TED2006
Sir Ken Robinson: Do schools kill creativity?
켄 로빈슨, "학교가 창의력을 죽인다."
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Readability: 3.3
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창의력을 억누르기 보다는 키워줄 수 있는 교육제도를 만드는 것에 대한 켄 로빈슨의 흥미롭고 감동적인 강연입니다.
Ken Robinson - Author/educator
Creativity expert Sir Ken Robinson challenges the way we're educating our children. He champions a radical rethink of our school systems, to cultivate creativity and acknowledge multiple types of intelligence. Full bio
Creativity expert Sir Ken Robinson challenges the way we're educating our children. He champions a radical rethink of our school systems, to cultivate creativity and acknowledge multiple types of intelligence. Full bio
Double-click the English transcript below to play the video.
00:24
Good morning. How are you?
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좋은 아침입니다. 안녕하세요, 지금까지 굉장히 좋았죠?
00:28
(Laughter)
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00:29
It's been great, hasn't it?
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강연들이 너무 좋아 정신을 못 차리겠네요.
00:32
I've been blown away by the whole thing.
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00:34
In fact, I'm leaving.
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사실 저는 그냥 집에 가야하나 싶어요. (웃음)
00:36
(Laughter)
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이 컨퍼런스에는 3개의 테마가 있습니다.
00:42
There have been three themes
running through the conference
running through the conference
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그 세 가지 테마 모두 제가 오늘 강연할 내용과
00:45
which are relevant
to what I want to talk about.
to what I want to talk about.
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겹치는 부분이 있습니다.
00:47
One is the extraordinary
evidence of human creativity
evidence of human creativity
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첫째 테마는 우리가 본 강연들에서 나타나는,
00:52
in all of the presentations that we've had
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또 여러분들이 보여주고 있는 인류의 창의력입니다.
00:54
and in all of the people here.
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그 창의력이 얼마나 다양하고 광범위한지요.
00:56
Just the variety of it
and the range of it.
and the range of it.
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둘째는,
01:00
The second is
that it's put us in a place
that it's put us in a place
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창의성이라는 것이 미래의 관점에서 보면
01:02
where we have no idea
what's going to happen,
what's going to happen,
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01:04
in terms of the future.
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무슨 일이 일어날지, 어떤 식으로 전개될지
01:06
No idea how this may play out.
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아무도 알 수 없다는 점입니다.
01:09
I have an interest in education.
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저는 교육에 관심이 있습니다.
01:10
Actually, what I find is everybody
has an interest in education.
has an interest in education.
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사실, 누구나 교육에 관심을 가지고 있다고 봅니다.
그렇지 않아요? 흥미로운 사실이죠.
01:15
Don't you?
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01:16
I find this very interesting.
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저녁 모임에 가서 교육 분야에서
01:17
If you're at a dinner party,
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01:19
and you say you work in education --
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일을 한다는 말을 하면 --
01:21
Actually, you're not often
at dinner parties, frankly.
at dinner parties, frankly.
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아니죠, 사실 교육자라면, 음, 저녁 모임 같은데는 거의 안 가게 되겠죠?
01:24
(Laughter)
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01:28
If you work in education,
you're not asked.
you're not asked.
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(웃음) 초대를 못 받을 테니까요.
01:31
(Laughter)
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초대 받더라도, 다시는 안 받게 되잖아요? 참 이상한 일이군요.
01:34
And you're never asked back, curiously.
That's strange to me.
That's strange to me.
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01:38
But if you are, and you say to somebody,
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어쨌든, 그런 모임에서 누구랑 대화를 하다보면,
"직업이 뭡니까"라는 질문을 자주 받게 되는데
01:40
you know, they say, "What do you do?"
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교육자라고 대답을 하면
01:42
and you say you work in education,
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01:44
you can see the blood run from their face.
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상대방의 얼굴이 바로 창백해지는 게 보여요.
01:46
They're like, "Oh my God,"
you know, "Why me?"
you know, "Why me?"
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속으로 "젠장, 왜 하필 나야? 일주일에 겨우 하루 놀러온 건데..." (웃음)
01:48
(Laughter)
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01:50
"My one night out all week."
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01:51
(Laughter)
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반대로 당신이 상대방의 교육에 관해 질문을 하면
01:54
But if you ask about their education,
they pin you to the wall.
they pin you to the wall.
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그들이 당신을 놔주지 않을 겁니다. 교육이라는 것은
01:57
Because it's one of those things
that goes deep with people, am I right?
that goes deep with people, am I right?
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우리 마음 속 깊이 자리잡고 있기 때문이겠죠. 안 그래요?
종교나, 돈, 다른 것들도 마찬가지죠.
02:01
Like religion, and money and other things.
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우리 모두가 그렇듯이 저는 교육에 대한 관심이 아주 많아요.
02:04
So I have a big interest in education,
and I think we all do.
and I think we all do.
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교육에는 엄청난 이해관계가 걸려있습니다.
02:08
We have a huge vested interest in it,
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알 수 없는 미래를 엿볼 수 있게 해주는 단서가
02:10
partly because it's education
that's meant to take us into this future
that's meant to take us into this future
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바로 교육에 있다는 것이 그 이유 중 하나겠지요.
02:14
that we can't grasp.
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02:15
If you think of it,
children starting school this year
children starting school this year
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생각해보죠. 이번 해에 학교를 시작하는 어린이들은
2065년에 은퇴를 하게 될 겁니다.
02:19
will be retiring in 2065.
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02:24
Nobody has a clue,
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지난 4일 동안 보았던 모든 전문지식에도 불구하고
02:25
despite all the expertise that's been
on parade for the past four days,
on parade for the past four days,
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5년 뒤에 세계가 어떤 모습으로 변할지 알 수 없습니다.
02:29
what the world will look like
in five years' time.
in five years' time.
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그러면서도 우리는 이 미지의 미래에 대비하도록
02:32
And yet we're meant
to be educating them for it.
to be educating them for it.
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아이들을 가르쳐야 하죠. 이 예측불가능성이
02:34
So the unpredictability,
I think, is extraordinary.
I think, is extraordinary.
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참 놀랍다고 생각해요.
02:36
And the third part of this
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셋째 주제는 어린이들이
02:38
is that we've all agreed, nonetheless,
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무한한 재능을 가지고 있다는 것에 대해
02:40
on the really extraordinary
capacities that children have --
capacities that children have --
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모두들 동의한다는 것이죠. 혁신을 창조하는 재능이 있습니다.
02:45
their capacities for innovation.
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어제 쎄리나, 정말 기특 하지 않았어요?
02:48
I mean, Sirena last night
was a marvel, wasn't she?
was a marvel, wasn't she?
