TED@BCG Toronto
Amy Herman: A lesson on looking
Amy Herman: Somo katika kutazama
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Unaangalia kwa ukaribu? Mfundishaji wa uono Amy Herman anaelezea namna ya kutumia sanaa kuongeza uwezo wako mtazamo na kupata muunganisho pale ambapo hauonekani kwa kawaida. Jifunze namna ambazo Herman anatumia kufundisha wanamaji wa SEAL, matabibu na wapelelezi wa uhalifu kubadili taarifa katika maarifa ya matendo kwenye hotuba hii yenye maelezo ya kina.
Amy Herman - Visual educator
By showing people how to look closely at painting, sculpture and photography, Amy Herman helps them hone their visual intelligence to recognize the most pertinent and useful information as well as recognize biases that impede decision making. Full bio
By showing people how to look closely at painting, sculpture and photography, Amy Herman helps them hone their visual intelligence to recognize the most pertinent and useful information as well as recognize biases that impede decision making. Full bio
Double-click the English transcript below to play the video.
00:12
Take a look at this work of art.
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Tazama usanifu huu.
00:16
What is it that you see?
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Ni kipi ambacho unaona?
00:19
At first glance, it looks
to be a grandfather clock
to be a grandfather clock
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Kwa mtazamo wa kwanza, inaonekana
kuwa ni saa ya babu
kuwa ni saa ya babu
00:22
with a sheet thrown over it
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ikiwa na karatasi lililotupiwa juu
00:24
and a rope tied around the center.
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na kamba iliyozunguka katikati.
00:27
But a first look always warrants a second.
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Ila mtazamo wa kwanza mara zote huruhusu
wa pili.
wa pili.
00:31
Look again.
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Angalia tena.
00:33
What do you see now?
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Unaona nini sasa?
00:35
If you look more closely,
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Ukiangalia kwa karibu zaidi,
00:37
you'll realize
that this entire work of art
that this entire work of art
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utatambua kwamba usanifu huu mzima
00:41
is made from one piece of sculpture.
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umetengenezwa na kipande kimoja cha
sanamu.
sanamu.
00:44
There is no clock,
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Hakuna saa.
00:46
there is no rope,
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Hakuna kamba,
00:48
and there is no sheet.
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na hakuna karatasi.
00:50
It is one piece of bleached
Honduras mahogany.
Honduras mahogany.
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Ni kipande kimoja cha mkangazi wa
Honduras uliong'arishwa.
Honduras uliong'arishwa.
00:54
Now let me be clear:
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Sasa ngoja nieleze kwa ufasaha:
00:56
this exercise was not
about looking at sculpture.
about looking at sculpture.
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zoezi hili halikuwa kuhusu
kuangalia sanamu.
kuangalia sanamu.
01:02
It's about looking
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Ni kuhusu kutazama
01:04
and understanding
that looking closely can save a life,
that looking closely can save a life,
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na kuelewa kwamba kuangalia kwa
ukaribu huokoa maisha,
ukaribu huokoa maisha,
01:09
change your company
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kubadili kampuni yako
01:10
and even help you understand
why your children behave the way they do.
why your children behave the way they do.
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na hata kuelewa kwanini watoto
wako wanafanya tabia fulani.
wako wanafanya tabia fulani.
01:15
It's a skill that I call
visual intelligence,
visual intelligence,
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Ni ujuzi ambao nauita maarifa ya uono,
01:18
and I use works of art to teach everybody,
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na natumia kazi za sanaa kufundisha kila
mtu,
mtu,
01:21
from everyday people
to those for whom looking is the job,
to those for whom looking is the job,
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kutoka watu wa kila siku hadi wale
ambao kutazama ni ajira kwao,
ambao kutazama ni ajira kwao,
01:25
like Navy SEALs and homicide
detectives and trauma nurses.
detectives and trauma nurses.
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kama wanamaji wa SEAL na wapelelezi wa
mauaji na wauguzi wa majeraha.
mauaji na wauguzi wa majeraha.
