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Tim Harford: How frustration can make us more creative
Tim Harford: Bagaimana masalah yang kacau dapat menginspirasi kreatifitas
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Tantangan dan masalah dapat mengacaukan proses kreatif Anda ... atau malahan membuat Anda jauh lebih kreatif daripada sebelumnya. Dalam kisah yang mengejutkan di balik album piano solo terlaris sepanjang masa, Tim Harford mungkin akan meyakinkan Anda keuntungan bekerja dengan sedikit kekacauan.
Tim Harford - Economist, journalist, broadcaster
Tim Harford's writings reveal the economic ideas behind everyday experiences. Full bio
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 in January 1975,
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Di akhir Januari tahun 1975,
seorang gadis Jerman berusia 17 tahun
benama Vera Brandes
benama Vera Brandes
00:15
a 17-year-old German girl
called Vera Brandes
called Vera Brandes
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berjalan ke atas panggung
Cologne Opera House.
Cologne Opera House.
00:19
walked out onto the stage
of the Cologne Opera House.
of the Cologne Opera House.
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00:24
The auditorium was empty.
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Auditorium itu kosong,
00:27
It was lit only by the dim, green glow
of the emergency exit sign.
of the emergency exit sign.
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hanya bercahayakan
lampu pintu darurat hijau redup.
lampu pintu darurat hijau redup.
00:32
This was the most
exciting day of Vera's life.
exciting day of Vera's life.
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Itu hari yang paling mendebarkan
dalam hidup Vera.
dalam hidup Vera.
Ia adalah promotor konser
termuda di Jerman,
termuda di Jerman,
00:36
She was the youngest
concert promoter in Germany,
concert promoter in Germany,
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dan ia berhasil membujuk
Cologne Opera House
Cologne Opera House
00:39
and she had persuaded
the Cologne Opera House
the Cologne Opera House
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untuk menyelenggarakan
konser jazz larut malam
konser jazz larut malam
00:41
to host a late-night concert of jazz
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dari musisi Amerika, Keith Jarrett.
00:45
from the American musician, Keith Jarrett.
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00:48
1,400 people were coming.
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1,400 orang datang saat itu.
Dan hanya dalam beberapa jam,
00:51
And in just a few hours,
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Jarrett akan keluar di panggung yang sama,
00:53
Jarrett would walk out on the same stage,
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ia akan duduk pada piano,
00:55
he'd sit down at the piano
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dan tanpa geladi maupun lembar musik,
00:57
and without rehearsal or sheet music,
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ia mulai bermain.
01:01
he would begin to play.
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01:04
But right now,
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Tapi kali ini,
Vera mempertemukan Keith
dengan piano yang meragukan,
dengan piano yang meragukan,
01:05
Vera was introducing Keith
to the piano in question,
to the piano in question,
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dan tak bekerja dengan baik.
01:09
and it wasn't going well.
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01:11
Jarrett looked to the instrument
a little warily,
a little warily,
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Jarrett memandang
instrumen itu sedikit ragu,
instrumen itu sedikit ragu,
memainkan beberapa notnya,
01:13
played a few notes,
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mengitarinya,
01:15
walked around it,
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memainkan beberapa not lagi,
01:16
played a few more notes,
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menggumamkan sesuatu
pada produsernya.
pada produsernya.
01:18
muttered something to his producer.
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01:19
Then the producer
came over to Vera and said ...
came over to Vera and said ...
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Kemudian sang produser
menghampiri Vera dan berkata...
menghampiri Vera dan berkata...
01:24
"If you don't get a new piano,
Keith can't play."
Keith can't play."
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"Jika kau tak mendapatkan piano
yang baru, Keith tak dapat bermain."
yang baru, Keith tak dapat bermain."
01:30
There'd been a mistake.
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Ada kesalahan.
Gedung kesenian itu
salah menyediakan instrumen.
salah menyediakan instrumen.
01:31
The opera house had provided
the wrong instrument.
the wrong instrument.
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01:33
This one had this harsh,
tinny upper register,
tinny upper register,
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Nada-nada tinggi piano ini
bersuara sember dan pelan,
bersuara sember dan pelan,
karena senar pianonya sudah usang.
01:36
because all the felt had worn away.
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01:39
The black notes were sticking,
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Tuts hitamnya lekat,
Nada tuts putihnya sumbang,
01:42
the white notes were out of tune,
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pedalnya tidak berfungsi,
01:44
the pedals didn't work
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dan pianonya sendiri juga terlalu kecil.
01:46
and the piano itself was just too small.
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Suaranya takkan bisa memenuhi
ruangan sebesar Cologne Opera House.
ruangan sebesar Cologne Opera House.
01:48
It wouldn't create the volume
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01:50
that would fill a large space
such as the Cologne Opera House.
such as the Cologne Opera House.
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01:54
So Keith Jarrett left.
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Jadi Keith Jarrett pergi.