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연주 하는걸 보면서 감동 받았습니다.
02:50
Just seeing what she could do.
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비범한 어린이이지만, 이 아이의 어린 시절 전체가
02:52
And she's exceptional, but I think
she's not, so to speak,
she's not, so to speak,
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02:57
exceptional in the whole of childhood.
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특별하다고 생각되진 않아요.
그보다, 자기의 재능을 찾아내 거기에 남다른 노력을 더한
03:00
What you have there is a person
of extraordinary dedication
of extraordinary dedication
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어린이지요. 저는 모든 어린이들이
03:03
who found a talent.
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대단한 재능을 갖추고 있다고 주장하고 싶습니다.
03:05
And my contention is,
all kids have tremendous talents.
all kids have tremendous talents.
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하지만 우린 이런 재능을 가차없이 억누르기도 하죠.
03:07
And we squander them, pretty ruthlessly.
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그래서, 저는 교육과 창의성에 대해
03:09
So I want to talk about education
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03:12
and I want to talk about creativity.
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얘기를 하고 싶습니다. 저의 주장은
03:13
My contention is that creativity now
is as important in education as literacy,
is as important in education as literacy,
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이제 창의력을 읽기/쓰기와
같은 수준으로 다루어야 한다는 것입니다.
03:19
and we should treat it
with the same status.
with the same status.
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(박수) 감사합니다. 사실 이게 말하려던 전부에요.
03:22
(Applause) Thank you.
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03:24
(Applause)
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03:29
That was it, by the way.
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대단히 감사합니다. (웃음) 음, 15분이나 남았구나...
03:30
Thank you very much.
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03:31
(Laughter)
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03:33
So, 15 minutes left.
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음, 옛날 옛적에... 아녜요. (웃음)
03:35
(Laughter)
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03:38
Well, I was born... no.
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03:40
(Laughter)
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최근에 정말 재미있는 이야기를 들었는데요 – 참 즐겨 하는 이야기입니다.
03:43
I heard a great story recently
-- I love telling it --
-- I love telling it --
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그림 수업에 어느 한 여자아이가 있었어요. 여섯 살이었고
03:46
of a little girl
who was in a drawing lesson.
who was in a drawing lesson.
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교실 뒤에서 그림을 그리고 있었는데,
03:49
She was six, and she was
at the back, drawing,
at the back, drawing,
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선생님 말로는 다른 수업에서는 거의 집중을 안 하는 애인데
03:51
and the teacher said this girl
hardly ever paid attention,
hardly ever paid attention,
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그리기 수업에서는 유독 집중했다고 해요.
03:54
and in this drawing lesson, she did.
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03:55
The teacher was fascinated.
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선생님은 신기해서 아이한테
03:57
She went over to her,
and she said, "What are you drawing?"
and she said, "What are you drawing?"
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"너 무엇을 그리니?"라고 물어 봤더니,
04:00
And the girl said, "I'm
drawing a picture of God."
drawing a picture of God."
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"신을 그리고 있어요"라고 하더래요.
04:03
And the teacher said, "But nobody
knows what God looks like."
knows what God looks like."
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선생님이 "신이 어떻게 생겼는지 아무도 모르잖아?"라고 하니까
04:06
And the girl said,
"They will, in a minute."
"They will, in a minute."
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어린이는 이렇게 대답했어요, "곧 알게 될 거에요!"
04:09
(Laughter)
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(웃음)
영국에서 제 아들이 네 살이었을 때,
04:20
When my son was four in England --
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하긴 뭐, 영국 뿐만 아니라, 어디에서도 네 살이었겠죠. (웃음)
04:23
Actually, he was four
everywhere, to be honest.
everywhere, to be honest.
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엄밀히 말하자면, 그 아인 어디를 가든지 상관없이 네 살이겠죠.
04:25
(Laughter)
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04:27
If we're being strict about it,
wherever he went, he was four that year.
wherever he went, he was four that year.
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그 아이가 예수탄생연극에서 역할을 맡았는데,
04:30
He was in the Nativity play.
Do you remember the story?
Do you remember the story?
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그 이야기 기억 하시나요? 유명한 스토리인데..
04:33
(Laughter)
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04:34
No, it was big, it was a big story.
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아주 대단한 스토리였는데… 멜 깁슨이 후속 편을 만들 정도 였는데.
04:36
Mel Gibson did the sequel,
you may have seen it.
you may have seen it.
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보셨을지도 몰라요, "예수 탄생 2". 어쨌던, 우리 아들 제임스가 요셉의 역을 맡게 됐어요.
04:38
(Laughter)
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04:40
"Nativity II."
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04:41
But James got the part of Joseph,
which we were thrilled about.
which we were thrilled about.
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아이가 아주 신나서 있더라고요.
04:45
We considered this to be
one of the lead parts.
one of the lead parts.
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그래서 가족들도 주연 배역인줄 알았죠.
“주연: 제임스 로빈슨이 요셉!”이라고 써있는 티셔츠를 입은
04:48
We had the place crammed
full of agents in T-shirts:
full of agents in T-shirts:
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사람들을 고용해서 공연장을 꽉 채워놨어요. (웃음)
04:50
"James Robinson IS Joseph!" (Laughter)
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04:53
He didn't have to speak,
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그런데 사실 대사는 없더라고요.
04:54
but you know the bit
where the three kings come in?
where the three kings come in?
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아무튼 그 중에 3명의 동방박사가 등장하는 장면 아시죠?
04:57
They come in bearing gifts,
gold, frankincense and myrrh.
gold, frankincense and myrrh.
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3가지 예물로 황금, 유향과 몰약을 가져오는 장면이죠.
04:59
This really happened.
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실제 일어난 일입니다. 저희는 그냥 관람하고 있었는데,
05:00
We were sitting there and I think
they just went out of sequence,
they just went out of sequence,
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대사를 조금 틀리게 말했던 것 같았어요.
공연이 끝나고 그 아이에게 가서 물어봤죠.
05:04
because we talked to the little boy
afterward and we said,
afterward and we said,
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"괜찮니?" 이랬더니 "네. 왜요? 무슨 문제 있었나요?" 라고 대답하더라고요.
05:06
"You OK with that?" And he said,
"Yeah, why? Was that wrong?"
"Yeah, why? Was that wrong?"
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잠깐 즉흥대사 했던 것 뿐이었어요.
05:09
They just switched.
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아무튼, 공연 중에 머리에 행주를 두른 네 살짜리
05:10
The three boys came in,
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남자애들 3명이 등장하더니,
05:12
four-year-olds with tea towels
on their heads,
on their heads,
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상자를 하나씩 내려놓으면서,
05:14
and they put these boxes down,
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05:15
and the first boy said,
"I bring you gold."