01:31
The fact is that no matter how skilled
you might be at looking,
you might be at looking,
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Ukweli ni kwamba haijalishi ni ujuzi
gani ulionao katika kutazama,
gani ulionao katika kutazama,
01:35
you still have so much
to learn about seeing.
to learn about seeing.
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bado una mambo mengi ya kujifunza
kuhusu kuona.
kuhusu kuona.
01:38
Because we all think we get it
in a first glance and a sudden flash,
in a first glance and a sudden flash,
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Kwa sababu huwa tunadhani tunaelewa katika
mtazamo wa kwanza na ule wa kushtukiza,
mtazamo wa kwanza na ule wa kushtukiza,
01:43
but the real skill is in understanding
how to look slowly
how to look slowly
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lakini ujuzi halisi ni katika kuelewa
namna ya kuangalia taratibu
namna ya kuangalia taratibu
01:47
and how to look more carefully.
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na kuangalia kwa umakini zaidi.
01:49
The talent is in remembering --
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Kipaji ni katika kukumbuka --
01:51
in the crush of the daily urgencies
that demand our attention --
that demand our attention --
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katika mambo tukutananayo kila
siku yanayohitaji umakini wetu --
siku yanayohitaji umakini wetu --
01:55
to step back and look through
those lenses to help us see
those lenses to help us see
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kurudi nyuma na kuangalia kupitia
lenzi kutusaidia kuona
lenzi kutusaidia kuona
02:00
what we've been missing all along.
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ni yapi tuliyoyakosa muda wote.
02:03
So how can looking at painting
and sculpture help?
and sculpture help?
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Sasa namna gani kuangalia mchoro
na sanamu husaidia?
na sanamu husaidia?
02:06
Because art is a powerful tool.
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Kwa sababu sanaa ni nyenzo yenye nguvu.
02:10
It's a powerful tool
that engages both sight and insight
that engages both sight and insight
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Ni nyenzo yenye nguvu ambayo
inahusisha uoni na maarifa
inahusisha uoni na maarifa
02:14
and reframes our understanding
of where we are and what we see.
of where we are and what we see.
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na kutengeneza uelewa wetu wa
wapi tulipo na kipi tunachoona.
wapi tulipo na kipi tunachoona.
02:20
Here's an example of a work of art
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Huu ni mfano wa kazi ya sanaa
02:23
that reminded me
that visual intelligence --
that visual intelligence --
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ambao umenikumbusha kwamba
maarifa ya uono --
maarifa ya uono --
02:26
it's an ongoing learning process
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ni mchakato endelevu
02:28
and one that really is never mastered.
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na ambao hauwezi fikiwa tamati kamwe.
02:31
I came across this quiet,
seemingly abstract painting,
seemingly abstract painting,
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Nilikutana na hii sanaa ya kufikirika
ambayo ni tulivu,
ambayo ni tulivu,
02:34
and I had to step up to it twice,
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na ilibidi nisogee kwa ukaribu mara mbili,
02:37
even three times,
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hata mara tatu,
02:38
to understand why it resonated so deeply.
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kuelewa kwanini inavuma kwa undani sana.
02:42
Now, I've seen the Washington Monument
in person thousands of times,
in person thousands of times,
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Sasa, binafsi nimeona mnara wa
Washington mara elfu moja,
Washington mara elfu moja,
02:46
well aware of the change in the color
of marble a third of the way up,
of marble a third of the way up,
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ninatambua vizuri badiliko la rangi ya
marumaru kwa theluthi kwenda juu,
marumaru kwa theluthi kwenda juu,
02:50
but I had never really looked
at it out of context
at it out of context
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lakini sijawahi angalia katika
nje ya muktadha
nje ya muktadha
02:53
or truly as a work of art.
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katika uhalisia wa kazi ya sanaa.
02:56
And here, Georgia O'Keeffe's painting
of this architectural icon made me realize
of this architectural icon made me realize
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Na hapa, mchoro wa Georgia O'Keefe's wa
huu usanifu maarufu umenifanya kutambua
huu usanifu maarufu umenifanya kutambua
03:02
that if we put our mind to it,
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kwamba kama tukiweka akili zetu hapo,
03:04
it's possible to see everyday things
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inawezekana kuona vitu vya kila siku
03:07
in a wholly new
and eye-opening perspective.
and eye-opening perspective.