01:58
He went and sat outside in his car,
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Ia keluar dan duduk di dalam mobilnya,
02:01
leaving Vera Brandes
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meninggalkan Vera Brandes...
untuk menelepon dan mencoba
mencari piano pengganti.
mencari piano pengganti.
02:03
to get on the phone
to try to find a replacement piano.
to try to find a replacement piano.
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Ia punya alat penyesuai nada,
02:07
Now she got a piano tuner,
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tapi tak bisa mendapat piano baru.
02:09
but she couldn't get a new piano.
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02:12
And so she went outside
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Jadi ia pergi keluar...
dan berdiri di tengah hujan,
02:14
and she stood there in the rain,
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berbicara pada Keith Jarrett,
02:17
talking to Keith Jarrett,
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02:20
begging him not to cancel the concert.
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memohon agar ia tak membatalkan konser.
Jarrett melihat dari dalam mobil
02:24
And he looked out of his car
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02:25
at this bedraggled,
rain-drenched German teenager,
rain-drenched German teenager,
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kepada remaja Jerman yang basah kuyup ini,
02:30
took pity on her,
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merasa kasihan padanya,
dan berkata,
02:32
and said,
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02:33
"Never forget ... only for you."
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"Jangan lupakan ini... cuma untukmu saja."
02:39
And so a few hours later,
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Maka beberapa jam kemudian,
Jarrett benar-benar melangkah keluar
panggung gedung kesenian itu.
panggung gedung kesenian itu.
02:40
Jarrett did indeed step out
onto the stage of the opera house,
onto the stage of the opera house,
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02:45
he sat down at the unplayable piano
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Ia duduk di piano
yang tak dapat dimainkan itu,
yang tak dapat dimainkan itu,
02:49
and began.
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dan mulai bermain.
02:51
(Music)
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(Musik)
03:04
Within moments it became clear
that something magical was happening.
that something magical was happening.
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Sesaat kemudian, jelas bahwa
sesuatu yang ajaib sedang terjadi.
sesuatu yang ajaib sedang terjadi.
Jarrett menghindari tuts bagian atas,
03:10
Jarrett was avoiding
those upper registers,
those upper registers,
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ia tetap pada tuts nada-nada tengah,
03:12
he was sticking to the middle
tones of the keyboard,
tones of the keyboard,
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yang mengeluarkan kualitas
suara yang menenangkan suasana.
suara yang menenangkan suasana.
03:15
which gave the piece
a soothing, ambient quality.
a soothing, ambient quality.
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Tapi, juga karena
suara pianonya sangat lirih,
suara pianonya sangat lirih,
03:19
But also, because the piano was so quiet,
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ia harus mengakali bagian pengulangan
dengan nada-nada bas yang bergemuruh
dengan nada-nada bas yang bergemuruh
03:22
he had to set up these rumbling,
repetitive riffs in the bass.
repetitive riffs in the bass.
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Dan ia bermain sambil berdiri,
memilin, menekan kuat kunci-kuncinya,
memilin, menekan kuat kunci-kuncinya,
03:26
And he stood up twisting,
pounding down on the keys,
pounding down on the keys,
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berusaha mengeluarkan volume suara agar
mencapai penonton di barisan belakang.
mencapai penonton di barisan belakang.
03:32
desperately trying to create enough volume
to reach the people in the back row.
to reach the people in the back row.
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Itu adalah pertunjukan yang menggetarkan.
03:37
It's an electrifying performance.
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Yang entah bagaimana membawa kedamaian,
03:39
It somehow has this peaceful quality,
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sekaligus penuh energi,
03:42
and at the same time it's full of energy,
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sangat berdinamika.
03:44
it's dynamic.
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03:47
And the audience loved it.
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Dan penonton menyukainya.
03:49
Audiences continue to love it
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Penonton terus menyukainya
karena rekaman Köln Concert
03:51
because the recording of the Köln Concert
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adalah album piano terlaris
sepanjang sejarah
sepanjang sejarah
03:54
is the best-selling piano album in history
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dan juga album solo jazz terlaris
sepanjang sejarah.
sepanjang sejarah.
03:56
and the best-selling
solo jazz album in history.
solo jazz album in history.
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04:02
Keith Jarrett had been handed a mess.
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Keith Jarrett dihadapkan
pada suatu kekacauan.
pada suatu kekacauan.
04:06
He had embraced that mess, and it soared.
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Ia merengkuh kekacauan itu
dan sukses besar.
dan sukses besar.
04:12
But let's think for a moment
about Jarrett's initial instinct.
about Jarrett's initial instinct.
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Tapi mari berpikir sejenak
tentang insting awal Jarrett.
tentang insting awal Jarrett.
Ia tak mau bermain.
04:17
He didn't want to play.
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Tentu saja,
04:18
Of course,
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saya rasa siapapun,
pada situasi yang sama,
pada situasi yang sama,
04:20
I think any of us,
in any remotely similar situation,
in any remotely similar situation,
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akan merasakan hal yang sama,
insting kita akan sama.
insting kita akan sama.
04:23
would feel the same way,
we'd have the same instinct.
we'd have the same instinct.