"I bring you gold."
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첫 번째 아이는 "황금을 드립니다",
05:17
And the second boy said,
"I bring you myrrh."
"I bring you myrrh."
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둘째 아이는 "몰약을 드립니다",
05:20
And the third boy said, "Frank sent this."
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셋째 아이는 "프랭크가 배달 보내서 왔습니다" 라고 했어요. (웃음) [역주: "유향"의 영어 발음이 아이가 말한 문장의 발음과 유사함.]
05:22
(Laughter)
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05:34
What these things have in common
is that kids will take a chance.
is that kids will take a chance.
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이런 이야기들은 보시면 어린이들은 공통적으로
모르더라도 시도를 합니다.
05:37
If they don't know, they'll have a go.
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제 말이 맞죠? 실수할까봐 두려워하지 않잖아요
05:40
Am I right? They're not
frightened of being wrong.
frightened of being wrong.
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실수하는 것이 창의력을 발휘하는 것과 같다는 말은 아닙니다.
05:44
I don't mean to say that being wrong
is the same thing as being creative.
is the same thing as being creative.
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그렇지만 한가지 확실한 것은
05:48
What we do know is,
if you're not prepared to be wrong,
if you're not prepared to be wrong,
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잘못하거나 실수해도 괜찮다는 마음이 없다면,
05:52
you'll never come up
with anything original --
with anything original --
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신선하고 독창적인 것을 만들어 낼 수는 없습니다.
05:54
if you're not prepared to be wrong.
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실수하는 것을 두려워하면 말입니다. 성인이 될 때쯤이면 대부분의
05:56
And by the time they get to be adults,
most kids have lost that capacity.
most kids have lost that capacity.
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어린이들은 그러한 역량을 잃어버리고 맙니다.
뭔가 실수를 할까봐, 틀릴까봐 걱정을 하면서 살게되죠.
06:01
They have become
frightened of being wrong.
frightened of being wrong.
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한편 우리의 기업들도 마찬가지 입니다.
06:03
And we run our companies like this.
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실수에 대해서는 비난 일색이죠. 오늘날 우리의 교육제도는
06:05
We stigmatize mistakes.
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06:07
And we're now running
national education systems
national education systems
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실수라는 것은 살면서 할 수 있는
06:09
where mistakes are the worst
thing you can make.
thing you can make.
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가장 최악의 일이라고 생각하도록 만들고 있습니다.
06:12
And the result is that
we are educating people
we are educating people
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결과적으로 우리는 교육을 통해 사람들의 창의적인 역량을
06:15
out of their creative capacities.
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말살시키고 맙니다. 피카소가 이런 말을 했죠
06:18
Picasso once said this, he said
that all children are born artists.
that all children are born artists.
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"모든 어린이들은 예술가로 태어난다.
06:22
The problem is to remain an artist
as we grow up.
as we grow up.
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하지만 자라면서 그 예술성을 유지 시키는 것이 문제다."
06:25
I believe this passionately,
that we don't grow into creativity,
that we don't grow into creativity,
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우리는 자라면서 창의력이 계발되기는커녕
있던 창의력도 없어집니다. 교육이 창의력을 빼앗아가는 거죠.
06:29
we grow out of it.
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06:30
Or rather, we get educated out if it.
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왜 그럴까요?
06:33
So why is this?
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저는 약 오 년 전 까지만 해도 스트랫포드 온 에본에서 (Stratford-on-Avon) 살았어요.
06:34
I lived in Stratford-on-Avon
until about five years ago.
until about five years ago.
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우린 스트랫포드에서 LA로 이사를 했었죠.
06:38
In fact, we moved
from Stratford to Los Angeles.
from Stratford to Los Angeles.
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얼마나 매끄러운 과정이었는지 모르실 겁니다.
06:41
So you can imagine
what a seamless transition that was.
what a seamless transition that was.
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(웃음) 사실
06:44
(Laughter)
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06:46
Actually, we lived in a place
called Snitterfield,
called Snitterfield,
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저흰 스트랫포드 바로 외곽에 위치한
스니터필드라는 (Snifferfield) 곳에 살았었는데, 셰익스피어의 아버지가
06:48
just outside Stratford,
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06:49
which is where
Shakespeare's father was born.
Shakespeare's father was born.
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태어난 곳입니다. 재미있는 생각 떠오르지 않으세요?
06:52
Are you struck by a new thought? I was.
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06:54
You don't think of Shakespeare
having a father, do you?
having a father, do you?
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셰익스피어가 아버지가 있다는 생각은 잘 안 하잖아요?
그렇죠? 왜냐면 셰익스피어가 어린이였을 거라는
06:57
Do you? Because you don't think
of Shakespeare being a child, do you?
of Shakespeare being a child, do you?
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생각은 잘 안 하니까요.
07:01
Shakespeare being seven?
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일곱 살의 셰익스피어? 잘 상상이 안됩니다.
07:02
I never thought of it.
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07:03
I mean, he was seven at some point.
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아니 뭐 언젠가는 일곱 살 이였겠죠,
07:05
He was in somebody's
English class, wasn't he?
English class, wasn't he?
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누군가의 영어 수업도 들었겠죠. 얼마나 짜증났을까요?
07:07
(Laughter)
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07:14
How annoying would that be?
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(웃음) "공부 열심히 해야한다."면서 그 아버지는
07:16
(Laughter)
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07:23
"Must try harder."
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07:24
(Laughter)
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07:28
Being sent to bed by his dad, you know,
to Shakespeare, "Go to bed, now!
to Shakespeare, "Go to bed, now!
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셰익스피어에게 "빨리 가서 자라."라고 했겠죠.
바로 그 대문호 셰익스피어에게 "연필 좀 내려 놓고.
07:32
And put the pencil down."
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그렇게 말하지 좀 마라. 알아들을 수가 없잖니."라고도 했겠죠
07:34
(Laughter)
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07:35
"And stop speaking like that."
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07:37
(Laughter)
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07:41
"It's confusing everybody."
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(웃음)
07:42
(Laughter)
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어쨌든 우린 스트랫포드에서 LA로 이사를 했어요.
07:47
Anyway, we moved
from Stratford to Los Angeles,
from Stratford to Los Angeles,
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이사 과정에 대해 한 가지 이야기를 하고 싶네요.
07:53
and I just want to say a word
about the transition.
about the transition.
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제 아들이 가기 싫어했거든요.
07:55
My son didn't want to come.
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07:57
I've got two kids;
he's 21 now, my daughter's 16.
he's 21 now, my daughter's 16.
