卫 Bowie鲍伊 on "Heroes英雄,"
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他和大卫·鲍伊合作过歌曲《Heroes》,
12:04
he worked工作 with U2 on "AchtungACHTUNG Baby宝宝"
and "The Joshua约书亚 Tree,"
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他和U2合作过歌曲《Achtung Baby》
《The Joshua Tree》。
12:08
he's worked工作 with DEVODEVO,
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他和退化乐队(DEVO)合作过,
12:09
he's worked工作 with Coldplay酷玩乐队,
he's worked工作 with everybody每个人.
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他和酷玩乐队(Coldplay)合作过,
他和很多人都合作过。
12:12
And what does he do to make
these great rock bands better?
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那么他为了使这些摇滚乐队
变得更好做了些什么呢?
12:17
Well, he makes品牌 a mess食堂.
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他制造麻烦。
12:19
He disrupts破坏 their creative创作的 processes流程.
251
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他阻碍他们的创作过程。
12:21
It's his role角色 to be the awkward尴尬 stranger陌生人.
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他的角色就是做那个“尴尬的陌生人”。
12:23
It's his role角色 to tell them
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他的任务就是告诉他们
12:25
that they have to play
the unplayable无法播放 piano钢琴.
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一定要弹一下
那台坏了的钢琴。
12:28
And one of the ways方法
in which哪一个 he creates创建 this disruption瓦解
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他其中一个创造阻碍的方式
12:31
is through通过 this remarkable卓越
deck甲板 of cards --
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就是用这一叠卡片——
12:34
I have my signed copy复制 here --
thank you, Brian布赖恩.
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我手中的这叠是份签名版——
布莱恩,谢谢你。
12:38
They're called The Oblique Strategies策略,
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这叫“倾斜策略”,
12:40
he developed发达 them with a friend朋友 of his.
259
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是他是和一个朋友一块儿发明的。
12:42
And when they're stuck卡住 in the studio工作室,
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当他们在工作室创意枯竭的时候,
12:46
Brian布赖恩 Eno伊诺 will reach达到 for one of the cards.
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布莱恩·伊诺就会拿出其中一张卡片。
12:49
He'll地狱 draw one at random随机,
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他会随意取出一张,
然后让乐队根据
卡片上的指示去做。
12:50
and he'll地狱 make the band
follow跟随 the instructions说明 on the card.
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12:54
So this one ...
264
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看看这一张——
12:57
"Change更改 instrument仪器 roles角色."
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“改变演奏乐器”。
12:58
Yeah, everyone大家 swap交换 instruments仪器 --
Drummer鼓手 on the piano钢琴 --
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是的,每个人都交换一下乐器——
比如鼓手去弹钢琴——
13:01
Brilliant辉煌, brilliant辉煌 idea理念.
267
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1997
真是非常非常棒的主意。
13:03
"Look closely密切 at the most
embarrassing尴尬 details细节. Amplify放大 them."
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“仔细看看最尴尬的细节。
然后把它们放大。”
13:08
"Make a sudden突然, destructive有害,
unpredictable不可预料的 action行动. Incorporate合并."
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“做出既突然、同时又具有破坏性
且无法预料的行动。”
13:14
These cards are disruptive破坏性.
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这些卡片都有阻碍作用。
13:17
Now, they've他们已经 proved证实 their worth价值
in album专辑 after album专辑.
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现在,这些卡片已经
通过一张张的唱片证明了它的价值。
13:21
The musicians音乐家 hate讨厌 them.
272
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音乐家们恨透了它们。
13:24
(Laughter笑声)
273
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(笑声)
13:25
So Phil菲尔 Collins柯林斯 was playing播放 drums
on an early Brian布赖恩 Eno伊诺 album专辑.
274
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菲尔·柯林斯曾经在
布莱恩-伊诺的一张唱片里打过鼓。
13:29
He got so frustrated受挫 he started开始
throwing投掷 beer啤酒 cans across横过 the studio工作室.
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有一次把他气得把啤酒罐
从工作室的一头扔到了另一头。
13:34
Carlos卡洛斯 Alomar阿罗玛, great rock guitarist吉他手,
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卡洛斯·阿洛玛,非常优秀的摇滚吉他手,
13:36
working加工 with Eno伊诺
on David大卫 Bowie's鲍伊的 "Lodger房客" album专辑,
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和伊诺一起参与过
大卫·鲍伊专辑《Lodger》的制作。
13:40
and at one point
he turns to Brian布赖恩 and says,
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有一回,他跟布莱恩说,
13:43
"Brian布赖恩, this experiment实验 is stupid."
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“布莱恩,这个实验蠢透了。”
13:49
But the thing is
it was a pretty漂亮 good album专辑,
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但事实证明那是一张非常棒的专辑,
13:53
but also,
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而且,
13:55
Carlos卡洛斯 Alomar阿罗玛, 35 years年份 later后来,
now uses使用 The Oblique Strategies策略.
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卡洛斯·阿洛玛在35年后,
也就是现在正在使用“倾斜策略”。
13:59
And he tells告诉 his students学生们
to use The Oblique Strategies策略