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Kita takkan mau diminta melakukan
pekerjaan hebat dengan peralatan buruk.
pekerjaan hebat dengan peralatan buruk.
04:25
We don't want to be asked
to do good work with bad tools.
to do good work with bad tools.
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04:29
We don't want to have to overcome
unnecessary hurdles.
unnecessary hurdles.
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Kita tak mau mengatasi
permasalahan yang tak perlu.
permasalahan yang tak perlu.
04:34
But Jarrett's instinct was wrong,
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Tapi insting Jarrett salah,
04:37
and thank goodness he changed his mind.
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dan syukurlah ia berubah pikiran.
04:39
And I think our instinct is also wrong.
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Dan saya rasa insting kita juga salah.
04:44
I think we need to gain
a bit more appreciation
a bit more appreciation
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Saya rasa kita harus punya
sedikit apresiasi...
sedikit apresiasi...
untuk keuntungan tak terduga
dalam mengatasi sedikit kekacauan.
dalam mengatasi sedikit kekacauan.
04:48
for the unexpected advantages
of having to cope with a little mess.
of having to cope with a little mess.
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04:55
So let me give you some examples
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Saya beri beberapa contoh,
dari psikologi kognisi,
04:57
from cognitive psychology,
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dari ilmu kompleksitas,
05:00
from complexity science,
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dari psikologi sosial,
05:01
from social psychology,
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dan tentunya, rock 'n roll.
05:03
and of course, rock 'n' roll.
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05:05
So cognitive psychology first.
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Pertama psikologi kognisi.
Baru-baru ini kita tahu
05:07
We've actually known for a while
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bahwa kesulitan tertentu,
05:09
that certain kinds of difficulty,
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jenis halangan tertentu,
05:11
certain kinds of obstacle,
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sebenarnya dapat meningkatkan kinerja.
05:13
can actually improve our performance.
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Contoh,
05:15
For example,
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seorang psikolog Daniel Oppenheimer,
05:17
the psychologist Daniel Oppenheimer,
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beberapa tahun lalu,
bekerja sama dengan para guru SMA.
bekerja sama dengan para guru SMA.
05:18
a few years ago,
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05:20
teamed up with high school teachers.
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Dan ia meminta mereka
memformat ulang diktat
memformat ulang diktat
05:22
And he asked them to reformat the handouts
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yang mereka gunakan
di beberapa kelas mereka.
di beberapa kelas mereka.
05:24
that they were giving
to some of their classes.
to some of their classes.
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05:28
So the regular handout would be formatted
in something straightforward,
in something straightforward,
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Diktat yang biasanya digunakan
punya format yang lugas,
punya format yang lugas,
dengan huruf seperti Helvetica
atau Times New Roman.
atau Times New Roman.
05:31
such as Helvetica or Times New Roman.
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05:34
But half these classes were getting
handouts that were formatted
handouts that were formatted
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Tapi separuh kelas
menerima diktat yang terformat
menerima diktat yang terformat
dengan lebih intens,
seperti Haettenschweiler,
seperti Haettenschweiler,
05:37
in something sort of intense,
like Haettenschweiler,
like Haettenschweiler,
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atau sesuatu yang sangat ceria,
seperti Comic Sans cetak miring.
seperti Comic Sans cetak miring.
05:41
or something with a zesty bounce,
like Comic Sans italicized.
like Comic Sans italicized.
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Nah, jenis-jenis huruf itu amat buruk,
05:45
Now, these are really ugly fonts,
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dan sulit dibaca.
05:47
and they're difficult fonts to read.
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Tapi pada akhir semester,
05:49
But at the end of the semester,
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para siswa diberikan ujian,
05:51
students were given exams,
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dan para siswa yang diminta
membaca jenis huruf yang lebih sulit,
membaca jenis huruf yang lebih sulit,
05:54
and the students who'd been asked
to read the more difficult fonts,
to read the more difficult fonts,
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mengerjakan ujian lebih baik,
05:58
had actually done better on their exams,
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dalam berbagai mata pelajaran.
06:00
in a variety of subjects.
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Dan alasannya adalah,
06:01
And the reason is,
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jenis huruf yang sulit
memperlambat mereka,
memperlambat mereka,
06:03
the difficult font had slowed them down,
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memaksa mereka untuk belajar lebih keras,
06:06
forced them to work a bit harder,
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untuk berpikir ekstra
tentang yang mereka baca,
tentang yang mereka baca,
06:08
to think a bit more
about what they were reading,
about what they were reading,
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menafsirkannya ...
06:11
to interpret it ...
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sehingga mereka belajar lebih.
06:13
and so they learned more.
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06:16
Another example.
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Contoh lain.
06:18
The psychologist Shelley Carson
has been testing Harvard undergraduates
has been testing Harvard undergraduates
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Psikolog Shelley Carson
menguji mahasiswa Harvard
menguji mahasiswa Harvard
mengenai kualitas
daya saring atensi mereka.
daya saring atensi mereka.