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애들이 두 명 있는데, 아들은 21살이고, 딸은 16살이에요.
08:00
He didn't want to come to Los Angeles.
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LA를 정말 좋아 하는데도, 가고 싶어 하질 않더라고요.
영국에 사라라고 사랑에 빠진 여자친구가 있었거든요.
08:02
He loved it, but he had
a girlfriend in England.
a girlfriend in England.
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08:05
This was the love of his life, Sarah.
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한달 동안 알고 지낸 아이인데
08:08
He'd known her for a month.
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벌써 기념일을 4번이나 챙겼더라 구요.
08:10
(Laughter)
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08:11
Mind you, they'd had
their fourth anniversary,
their fourth anniversary,
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16살일 때는 한 달도 오랜 기간이죠.
08:13
because it's a long time when you're 16.
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비행기에서 정말 마음 아파하면서
08:16
He was really upset on the plane,
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"사라 같은 여자를 두 번 다시 못 만날 거야."라고 말하더군요.
08:18
he said, "I'll never find
another girl like Sarah."
another girl like Sarah."
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솔직히 말해서 우리에겐 좋은 소식이었죠.
08:20
And we were rather pleased
about that, frankly --
about that, frankly --
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처음부터 그 여자 때문에 영국을 떠났던 것이거든요.
08:23
(Laughter)
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08:31
Because she was the main reason
we were leaving the country.
we were leaving the country.
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(웃음)
08:34
(Laughter)
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미국으로 이사 갈 때나, 세계를 다녀보면
깨닫게 되는 것이 있는데,
08:40
But something strikes you
when you move to America
when you move to America
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이 세상의 모든 교육제도들은 동일한 과목 체계를 갖추고 있다는 겁니다.
08:42
and travel around the world:
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08:43
Every education system on Earth
has the same hierarchy of subjects.
has the same hierarchy of subjects.
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단 하나도, 어딜 가든지 다른 것이 없습니다.
08:47
Every one. Doesn't matter where you go.
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설마 안 그럴 거라는 생각이 들어도 사실입니다.
08:49
You'd think it would be
otherwise, but it isn't.
otherwise, but it isn't.
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맨 위에는 수학과 국어, 언어학이 있고
08:51
At the top are mathematics and languages,
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그 아래는 인문학이고, 그 아래 마지막으로 예술이 들어가죠.
08:53
then the humanities,
and at the bottom are the arts.
and at the bottom are the arts.
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전 세계 어디에서나 마찬가지입니다.
08:56
Everywhere on Earth.
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이에 더불어, 모든 교육 체제 내에서
08:57
And in pretty much every system too,
there's a hierarchy within the arts.
there's a hierarchy within the arts.
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예술과목 사이에도 계층이 존재합니다.
09:01
Art and music are normally
given a higher status in schools
given a higher status in schools
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학교에서는 보통 미술과 음악을 드라마나 춤보다
비중을 더 두고 있죠. 어린이들한테 수학을 가르치듯이
09:04
than drama and dance.
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09:05
There isn't an education
system on the planet
system on the planet
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매일 춤을 가르쳐 주는 교육제도를 어디에서도
09:07
that teaches dance everyday to children
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찾아볼 수가 없어요. 왜 그럴까요?
09:09
the way we teach them mathematics. Why?
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왜 안되는거죠? 제가 보기엔 나름 중요한 분야인데 말이죠.
09:12
Why not? I think this is rather important.
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수학이 정말 중요하다고 생각하지만, 춤도 똑같이 중요합니다.
09:15
I think math is very
important, but so is dance.
important, but so is dance.
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허락만 한다면 어린이들은 항상 춤을 춥니다. 우리 모두 그렇죠.
09:17
Children dance all the time
if they're allowed to, we all do.
if they're allowed to, we all do.
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다 몸을 가지고 있지 않습니까? 그렇지 않아요? 아니면 제가 뭔가를 잘못 배운 것일 수도 있고...
09:20
We all have bodies, don't we?
Did I miss a meeting?
Did I miss a meeting?
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09:23
(Laughter)
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(웃음) 사실 무슨 일이 일어나냐면,
09:26
Truthfully, what happens is,
as children grow up,
as children grow up,
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어린이들이 크면서 우리들은 허리 위에서부터
09:28
we start to educate them progressively
from the waist up.
from the waist up.
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교육을 시키고 나서, 머리에 초점에 둡니다.
09:31
And then we focus on their heads.
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그것도 뇌의 한쪽으로 살짝 치우치게 초점을 두죠.
09:33
And slightly to one side.
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당신이 외계인이고, 우리의 교육계를 관찰하며
09:35
If you were to visit
education, as an alien,
education, as an alien,
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09:38
and say "What's it for, public education?"
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"공교육은 왜 있는걸까?" 의 답을 찾는다면, 결론은 이럴 것 같아요.
09:41
I think you'd have to conclude,
if you look at the output,
if you look at the output,
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-- 교육기관들이 내놓은 성과를 보면
누가 성공을 하는가,
09:43
who really succeeds by this,
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누가 꼬박꼬박 해야 할 일들을 다 하고,
09:45
who does everything that they should,
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09:47
who gets all the brownie
points, who are the winners --
points, who are the winners --
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누가 별점을 많이 받고, 누가 승자가 되는지 --
09:49
I think you'd have to conclude
the whole purpose of public education
the whole purpose of public education
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결론적으로 세계적으로 공교육의 목표는
대학 교수들을
09:53
throughout the world
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육성하기 위한 것이라고 볼 수 있지 않습니까?
09:54
is to produce university professors.
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09:56
Isn't it?
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09:57
They're the people who come out the top.
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상위권 성적으로 졸업하는 사람들이 항상 그들이잖아요.
09:59
And I used to be one, so there.
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저도 한때 교수였으니 잘 알아요. (웃음)
10:01
(Laughter)
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사실, 대학 교수들을 좋아합니다.
10:04
And I like university
professors, but you know,
professors, but you know,
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10:07
we shouldn't hold them up
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그렇지만 그들을 사람이 성취할 수 있는 것의 최고점에 있다고 보면 안됩니다.
10:09
as the high-water mark
of all human achievement.
of all human achievement.
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10:12
They're just a form of life,
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인생의 한 형태일 뿐이죠.
10:14
another form of life.
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그렇지만 유별나게 호기심을 많이 가진 생명체죠.
10:15
But they're rather curious, and I say this
out of affection for them.
out of affection for them.
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절대 비난하는 것 아닙니다.
교수들에게는 재미 있는 특징이 있는데,
10:18
There's something curious
about professors in my experience --
about professors in my experience --
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모두는 아니지만, 그들은 주로 머리 속에서 삽니다.