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他还介绍给他的学生们
使用“倾斜策略”,
因为他懂了一个道理。
14:02
because he's realized实现 something.
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14:05
Just because you don't like it
doesn't mean it isn't helping帮助 you.
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那就是你不喜欢它
并不代表它对你没用。
14:12
The strategies策略 actually其实
weren't a deck甲板 of cards originally本来,
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这种策略实际上
原本并不是那一叠卡片,
14:14
they were just a list名单 --
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而是一个列表——
14:16
list名单 on the recording记录 studio工作室 wall.
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列在录音工作室的墙上。
14:17
A checklist清单 of things
you might威力 try if you got stuck卡住.
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列表上写着当你创意枯竭的时候
你可以尝试做的事。
14:23
The list名单 didn't work.
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而这个列表并不管用。
14:26
Know why?
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知道为什么吗?
14:29
Not messy enough足够.
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因为还不够麻烦。
14:31
Your eye would go down the list名单
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你的眼睛会浏览一遍列表,
14:33
and it would settle解决 on whatever随你
was the least最小 disruptive破坏性,
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然后你就会选择那个
最不混乱的,
14:37
the least最小 troublesome麻烦,
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最不麻烦的那条,
14:40
which哪一个 of course课程 misses错过 the point entirely完全.
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这样当然就完全违背初衷了。
14:46
And what Brian布赖恩 Eno伊诺 came来了 to realize实现 was,
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然后布莱恩·伊诺就意识到,
14:48
yes, we need to run
the stupid experiments实验,
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是的,我们需要进行这样愚蠢的实验,
14:53
we need to deal合同
with the awkward尴尬 strangers陌生人,
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我们需要有尴尬的陌生人加入,
14:55
we need to try to read the ugly丑陋 fonts字体.
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我们需要试着去读一读难看的字体。
14:57
These things help us.
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这些都会帮助我们。
14:58
They help us solve解决 problems问题,
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它们可以帮我们解决问题,
15:00
they help us be more creative创作的.
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它们可以让我们变得更有创造力。
15:01
But also ...
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但是同样······
15:04
we really need some persuasion劝说
if we're going to accept接受 this.
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我们需要一些“外部因素”
来让我们接受这样做。
15:08
So however然而 we do it ...
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所以不管我们怎样做······
15:10
whether是否 it's sheer绝对 willpower意志,
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不管是靠纯粹的意志力,
15:12
whether是否 it's the flip翻动 of a card
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还是靠抽出的那张卡片,
15:15
or whether是否 it's a guilt有罪 trip
from a German德语 teenager青少年,
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还是碰见了一个德国青年
内疚的经历,
15:19
all of us, from time to time,
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我们所有人,有时,
15:21
need to sit down and try and play
the unplayable无法播放 piano钢琴.
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都需要坐下来,
试着弹弹那台弹不了的钢琴。
15:27
Thank you.
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谢谢。
15:28
(Applause掌声)
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(掌声)
Translated by Huazhe Xie
Reviewed by Zhiting Chen

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ABOUT THE SPEAKER
Tim Harford - Economist, journalist, broadcaster
Tim Harford's writings reveal the economic ideas behind everyday experiences.

Why you should listen

In the Undercover Economist column he writes for the Financial Times, Tim Harford looks at familiar situations in unfamiliar ways and explains the fundamental principles of the modern economy. He illuminates them with clear writing and a variety of examples borrowed from daily life.

His book, Adapt: Why Success Always Starts With Failure, argues that the world has become far too unpredictable and complex for today's challenges to be tackled with ready-made solutions and expert opinions. Instead, Harford suggests, we need to learn to embrace failure and to constantly adapt, to improvise rather than plan, to work from the bottom up rather than the top down. His next book, Messy: Thriving in a Tidy-Minded World will be published in September 2016. 

Harford also presents the BBC radio series More or Less, a rare broadcast program devoted, as he says, to "the powerful, sometimes beautiful, often abused but ever ubiquitous world of numbers."

He says: "I’d like to see many more complex problems approached with a willingness to experiment."

More profile about the speaker
Tim Harford | Speaker | TED.com

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