06:23
for the quality
of their attentional filters.
of their attentional filters.
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Apa maksudnya?
06:26
What do I mean by that?
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Begini, bayangkan Anda berada di restoran,
06:28
What I mean is,
imagine you're in a restaurant,
imagine you're in a restaurant,
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bercakap-cakap.
06:30
you're having a conversation,
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Ada banyak percakapan lainnya
yang berlangsung di restoran itu.
yang berlangsung di restoran itu.
06:32
there are all kinds of other conversations
going on in the restaurant,
going on in the restaurant,
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Anda ingin menyaringnya.
06:35
you want to filter them out,
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Anda ingin fokus pada
apa yang penting bagi Anda.
apa yang penting bagi Anda.
06:36
you want to focus
on what's important to you.
on what's important to you.
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Bisakah Anda melakukannya?
06:38
Can you do that?
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Jika bisa, Anda punya
daya saring atensi yang baik dan kuat.
daya saring atensi yang baik dan kuat.
06:40
If you can, you have
good, strong attentional filters.
good, strong attentional filters.
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Tapi sebagian orang kesulitan.
06:43
But some people really struggle with that.
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Beberapa subyek
mahasiswa S2 Carson kesulitan.
mahasiswa S2 Carson kesulitan.
06:45
Some of Carson's undergraduate
subjects struggled with that.
subjects struggled with that.
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Mereka punya daya saring
yang lemah dan keropos --
yang lemah dan keropos --
06:49
They had weak filters,
they had porous filters --
they had porous filters --
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mereka membiarkan informasi lain masuk.
06:52
let a lot of external information in.
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Jadi itu artinya mereka terus terganggu
06:55
And so what that meant is they were
constantly being interrupted
constantly being interrupted
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dengan pandangan dan suara
di sekitar mereka.
di sekitar mereka.
06:58
by the sights and the sounds
of the world around them.
of the world around them.
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Jika ada TV yang menyala
saat mereka mengerjakan esai,
saat mereka mengerjakan esai,
07:01
If there was a television on
while they were doing their essays,
while they were doing their essays,
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mereka tak dapat menyaringnya.
07:04
they couldn't screen it out.
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Nah, Anda mungkin berpikir
itu adalah suatu kerugian.
itu adalah suatu kerugian.
07:05
Now, you would think
that that was a disadvantage ...
that that was a disadvantage ...
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07:09
but no.
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Tapi tidak.
Ketika Carson melihat yang
telah dicapai para mahasiswa ini,
telah dicapai para mahasiswa ini,
07:10
When Carson looked at what
these students had achieved,
these students had achieved,
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yang punya daya saring lemah
07:14
the ones with the weak filters
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07:16
were vastly more likely
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cenderung mempunyai tahapan hidup
yang lebih kreatif dan nyata dalam hidup;
yang lebih kreatif dan nyata dalam hidup;
07:18
to have some real
creative milestone in their lives,
creative milestone in their lives,
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mempublikasikan novel pertama mereka,
07:21
to have published their first novel,
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meluncurkan album pertama mereka.
07:24
to have released their first album.
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07:27
These distractions were actually
grists to their creative mill.
grists to their creative mill.
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Semua gangguan itu sebenarnya
bahan baku akal kreatif mereka.
bahan baku akal kreatif mereka.
Mereka mampu berpikir kreatif
karena mereka tak punya batasan.
karena mereka tak punya batasan.
07:30
They were able to think outside the box
because their box was full of holes.
because their box was full of holes.
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Mari kita bahas ilmu kompleksitas.
07:36
Let's talk about complexity science.
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Bagaimana menyelesaikan
masalah rumit?
masalah rumit?
07:37
So how do you solve a really complex --
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dunia penuh masalah rumit --
bagaimana menyelesaikannya?
bagaimana menyelesaikannya?
07:39
the world's full
of complicated problems --
of complicated problems --
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07:41
how do you solve
a really complicated problem?
a really complicated problem?
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Contohnya, ketika Anda
mencoba membuat mesin jet.
mencoba membuat mesin jet.
07:44
For example, you try to make a jet engine.
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Ada berbagai macam variabel yang berbeda,
07:46
There are lots and lots
of different variables,
of different variables,
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suhu pengoperasiannya, materialnya,
07:48
the operating temperature, the materials,
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segala dimensi yang berbeda, bentuknya.
07:50
all the different dimensions, the shape.
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Anda tak dapat menyelesaikan
semua masalah itu sekaligus.
semua masalah itu sekaligus.
07:52
You can't solve that kind
of problem all in one go,
of problem all in one go,
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07:55
it's too hard.
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Terlalu sulit.
Jadi apa yang Anda lakukan?
07:56
So what do you do?
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07:57
Well, one thing you can do
is try to solve it step-by-step.
is try to solve it step-by-step.
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Satu hal yang dapat dilakukan,
mencobanya selangkah demi selangkah.
mencobanya selangkah demi selangkah.
Anda punya semacam prototipe,
08:02
So you have some kind of prototype
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Anda rekayasa, uji, dan perbaiki.