10:21
not all of them, but typically,
they live in their heads.
they live in their heads.
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살짝 한쪽으로 치우친 머리 속에서 살죠.
10:24
They live up there,
and slightly to one side.
and slightly to one side.
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육체를 이탈했다고 볼 수 있죠.
10:27
They're disembodied, you know,
in a kind of literal way.
in a kind of literal way.
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그들은 몸이란 그저 머리를 이동시키는
10:30
They look upon their body as a form
of transport for their heads.
of transport for their heads.
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수단이라고 생각하지 않습니까?
10:34
(Laughter)
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10:40
Don't they?
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(웃음) 머리를 회의 장소로 이동시키는 수단이죠.
10:41
It's a way of getting
their head to meetings.
their head to meetings.
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10:43
(Laughter)
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만약 유체이탈현상을
10:49
If you want real evidence
of out-of-body experiences,
of out-of-body experiences,
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직접 관찰 하고 싶으시다면,
10:52
get yourself along to a residential
conference of senior academics,
conference of senior academics,
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교수학회를 찾아 참석 하시고
마지막 날에 디스코텍에 꼭 들르세요.
10:56
and pop into the discotheque
on the final night.
on the final night.
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10:58
(Laughter)
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(웃음) 거기서 보게 되실 겁니다.
11:01
And there, you will see it.
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11:02
Grown men and women
writhing uncontrollably, off the beat.
writhing uncontrollably, off the beat.
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아저씨, 아줌마 상관없이 박치들이 몸을 비비꼬는 모습들을…
11:07
(Laughter)
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눈빛에는 빨리 집에나 가서 이 경험에 대해 논문을 쓰고 싶어하는 게 보이죠.
11:09
Waiting until it ends so they can
go home and write a paper about it.
go home and write a paper about it.
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우리 교육 제도는 학습 능력에
11:13
(Laughter)
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11:15
Our education system is predicated
on the idea of academic ability.
on the idea of academic ability.
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중점을 두고 있습니다. 이유가 뭘까요?
11:19
And there's a reason.
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19세기 이전에는 세계 어디에도
11:20
Around the world, there were
no public systems of education,
no public systems of education,
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공교육 제도가 존재하지 않았어요.
11:23
really, before the 19th century.
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산업사회의 수요에 의해서
11:26
They all came into being
to meet the needs of industrialism.
to meet the needs of industrialism.
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생긴 것들이지요.
그러니까 계층구조는 두 가지 개념에 뿌리를 두고 있는 것이죠.
11:29
So the hierarchy is rooted on two ideas.
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첫 번째는, 직장을 구하기 위해 가장 필요한 과목들이 우위에 있다.
11:31
Number one, that the most useful
subjects for work are at the top.
subjects for work are at the top.
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어렸을 때 즐겼던 과목들,
11:36
So you were
probably steered benignly away
probably steered benignly away
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그런 것들에 관심을 둬서는
11:38
from things at school when you
were a kid, things you liked,
were a kid, things you liked,
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커서 직장을 절대로 못 구하니까
오히려 하지 말라는 조언을 많이 들으셨죠. 제 말이 맞죠?
11:41
on the grounds that you would
never get a job doing that. Is that right?
never get a job doing that. Is that right?
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음악? 음악가 되는 게 쉬운 줄 아니?
11:44
Don't do music, you're not
going to be a musician;
going to be a musician;
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미술? 미술가 되면 어떻게 먹고 살려고?
11:46
don't do art, you won't be an artist.
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11:48
Benign advice -- now, profoundly mistaken.
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잘 되라고 하는 말이지만 너무나 중대한 착오죠.
11:52
The whole world
is engulfed in a revolution.
is engulfed in a revolution.
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전세계가 혁명에 휩싸이고 있습니다.
둘째는, 대학들이 자기 모습을 본떠서 교육제도를 설계했기 때문에
11:54
And the second is academic ability,
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11:56
which has really come to dominate
our view of intelligence,
our view of intelligence,
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지성은 ‘학습능력’이라는 생각이
우리를 지배하게 되었습니다.
11:59
because the universities designed
the system in their image.
the system in their image.
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생각해 보세요, 전세계의 모든
12:02
If you think of it, the whole system
of public education around the world
of public education around the world
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교육 제도들은 대학 입시를 위한
절차라고 보실 수 있어요.
12:05
is a protracted process
of university entrance.
of university entrance.
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결과적으로 많은 훌륭한 재능과
12:08
And the consequence
is that many highly-talented,
is that many highly-talented,
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창의력을 가진 자들은 스스로가 그렇지 않다고 착각을 합니다.
12:10
brilliant, creative
people think they're not,
people think they're not,
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왜냐하면, 학교를 다니면서 재능 있었던 것들은
12:12
because the thing
they were good at at school
they were good at at school
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별 가치가 주어지지 않았던가 비난까지 받았으니 더욱이 그렇죠.
12:15
wasn't valued,
or was actually stigmatized.
or was actually stigmatized.
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12:17
And I think we can't afford
to go on that way.
to go on that way.
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더 이상 이런 길로 가면 안됩니다.
12:19
In the next 30 years, according to UNESCO,
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유네스코에 의하면, 역대 졸업생 숫자 보다는
앞으로 30년 동안의
12:22
more people worldwide will be graduating
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졸업생 숫자가 더 많을 거라고 합니다.
12:25
through education
than since the beginning of history.
than since the beginning of history.
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그건 지금까지 저희가 얘기했던
12:27
More people, and it's the combination
of all the things we've talked about --
of all the things we've talked about --
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모든 것들의 결합에 의해 이루어지고 있습니다.
과학기술, 그리고 기술의 변화가 직업과 인구구조에 미치는 영향,
12:31
technology and its transformation
effect on work, and demography
effect on work, and demography
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그리고 폭발적으로 늘어난 인구.
12:34
and the huge explosion in population.
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갑자기 학위라는 것이 가치가 없어졌다는 느낌이 들지 않으세요?
12:36
Suddenly, degrees aren't worth anything.
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제 학창시절에는 학위를 따면 직장을 구할 수 있었어요.
12:39
Isn't that true?
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12:40
When I was a student,
if you had a degree, you had a job.
if you had a degree, you had a job.
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직업이 없었더라면, 원치 않아서 그랬던 것이었죠.
12:43
If you didn't have a job,
it's because you didn't want one.
it's because you didn't want one.
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솔직히 저도 그 중의 한 명 이였습니다. (웃음)
12:46
And I didn't want one, frankly. (Laughter)
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12:49
But now kids with degrees
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요새는 학위를 가진 아이들이
12:53
are often heading home
to carry on playing video games,
to carry on playing video games,
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집에 앉아서 오락이나 하고 있지 않나요?