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katika muonekano mpya unaofungua macho.
03:11
Now, there are some skeptics that believe
that art just belongs in an art museum.
that art just belongs in an art museum.
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Sasa, kuna wabishi wanaoamini kua sanaa
inatakiwa kuwepo tu katika jumba la sanaa.
inatakiwa kuwepo tu katika jumba la sanaa.
03:17
They believe that it has no practical
use beyond its aesthetic value.
use beyond its aesthetic value.
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Wanaamini kwamba haina matumizi halisia
zaidi ya thamani ya urembo wake.
zaidi ya thamani ya urembo wake.
03:21
I know who they are
in every audience I teach.
in every audience I teach.
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Najua ni kina nani katika kila umati
ambao nafundisha.
ambao nafundisha.
03:24
Their arms are crossed,
their legs are crossed,
their legs are crossed,
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Mikono yao wamekunja, miguu yao wamekunja,
03:26
their body language is saying,
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lugha ya miili yao inasema,
03:28
"What am I going to learn
from this lady who talks fast
from this lady who talks fast
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"Nitajifunza nini kwa huyu mwanamke
anayeongea haraka
anayeongea haraka
03:31
about painting and sculpture?"
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kuhusu michoro na sanaa?"
03:34
So how do I make it relevant for them?
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Hivyo nafanyaje ili kufanya iendane nao?
03:39
I ask them to look at this work of art,
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Nawaambia kuangalia hii sanaa,
03:41
like this portrait by Kumi Yamashita.
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kama hii picha na Kumi Yamashita.
03:44
And I ask them to step in close,
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Nawauliza kusogea karibu,
03:46
and even closer still,
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na karibu zaidi,
03:48
and while they're looking
at the work of art,
at the work of art,
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na wakati wakiangalia kazi ya sanaa,
03:50
they need to be asking questions
about what they see.
about what they see.
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wanahitaji kuuliza maswali
kuhusu wanachoona.
kuhusu wanachoona.
03:54
And if they ask the right questions,
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Na kama watauliza swali sahihi,
03:56
like, "What is this work of art?
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kama, "Hii ni kazi gani ya sanaa?
03:57
Is it a painting? Is it a sculpture?
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Ni mchoro? Ni sanamu?
03:59
What is it made of?" ...
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Imetengenezwa na nini?" ...
04:00
they will find out
that this entire work of art
that this entire work of art
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watatambua kwamba hii kazi
nzima ya sanaa
nzima ya sanaa
04:03
is made of a wooden board,
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imetengenezwa na ubao wa mbao,
04:05
10,000 nails
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misumari 10,000
04:07
and one unbroken piece of sewing thread.
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na kipande kizima cha kamba ya kushonea.
04:10
Now that might be
interesting to some of you,
interesting to some of you,
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Sasa hii inaweza vutia baadhi yenu,
04:12
but what does it have to do
with the work that these people do?
with the work that these people do?
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lakini inahusiana nini na kazi
wanayofanya watu hawa?
wanayofanya watu hawa?
04:15
And the answer is everything.
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na jibu ni kila kitu.
04:17
Because we all interact with people
multiple times on a daily basis,
multiple times on a daily basis,
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Kwamba tunakutana na watu mara
kadhaa katika maisha ya kila siku,
kadhaa katika maisha ya kila siku,
04:22
and we need to get better
at asking questions
at asking questions
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na tunahitaji kuwa bora katika
kuuliza maswali
kuuliza maswali
04:24
about what it is that we see.
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kuhusu ni kitu gani tunachoona.
04:27
Learning to frame
the question in such a way
the question in such a way
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Kujifunza kutengeneza swali
katika namna hiyo
katika namna hiyo
04:30
as to elicit the information
that we need to do our jobs,
that we need to do our jobs,
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katika kusisimua taarifa tunazohitaji
kufanya kazi zetu,
kufanya kazi zetu,
04:33
is a critical life skill.
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ni ujuzi wa maisha ambao muhimu sana.