08:04
and you tweak it,
you test it, you improve it.
you test it, you improve it.
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Anda rekayasa, uji, dan perbaiki.
08:08
You tweak it, you test it, you improve it.
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08:12
Now, this idea of marginal gains
will eventually get you a good jet engine.
will eventually get you a good jet engine.
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Gagasan keuntungan tambahan ini akhirnya
akan menghasilkan mesin jet yang bagus.
akan menghasilkan mesin jet yang bagus.
Dan metode ini sudah cukup umum digunakan.
08:17
And it's been quite widely
implemented in the world.
implemented in the world.
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Jadi Anda akan dengar, contohnya,
dalam bersepeda tingkat tinggi,
dalam bersepeda tingkat tinggi,
08:20
So you'll hear about it, for example,
in high performance cycling,
in high performance cycling,
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desainer web akan bicara upaya
mengoptimalkan halaman web mereka,
mengoptimalkan halaman web mereka,
08:24
web designers will talk about trying
to optimize their web pages,
to optimize their web pages,
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mereka mencari keuntungan
selangkah demi selangkah.
selangkah demi selangkah.
08:27
they're looking
for these step-by-step gains.
for these step-by-step gains.
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08:30
That's a good way
to solve a complicated problem.
to solve a complicated problem.
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Itu cara yang baik untuk
menyelesaikan masalah rumit.
menyelesaikan masalah rumit.
08:34
But you know what would
make it a better way?
make it a better way?
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Tapi Anda tahu apa yang lebih baik?
08:38
A dash of mess.
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Kekacauan.
08:41
You add randomness,
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2016
Tambahkan sesuatu yang acak,
pada proses awalnya,
08:43
early on in the process,
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lakukanlah tindakan gila,
08:44
you make crazy moves,
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cobalah hal-hal bodoh
yang tak membawa keberhasilan,
yang tak membawa keberhasilan,
08:46
you try stupid things that shouldn't work,
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itu cenderung membuat
penyelesaian masalah menjadi lebih baik.
penyelesaian masalah menjadi lebih baik.
08:49
and that will tend to make
the problem-solving work better.
the problem-solving work better.
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Dan alasannya...
08:52
And the reason for that is
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masalah dengan proses
selangkah demi selangkah,
selangkah demi selangkah,
08:54
the trouble with the step-by-step process,
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keuntungan tambahan,
08:56
the marginal gains,
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hal itu perlahan
membawa Anda ke jalan buntu.
membawa Anda ke jalan buntu.
08:57
is they can walk you
gradually down a dead end.
gradually down a dead end.
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Jika Anda mulai dengan sesuatu yang acak,
cenderung tidak demikian,
cenderung tidak demikian,
09:01
And if you start with the randomness,
that becomes less likely,
that becomes less likely,
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dan keterampilan Anda
memecahkan masalah menjadi lebih kokoh.
memecahkan masalah menjadi lebih kokoh.
09:05
and your problem-solving
becomes more robust.
becomes more robust.
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Mari bicara tentang psikologi sosial.
09:10
Let's talk about social psychology.
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09:12
So the psychologist Katherine Phillips,
with some colleagues,
with some colleagues,
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Psikolog bernama Katherine Philips
dengan beberapa koleganya,
dengan beberapa koleganya,
baru-baru ini memberikan kasus
misteri pembunuhan kepada beberapa siswa,
misteri pembunuhan kepada beberapa siswa,
09:15
recently gave murder mystery
problems to some students,
problems to some students,
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dan siswa ini dikelompokan menjadi
empat orang per kelompok
empat orang per kelompok
09:19
and these students
were collected in groups of four
were collected in groups of four
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dan diberikan berkas-berkas
dengan informasi kejahatan --
dengan informasi kejahatan --
09:22
and they were given dossiers
with information about a crime --
with information about a crime --
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alibi dan bukti, pernyataan saksi,
dan tiga tersangka.
dan tiga tersangka.
09:26
alibis and evidence,
witness statements and three suspects.
witness statements and three suspects.
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09:31
And the groups of four students
were asked to figure out who did it,
were asked to figure out who did it,
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Dan kelompok empat siswa itu
diminta untuk mencari siapa pelakunya,
diminta untuk mencari siapa pelakunya,
yang melakukan kejahatan.
09:35
who committed the crime.
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1200
09:37
And there were two treatments
in this experiment.
in this experiment.
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Dan ada dua perlakuan pada percobaan ini.
09:40
In some cases these were four friends,
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Kadang keempatnya bersahabat,
mereka saling mengenal baik.
09:44
they all knew each other well.
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09:46
In other cases,
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1776
Di kesempatan lain,
tiga orang sahabat dan seorang yang asing.
09:47
three friends and a stranger.
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1920
Anda bisa lihat arah pembicaraan saya.
09:51
And you can see where I'm going with this.