전에는 학사를 필요로 한 직업이 이제는 석사 학위를 필요로 하게 되었고
12:56
because you need an MA where
the previous job required a BA,
the previous job required a BA,
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석사 학위를 요구했던 직업들은 이제 박사 학위를 요구합니다.
12:59
and now you need a PhD for the other.
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학위 인플레이션이라고 보시면 됩니다.
13:01
It's a process of academic inflation.
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13:03
And it indicates the whole
structure of education
structure of education
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그걸 보시면 교육제도의 전체적인 구조가
변화되고 있다는 것을 알 수 있죠.
13:05
is shifting beneath our feet.
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13:06
We need to radically rethink
our view of intelligence.
our view of intelligence.
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저희는 지성을 보는 관점을 많이 바꾸어야 됩니다.
지성에 대해 저희는 세가지를 알고 있죠,
13:09
We know three things about intelligence.
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첫 번째로, 지성은 다양합니다. 우리는 각자의 경험을 바탕으로
13:11
One, it's diverse.
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13:12
We think about the world in all the ways
that we experience it.
that we experience it.
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세계관을 가지게 됩니다.
시각, 청각과 운동 감각으로 생각을 하죠.
13:15
We think visually, we think in sound,
we think kinesthetically.
we think kinesthetically.
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추상적으로 생각하며, 동적으로 생각을 합니다.
13:18
We think in abstract terms,
we think in movement.
we think in movement.
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둘째, 지성은 역동적입니다.
13:21
Secondly, intelligence is dynamic.
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어제 여러 발표를 통해 들으셨듯이,
13:23
If you look at the interactions
of a human brain,
of a human brain,
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13:26
as we heard yesterday
from a number of presentations,
from a number of presentations,
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우리의 뇌 작용을 살펴 보시면 지성은
13:29
intelligence is wonderfully interactive.
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뛰어난 상호작용성을 가지고 있습니다.
13:31
The brain isn't divided into compartments.
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우리의 뇌는 작은 구역들로 구획되어 있지 않습니다.
13:33
In fact, creativity --
which I define as the process
which I define as the process
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저는 창의력을 가치를 끌어낼 수 있는
13:37
of having original ideas
that have value --
that have value --
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독창적인 아이디어를 생각해내는 프로세스라고 보는데요,
창의력은 서로 다르게 발달된 관점들의
13:39
more often than not comes about
through the interaction
through the interaction
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상호작용에서 일어난다고 생각합니다.
13:42
of different disciplinary
ways of seeing things.
ways of seeing things.
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우리의 뇌는 의도적으로… 그건 그렇고,
13:46
By the way, there's a shaft of nerves
that joins the two halves of the brain
that joins the two halves of the brain
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양쪽 뇌를 이어주는 ‘뇌량’이라는 신경뭉치가 있습니다.
13:50
called the corpus callosum.
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여성들의 뇌량이 더 두껍습니다.
13:51
It's thicker in women.
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어제 헬렌 씨의 강연에서 이어서 이야기 하자면,
13:53
Following off from Helen yesterday,
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뇌량 덕에 여자들이 남자보다 동시에 여러 가지 일을 잘 하는 경향이 있습니다.
13:54
this is probably why women
are better at multi-tasking.
are better at multi-tasking.
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13:58
Because you are, aren't you?
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여러분들이 더 잘 아실 것 같은데요?
13:59
There's a raft of research,
but I know it from my personal life.
but I know it from my personal life.
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이것에 대한 연구도 풍부하지만, 전 일상 생활에서도 명확히 보입니다.
아내가 집에서 요리를 하고 있으면 --
14:03
If my wife is cooking a meal at home --
which is not often, thankfully.
which is not often, thankfully.
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다행히도 자주 있는 일은 아니지만요 (웃음)
14:09
(Laughter)
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아녜요, 아내가 잘 하는 것도 있어요.
14:11
No, she's good at some things,
but if she's cooking,
but if she's cooking,
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그런데 요리를 하고 있으면서
전화 통화도 하고,
14:14
she's dealing with people on the phone,
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아이들과 이야기도 하고, 천정 페인트 칠하면서,
14:16
she's talking to the kids,
she's painting the ceiling,
she's painting the ceiling,
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14:18
she's doing open-heart surgery over here.
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심장수술까지 할 수 있는 거에요.
14:22
If I'm cooking, the door
is shut, the kids are out,
is shut, the kids are out,
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그 반면에, 제가 요리를 하고 있을 때는, 문 닫고, 애들 쫓아 내고,
14:25
the phone's on the hook,
if she comes in I get annoyed.
if she comes in I get annoyed.
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전화는 절대로 안 받죠. 아내가 들어오면 확 짜증이 납니다.
14:28
I say, "Terry, please,
I'm trying to fry an egg in here."
I'm trying to fry an egg in here."
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“테리, 계란 후라이 하는데 방해 좀 안 하면 안되겠니? 아 진짜...” (웃음)
14:31
(Laughter)
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14:38
"Give me a break."
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14:39
(Laughter)
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그 철학적 구문 아시죠, "숲 속에서 나무가 쓰러지는데
14:41
Actually, do you know
that old philosophical thing,
that old philosophical thing,
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그 소리를 들은 사람이 없다면, 과연 나무가 쓰러진 것인가?"
14:43
if a tree falls in a forest
and nobody hears it, did it happen?
and nobody hears it, did it happen?
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그 속담 기억 나시나요?
14:47
Remember that old chestnut?
316
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14:48
I saw a great t-shirt
recently, which said,
recently, which said,
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최근에 정말 멋진 티셔츠를 봤는데, 써있기를
14:51
"If a man speaks his mind
in a forest, and no woman hears him,
in a forest, and no woman hears him,
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"남자가 숲 속에서 자기 생각을 외치는데, 어느 여자도 그 말을 듣지 못했더라면,
14:55
is he still wrong?"
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그 남자가 한 말은 여전히 헛소리일까?" (웃음)
14:56
(Laughter)
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15:03
And the third thing about intelligence is,
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지성의 셋째 포인트는 독특하다는 점입니다.
15:06
it's distinct.
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현재 "에피포니 (Epiphany)"이라는 책을 쓰고 있는데,
15:07
I'm doing a new book at the moment
called "Epiphany,"
called "Epiphany,"
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인터뷰를 통해서 사람들이 스스로의 재능을
15:10
which is based on a series
of interviews with people
of interviews with people
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어떻게 발견했는지를 수록한 내용입니다.
15:12
about how they discovered their talent.
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1920
저는 사람들이 재능을 찾고 키우는 과정에 많은 관심을 가지고 있습니다.