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Jelas, saya ingin menyampaikan bahwa
09:53
Obviously I'm going to say
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09:54
that the groups with the stranger
solved the problem more effectively,
solved the problem more effectively,
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kelompok dengan satu orang asing
menyelesaikan masalah lebih efektif,
menyelesaikan masalah lebih efektif,
09:57
which is true, they did.
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itu benar.
09:59
Actually, they solved the problem
quite a lot more effectively.
quite a lot more effectively.
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Sebenarnya, mereka memecahkan
masalah jauh lebih efektif.
masalah jauh lebih efektif.
Jadi kelompok dengan empat orang sahabat,
10:03
So the groups of four friends,
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kesempatan mereka hanya 50-50
menjawab dengan benar.
menjawab dengan benar.
10:07
they only had a 50-50 chance
of getting the answer right.
of getting the answer right.
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Yang sebenarnya tak begitu hebat --
10:10
Which is actually not that great --
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soal pilihan ganda dengan tiga jawaban?
50-50 tidak begitu bagus.
50-50 tidak begitu bagus.
10:11
in multiple choice, for three answers?
50-50's not good.
50-50's not good.
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(Tawa)
10:14
(Laughter)
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1176
Tiga sahabat dan seorang tak dikenal,
10:16
The three friends and the stranger,
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1696
walaupun si orang asing
tidak punya informasi tambahan,
tidak punya informasi tambahan,
10:17
even though the stranger
didn't have any extra information,
didn't have any extra information,
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2816
walaupun itu hanya masalah
10:20
even though it was just a case
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bagaimana mengubah percakapan
untuk mengatasi kecanggungan,
untuk mengatasi kecanggungan,
10:22
of how that changed the conversation
to accommodate that awkwardness,
to accommodate that awkwardness,
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tiga orang sahabat dan seorang asing,
10:28
the three friends and the stranger,
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mereka punya 75% kesempatan
menemukan jawaban yang benar.
menemukan jawaban yang benar.
10:30
they had a 75 percent chance
of finding the right answer.
of finding the right answer.
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Itu kinerja yang sangat baik.
10:32
That's quite a big leap in performance.
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1726
Tapi saya rasa yang sangat menarik
10:34
But I think what's really interesting
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tak hanya tiga sahabat dan seorang asing
melakukan pekerjaan lebih baik,
melakukan pekerjaan lebih baik,
10:36
is not just that the three friends
and the stranger did a better job,
and the stranger did a better job,
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3239
10:40
but how they felt about it.
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1440
tapi bagaimana perasaan mereka.
10:42
So when Katherine Phillips
interviewed the groups of four friends,
interviewed the groups of four friends,
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4936
Jadi ketika Katherine Phillips
mewawancarai kelompok empat sahabat,
mewawancarai kelompok empat sahabat,
mereka bersenang-senang.
10:47
they had a nice time,
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1856
Mereka juga mengira
melakukan pekerjaan yang baik.
melakukan pekerjaan yang baik.
10:49
they also thought they'd done a good job.
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1960
10:52
They were complacent.
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1200
Mereka terlena.
Ketika ia bicara dengan
tiga sahabat dan seorang asing,
tiga sahabat dan seorang asing,
10:54
When she spoke to the three
friends and the stranger,
friends and the stranger,
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2496
10:57
they had not had a nice time --
222
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1496
mereka tidak bersenang-senang --
10:58
it's actually rather difficult,
it's rather awkward ...
it's rather awkward ...
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2600
melainkan lebih sulit,
cenderung canggung...
cenderung canggung...
11:02
and they were full of doubt.
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dan mereka penuh keraguan.
11:06
They didn't think they'd done a good job
even though they had.
even though they had.
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2920
Mereka tak merasa bekerja dengan baik
walaupun tidak demikian.
walaupun tidak demikian.
Saya rasa itu benar-benar memberi contoh
tantangan yang kita hadapi di sini.
tantangan yang kita hadapi di sini.
11:10
And I think that really exemplifies
226
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1736
11:11
the challenge that we're
dealing with here.
dealing with here.
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2240
11:14
Because, yeah --
228
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1816
Karena, ya --
jenis huruf yang buruk,
11:16
the ugly font,
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1856
orang asing yang canggung,
11:18
the awkward stranger,
230
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1776
pergerakan yang acak ...
11:20
the random move ...
231
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1320
11:22
these disruptions help us solve problems,
232
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3376
gangguan semacam ini
membantu kita memecahkan masalah,
membantu kita memecahkan masalah,
membantu kita menjadi lebih kreatif.
11:25
they help us become more creative.
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2336
Tapi kita tak merasa mereka membantu kita.
11:28
But we don't feel that they're helping us.
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2056
Kami merasa mereka menghalangi ...
11:30
We feel that they're
getting in the way ...
getting in the way ...
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2040
11:33
and so we resist.
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1200
jadi kita menolaknya.
11:36
And that's why the last example
is really important.
is really important.
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Itu mengapa contoh terakhir
sangat penting.
sangat penting.
11:39
So I want to talk about somebody
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2216
Saya ingin berbicara tentang seseorang
dengan latar belakang dunia rock 'n' roll.
11:41
from the background
of the world of rock 'n' roll.
of the world of rock 'n' roll.
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4936
Mungkin Anda kenal, ia penceramah TED.
11:46
And you may know him,
he's actually a TED-ster.
he's actually a TED-ster.
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Namanya Brian Eno.
11:49
His name is Brian Eno.
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1376
Ia seorang komposer ambien
-- yang sangat pandai.
-- yang sangat pandai.
11:50
He is an ambient composer --
rather brilliant.
rather brilliant.
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2816
Ia juga semacam katalis...
11:53
He's also a kind of catalyst
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11:57
behind some of the great
rock 'n' roll albums of the last 40 years.
rock 'n' roll albums of the last 40 years.
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di belakang beberapa album rock 'n' roll
yang hebat 40 tahun terakhir.
yang hebat 40 tahun terakhir.
Ia bekerja sama dengan
David Bowie pada "Heroes,"
David Bowie pada "Heroes,"
12:01
He's worked with David Bowie on "Heroes,"
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3616
ia bekerja sama dengan U2 pada
"Achtung Baby" dan "The Joshua Tree,"
"Achtung Baby" dan "The Joshua Tree,"
12:04
he worked with U2 on "Achtung Baby"
and "The Joshua Tree,"
and "The Joshua Tree,"
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3136
ia bekerja dengan DEVO,
12:08
he's worked with DEVO,
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ia bekerja sama dengan Coldplay,
dan semua orang.
dan semua orang.
12:09
he's worked with Coldplay,
he's worked with everybody.
he's worked with everybody.
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2576
12:12
And what does he do to make
these great rock bands better?
these great rock bands better?
249
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3920
Dan apa yang ia lakukan untuk membuat
semua band rock ini menjadi lebih baik?
semua band rock ini menjadi lebih baik?
12:17
Well, he makes a mess.
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Yah, ia membuat kekacauan.
12:19
He disrupts their creative processes.
251
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1816
Ia mengganggu proses kreatifnya.
ia berperan menjadi
orang asing yang canggung,
orang asing yang canggung,
12:21
It's his role to be the awkward stranger.
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berperan mengatakan pada mereka
12:23
It's his role to tell them
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12:25
that they have to play
the unplayable piano.
the unplayable piano.
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bahwa mereka harus
memainkan piano yang rusak.
memainkan piano yang rusak.
Dan salah satu cara membuat gangguan ini
12:28
And one of the ways
in which he creates this disruption
in which he creates this disruption
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2656
adalah melalui setumpuk kartu
yang menakjubkan --
yang menakjubkan --
12:31
is through this remarkable
deck of cards --
deck of cards --
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2960
Saya punya satu dengan tanda tangannya
-- terima kasih, Brian.
-- terima kasih, Brian.
12:34
I have my signed copy here --
thank you, Brian.
thank you, Brian.
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Namanya The Oblique Strategies
(Strategi Serong),
(Strategi Serong),
12:38
They're called The Oblique Strategies,
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1856
ia menciptakannya dengan seorang teman.
12:40
he developed them with a friend of his.
259
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1858
12:42
And when they're stuck in the studio,
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Dan ketika mereka terjebak di studio,
12:46
Brian Eno will reach for one of the cards.
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2296
Brian Eno akan mengambil satu kartu.
Ia mengambilnya dengan acak,
12:49
He'll draw one at random,
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dan ia membuat band
mengikuti instruksi kartunya.
mengikuti instruksi kartunya.
12:50
and he'll make the band
follow the instructions on the card.
follow the instructions on the card.
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4256
Jadi yang satu ini...
12:54
So this one ...
264
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1320
12:57
"Change instrument roles."
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"Ubah peran instrumen."
Setiap orang menukar instrumennya --
Dummer pada piano --
Dummer pada piano --
12:58
Yeah, everyone swap instruments --
Drummer on the piano --
Drummer on the piano --
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2715
Cerdas, ide yang cerdas.
13:01
Brilliant, brilliant idea.
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1997
"Lihat pada detail yang paling memalukan
dari dekat. Lalu perkuatlah."
dari dekat. Lalu perkuatlah."
13:03
"Look closely at the most
embarrassing details. Amplify them."
embarrassing details. Amplify them."
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3680
13:08
"Make a sudden, destructive,
unpredictable action. Incorporate."
unpredictable action. Incorporate."
269
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4720
"Lakukan tindakan yang mendadak,
merusak, tak terduga. Gabungkan."
merusak, tak terduga. Gabungkan."
13:14
These cards are disruptive.
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1360
Kartu-kartu ini mengganggu.
13:17
Now, they've proved their worth
in album after album.
in album after album.
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3640
Nah, mereka membuktikan potensi mereka
dari album ke album.
dari album ke album.
13:21
The musicians hate them.
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Para musisi membenci mereka.
(Tawa)
13:24
(Laughter)
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Phil Collins memainkan drum
di album awal Brian Eno.
di album awal Brian Eno.