15:14
I'm fascinated
by how people got to be there.
by how people got to be there.
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질리안 린이라는 멋진 여성분과의
15:16
It's really prompted by a conversation
I had with a wonderful woman
I had with a wonderful woman
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대화 덕분에 관심을 가지게 되었는데요.
많은 분들이 모르는 분일 것 같긴 합니다만.
15:20
who maybe most people
have never heard of, Gillian Lynne.
have never heard of, Gillian Lynne.
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들어 보셨나요? 아시는 분 몇 명 있네요. 안무가이시구요.
15:22
Have you heard of her? Some have.
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그분의 작품은 누구나 아는 것들이죠.
15:24
She's a choreographer,
and everybody knows her work.
and everybody knows her work.
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'캣츠'와 '오페라의 유령'의 안무를 하셨죠.
15:27
She did "Cats" and "Phantom of the Opera."
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2001
정말 멋진 분입니다. 제가 영국의 로얄 발레단의 위원이었어요.
15:29
She's wonderful.
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978
15:30
I used to be on the board
of The Royal Ballet,
of The Royal Ballet,
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보시다시피요.
15:32
as you can see.
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15:33
Anyway, Gillian and I had
lunch one day and I said,
lunch one day and I said,
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어쨌던, 어느 날 질리안과 점심을 같이 먹고 있었는데,
"어떻게 해서 댄서가 되셨어요?"라고 물어 봤더니,
15:36
"How did you get to be a dancer?"
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15:37
It was interesting.
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흥미롭게도, 학창 시절 때 점수가 엉망이었다고 하더라고요.
15:39
When she was at school,
she was really hopeless.
she was really hopeless.
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1930년대였는데, 학교서 "질리안은 학습장애가 있는 것 같습니다."
15:41
And the school, in the '30s,
wrote to her parents and said,
wrote to her parents and said,
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라고 편지가 날라왔었대요.
15:45
"We think Gillian
has a learning disorder."
has a learning disorder."
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집중을 못하고 안절부절 했었답니다.
오늘날이라면 ADHD(주의결핍 과잉행동 장애)가
15:47
She couldn't concentrate;
she was fidgeting.
she was fidgeting.
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있다고 하겠죠?
15:49
I think now they'd say she had ADHD.
Wouldn't you?
Wouldn't you?
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15:52
But this was the 1930s, and ADHD
hadn't been invented at this point.
hadn't been invented at this point.
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4059
그런데 아직 1930년대라서 ADHD라는 게 정의가 안 된 시절이었죠.
그런 진단을 받고 싶어도 받을 수가 없었죠. (웃음)
15:56
It wasn't an available condition.
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15:59
(Laughter)
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아직 존재하지 않는 장애였어요.
16:01
People weren't aware they could have that.
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하여간, 의사를 찾아 갔는데,
16:03
(Laughter)
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2134
16:06
Anyway, she went to see this specialist.
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어머니와 통나무 판자로 된 방에 들어가서
의사가 어머니와 학교 문제에 대해
16:10
So, this oak-paneled room,
and she was there with her mother,
and she was there with her mother,
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얘기를 나누는 20분 동안
16:14
and she was led and sat
on this chair at the end,
on this chair at the end,
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방 한 끝에서 손을 깔고 앉아 있었어요.
16:16
and she sat on her hands for 20 minutes
while this man talked to her mother
while this man talked to her mother
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문제라는 것이 숙제를 늦게 내고
16:20
about the problems
Gillian was having at school.
Gillian was having at school.
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2328
다른 사람들에게 귀찮게 굴고 그런 것들이었는데요.
16:22
Because she was disturbing people;
her homework was always late; and so on,
her homework was always late; and so on,
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여덟 살짜리 어린애가 말이죠.
얘기가 끝나자, 의사가 질리안 옆에 앉아
16:26
little kid of eight.
354
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16:27
In the end, the doctor
went and sat next to Gillian, and said,
went and sat next to Gillian, and said,
355
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3055
"어머님이 하신 얘기들 다 들었는데,
잠깐 어머님과 따로 얘기를
16:30
"I've listened to all these
things your mother's told me,
things your mother's told me,
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2705
나누어야 될 것 같아,
16:33
I need to speak to her privately.
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1619
잠깐만 나갈테니, 잠깐 기다려줘."라고 하고
16:34
Wait here. We'll be back;
we won't be very long,"
we won't be very long,"
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그녀를 두고 방을 나갔어요.
16:37
and they went and left her.
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그런데, 방을 나가면서 의사는
16:39
But as they went out of the room,
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책상 위에 있던 라디오를 켜고 나갔습니다.
16:41
he turned on the radio
that was sitting on his desk.
that was sitting on his desk.
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방을 나가자, 어머니에게
16:44
And when they got out, he said to her
mother, "Just stand and watch her."
mother, "Just stand and watch her."
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"잠깐 여기서 따님을 관찰해 보세요."라고 했어요.
16:48
And the minute they left the room,
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방을 나오는 순간 길리안은 일어나서 음악에 따라 움직이고 있었어요.
16:51
she was on her feet, moving to the music.
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몇 분 관찰하다가 어머니에게
16:53
And they watched for a few minutes
and he turned to her mother and said,
and he turned to her mother and said,
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이렇게 말씀을 해드렸습니다.
16:57
"Mrs. Lynne, Gillian
isn't sick; she's a dancer.
isn't sick; she's a dancer.
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"린 어머님, 질리안은 문제아가 아니고,
17:01
Take her to a dance school."
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댄서입니다. 댄스 학교로 보내주세요."
17:03
I said, "What happened?"
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그 후에 어떻게 되었냐고 제가 물었더니
17:05
She said, "She did. I can't tell you
how wonderful it was.
how wonderful it was.
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그녀가 "결국 보내주셨어요. 얼마나 환상적이었는지 표현 할 수 가 없어요.
17:08
We walked in this room
and it was full of people like me.
and it was full of people like me.
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저 같은 사람들이 있는 교실에 들어 갔는데,
저처럼 가만히 앉아 있을 수 없는 사람들,
17:10
People who couldn't sit still.
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17:13
People who had to move to think."
Who had to move to think.
Who had to move to think.
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생각을 하기 위해 몸을 움직여야 되는 사람들로 꽉 차있었죠." 몸을 움직여야 생각을 하는 사람들.
발레, 탭댄스, 재즈 댄스,
17:17
They did ballet, they did tap, jazz;
they did modern; they did contemporary.
they did modern; they did contemporary.
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모던 댄스나 현대적 댄스를 하는 사람들 이었죠.