13:25
So Phil Collins was playing drums
on an early Brian Eno album.
on an early Brian Eno album.
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Ia frustrasi sampai melempar
kaleng bir ke sebrang studio.
kaleng bir ke sebrang studio.
13:29
He got so frustrated he started
throwing beer cans across the studio.
throwing beer cans across the studio.
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4000
13:34
Carlos Alomar, great rock guitarist,
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Carlos Alomar, gitaris rock yang hebat,
bekerja sama dengan Eno
pada album David Bowie "Lodger,"
pada album David Bowie "Lodger,"
13:36
working with Eno
on David Bowie's "Lodger" album,
on David Bowie's "Lodger" album,
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dan pada suatu saat ia berpaling
pada Brian dan berkata,
pada Brian dan berkata,
13:40
and at one point
he turns to Brian and says,
he turns to Brian and says,
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2576
"Brian, percobaan ini bodoh."
13:43
"Brian, this experiment is stupid."
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3480
13:49
But the thing is
it was a pretty good album,
it was a pretty good album,
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Tapi masalahnya, album itu cukup bagus.
13:53
but also,
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Tapi juga,
13:55
Carlos Alomar, 35 years later,
now uses The Oblique Strategies.
now uses The Oblique Strategies.
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Carlos Alomar, 35 tahun kemudian, saat ini
menggunakan The Oblique Strategies
menggunakan The Oblique Strategies
Dan ia menyuruh muridnya
menggunakan The Oblique Strategies.
menggunakan The Oblique Strategies.
13:59
And he tells his students
to use The Oblique Strategies
to use The Oblique Strategies
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karena ia menyadari sesuatu.
14:02
because he's realized something.
284
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14:05
Just because you don't like it
doesn't mean it isn't helping you.
doesn't mean it isn't helping you.
285
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4640
Hanya karena Anda tak menyukainya
bukan berarti tak membantu Anda.
bukan berarti tak membantu Anda.
14:12
The strategies actually
weren't a deck of cards originally,
weren't a deck of cards originally,
286
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2762
Strategi itu sebenarnya bukan
setumpuk kartu pada awalnya,
setumpuk kartu pada awalnya,
tapi hanya sebuah daftar --
14:14
they were just a list --
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1190
14:16
list on the recording studio wall.
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1816
daftar pada dinding studio rekaman.
Hal-hal yang bisa dicoba
saat pikiran buntu.
saat pikiran buntu.
14:17
A checklist of things
you might try if you got stuck.
you might try if you got stuck.
289
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14:23
The list didn't work.
290
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Daftar itu tak berhasil.
14:26
Know why?
291
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Tahu sebabnya?
14:29
Not messy enough.
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1200
Tidak cukup kacau.
14:31
Your eye would go down the list
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2016
Mata Anda akan merunut daftarnya
dan akan memilih
yang paling tak mengganggu,
yang paling tak mengganggu,
14:33
and it would settle on whatever
was the least disruptive,
was the least disruptive,
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yang masalahnya paling kecil,
14:37
the least troublesome,
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14:40
which of course misses the point entirely.
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yang tentunya akan menghilangkan intinya.
14:46
And what Brian Eno came to realize was,
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Dan yang Brian Eno sadari adalah,
ya, kita perlu melakukan percobaan bodoh,
14:48
yes, we need to run
the stupid experiments,
the stupid experiments,
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kita perlu berurusan dengan
orang asing yang canggung,
orang asing yang canggung,
14:53
we need to deal
with the awkward strangers,
with the awkward strangers,
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14:55
we need to try to read the ugly fonts.
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kita perlu membaca jenis huruf yang buruk.
Hal-hal ini membantu kita,
14:57
These things help us.
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membantu kita memecahkan masalah,
untuk menjadi lebih kreatif.
untuk menjadi lebih kreatif.
14:58
They help us solve problems,
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15:00
they help us be more creative.
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15:01
But also ...
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Tapi juga ...
15:04
we really need some persuasion
if we're going to accept this.
if we're going to accept this.
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kita benar-benar harus dibujuk
jika kita akan menjalankannya.
jika kita akan menjalankannya.
Bagaimana pun kita melakukannya...
15:08
So however we do it ...
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15:10
whether it's sheer willpower,
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apakah dengan sedikit niat,
apakah dengan selembar kartu,
15:12
whether it's the flip of a card
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15:15
or whether it's a guilt trip
from a German teenager,
from a German teenager,
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atau dengan serombongan
anak remaja Jerman,
anak remaja Jerman,
15:19
all of us, from time to time,
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kita semua, dari waktu ke waktu,
perlu duduk dan mencoba
bermain piano yang rusak.
bermain piano yang rusak.
15:21
need to sit down and try and play
the unplayable piano.
the unplayable piano.
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15:27
Thank you.
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Terima kasih.
(Tepuk tangan)
15:28
(Applause)
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ABOUT THE SPEAKER
Tim Harford - Economist, journalist, broadcasterTim 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."
Tim Harford | Speaker | TED.com