그녀는 로얄 발레 학교에 오디션을 하게 되었고,
17:21
She was eventually auditioned
for the Royal Ballet School;
for the Royal Ballet School;
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솔로 댄서로서 로얄 발레 학교에서
17:24
she became a soloist; she had
a wonderful career at the Royal Ballet.
a wonderful career at the Royal Ballet.
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훌륭한 커리어를 쌓게 되었죠.
나중에 로얄 발레 학교에서 졸업을 하고,
17:27
She eventually graduated
from the Royal Ballet School,
from the Royal Ballet School,
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질리안 린 댄스 컴퍼니라는 회사를 세우고,
17:30
founded the Gillian Lynne Dance Company,
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엔드류 로이드 웨버를 만나게 됐어요. 그 후로 그녀는 역대 최고의
17:32
met Andrew Lloyd Webber.
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17:33
She's been responsible for
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여러 뮤지컬을 책임지게 되었고,
17:35
some of the most successful
musical theater productions in history,
musical theater productions in history,
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수백만 명에게 즐거움을 가져왔고, 백만장자가 됐습니다.
17:38
she's given pleasure to millions,
and she's a multi-millionaire.
and she's a multi-millionaire.
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17:41
Somebody else might have put her
on medication and told her to calm down.
on medication and told her to calm down.
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의사가 다른 사람이었다면 그냥 약을 처방하고
진정하라고 꾸짖기나 했겠죠.
17:45
(Applause)
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(박수)
결론적으로 저는 이렇게 생각을 합니다.
17:52
What I think it comes to is this:
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어젯밤 앨 고어 씨가 우리의 자연 생태와
17:54
Al Gore spoke the other night
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17:56
about ecology and the revolution
that was triggered by Rachel Carson.
that was triggered by Rachel Carson.
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레이첼 카슨 덕에 시작된 혁명에 대해 말씀 해 주셨어요.
인간의 능력의 풍부함에 대한
18:01
I believe our only hope for the future
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우리의 개념을 재정립할 수 있는
18:03
is to adopt a new conception
of human ecology,
of human ecology,
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인간생태계의 새로운 개념을 받아들이는 것만이
18:07
one in which we start
to reconstitute our conception
to reconstitute our conception
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18:10
of the richness of human capacity.
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미래에 대한 유일한 희망이라고 믿습니다.
18:12
Our education system has mined our minds
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어디서나 비슷비슷한 광물을 얻기 위해 지구를 갉아먹는 것처럼
18:15
in the way that we strip-mine the earth:
for a particular commodity.
for a particular commodity.
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우리의 교육제도가 우리의 정신을 갉아먹고 있습니다.
미래를 위해서는 도움될 것이 없습니다.
18:19
And for the future, it won't serve us.
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우리는 아이들을 가르치는 기본원칙들에 대해
18:21
We have to rethink
the fundamental principles
the fundamental principles
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18:24
on which we're educating our children.
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1968
재고해봐야 합니다.
조너스 솔크가 주장하기를
18:26
There was a wonderful quote
by Jonas Salk, who said,
by Jonas Salk, who said,
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18:28
"If all the insects
were to disappear from the Earth,
were to disappear from the Earth,
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"세계의 모든 곤충들이 사라진다면,
50년 이내에 모든 생명체가 전멸 할 것이고,
18:33
within 50 years all life
on Earth would end.
on Earth would end.
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인간들이 전부 사라진다면,
18:37
If all human beings
disappeared from the Earth,
disappeared from the Earth,
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50년 이내에 모든 생명체가 번창 할 것이다."
18:40
within 50 years all forms
of life would flourish."
of life would flourish."
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그 말 맞습니다.
18:44
And he's right.
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TED가 소중히 여기는 것은 인간의 상상력이라는 재능이며
18:46
What TED celebrates is the gift
of the human imagination.
of the human imagination.
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우리는 이 재능을 현명하게 사용하도록 주의해야 합니다.
18:50
We have to be careful now
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우리가 얘기했던 몇몇 시나리오들을 피해야 합니다
18:52
that we use this gift wisely
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18:54
and that we avert some of the scenarios
that we've talked about.
that we've talked about.
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그렇게 할 수 있는 유일한 방법은
18:58
And the only way we'll do it is by seeing
our creative capacities
our creative capacities
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우리의 창의적인 능력을 보며 그 풍부함을 깨닫고,
19:02
for the richness they are
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아이들을 보며 그들이 희망이라는 것을 꺠닫는 것입니다.
19:03
and seeing our children
for the hope that they are.
for the hope that they are.
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우리의 과제는 아이들이 미래에
19:06
And our task is to educate
their whole being,
their whole being,
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맞설 수 있도록 전인교육을 하는 것입니다.
19:09
so they can face this future.
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우리는 이 미래를 볼 수 없을지 모르지만
19:10
By the way -- we may not see this future,
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19:13
but they will.
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아이들은 보게 될것입니다. 그러므로 우리가 할 일은
19:14
And our job is to help them
make something of it.
make something of it.
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그들이 미래를 멋지게 만들도록 돕는 것입니다. 대단히 감사합니다.
19:17
Thank you very much.
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19:18
(Applause)
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ABOUT THE SPEAKER
Ken Robinson - Author/educatorCreativity expert Sir Ken Robinson challenges the way we're educating our children. He champions a radical rethink of our school systems, to cultivate creativity and acknowledge multiple types of intelligence.
Why you should listen
Why don't we get the best out of people? Sir Ken Robinson argues that it's because we've been educated to become good workers, rather than creative thinkers. Students with restless minds and bodies -- far from being cultivated for their energy and curiosity -- are ignored or even stigmatized, with terrible consequences. "We are educating people out of their creativity," Robinson says. It's a message with deep resonance. Robinson's TED Talk has been distributed widely around the Web since its release in June 2006. The most popular words framing blog posts on his talk? "Everyone should watch this."
A visionary cultural leader, Sir Ken led the British government's 1998 advisory committee on creative and cultural education, a massive inquiry into the significance of creativity in the educational system and the economy, and was knighted in 2003 for his achievements. His 2009 book, The Element: How Finding Your Passion Changes Everything, is a New York Times bestseller and has been translated into 21 languages. A 10th anniversary edition of his classic work on creativity and innovation, Out of Our Minds: Learning to be Creative, was published in 2011. His 2013 book, Finding Your Element: How to Discover Your Talents and Passions and Transform Your Life, is a practical guide that answers questions about finding your personal Element. In his latest book, Creative Schools: The Grassroots Revolution That’s Transforming Education, he argues for an end to our outmoded industrial educational system and proposes a highly personalized, organic approach that draws on today’s unprecedented technological and professional resources to engage all students.
Ken Robinson | Speaker | TED.com