04:35
Like the radiologist who told me
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Kama mtaalamu wa mionzi ambaye aliniambia
04:37
that looking at the negative
spaces in a painting
spaces in a painting
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kwamba kuangalia nafasi hasi
katika mchoro
katika mchoro
04:40
helped her discern
more discreet abnormalities in an MRI.
more discreet abnormalities in an MRI.
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kulimsaidia kutambua hali zisizo
za kawaida katika MRI.
za kawaida katika MRI.
04:45
Or the police officer who said
that understanding the emotional dynamic
that understanding the emotional dynamic
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Au afisa polisi aliyesema kwamba
kuelewa mabadiliko ya hisia
kuelewa mabadiliko ya hisia
04:50
between people in a painting
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kati ya watu katika mchoro
04:51
helped him to read body language
at a domestic violence crime scene,
at a domestic violence crime scene,
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kulimsaidia kutambua lugha ya mwili katika
palipotendeka unyanyasaji wa nyumbani,
palipotendeka unyanyasaji wa nyumbani,
04:56
and it enabled him to think twice
before drawing and firing his weapon.
before drawing and firing his weapon.
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na ilimsaidia kuwaza mara mbili kabla ya
kutoa na kufyatua bunduki yake.
kutoa na kufyatua bunduki yake.
05:01
And even parents can look to see
absences of color in paintings
absences of color in paintings
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Na hata wazazi wanaweza angalia kuona
utupu wa rangi katika mchoro
utupu wa rangi katika mchoro
05:06
to understand that
what their children say to them
what their children say to them
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kuelewa kwamba kile watoto
wanachowaambia
wanachowaambia
05:10
is as important as what they don't say.
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ni muhimu kama kile wasichosema.
05:13
So how do I --
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Kwa hiyo namna gani --
05:16
how do I train to be
more visually intelligent?
more visually intelligent?
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Najifunzaje kuwa na maarifa ya uono?
05:20
It comes down to four As.
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Inaelezewa na kama nne.
05:22
Every new situation, every new problem --
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Kila hali mpya, kila tatizo jipya --
05:25
we practice four As.
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huwa tunafanyia kazi kama nne.
05:26
First, we assess our situation.
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Kwanza, tunatathmini hali yetu.
05:28
We ask, "What do we have in front of us?"
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Tunauliza, " Ni kipi tulichonacho mbele
yetu?"
yetu?"
05:30
Then, we analyze it.
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Kisha, tunakichambua.
05:32
We say, "What's important?
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Tunasema, "Kipi ni muhimu?
05:33
What do I need? What don't I need?"
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Nahitaji nini? Kipi sihitaji?"
05:35
Then, we articulate it in a conversation,
in a memo, in a text, in an email.
in a memo, in a text, in an email.
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Kisha, tunakiunda katika maongezi, katika
kumbukumbu, maandishi, barua pepe.
kumbukumbu, maandishi, barua pepe.
05:38
And then, we act: we make a decision.
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Na kisha, tunatenda: tunafanya maamuzi.
05:42
We all do this multiple times a day,
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Wote tunafanya hili mara kadhaa kwa siku,
05:44
but we don't realize what a role
seeing and looking plays
seeing and looking plays
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lakini hatutambui jukumu la kutazama
na kuona linavyofanya kazi
na kuona linavyofanya kazi
05:48
in all of those actions,
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katika matendo yote,
05:50
and how visual intelligence
can really improve everything.
can really improve everything.
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na namna gani maarifa ya uono yanavyoweza
kuboresha kila kitu.
kuboresha kila kitu.
05:54
So recently, I had a group
of counterterrorism officials
of counterterrorism officials
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Karibuni, nilipata kundi la
wataalamu wa kupinga ugaidi
wataalamu wa kupinga ugaidi
05:57
at a museum in front of this painting.
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katika makumbusho mbele ya huu mchoro.
05:59
El Greco's painting,
"The Purification of the Temple,"
"The Purification of the Temple,"
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mchoro wa El Greco, "Utakasaji wa Hekalu,"
06:02
in which Christ, in the center,
in a sweeping and violent gesture,
in a sweeping and violent gesture,
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ambapo Kristo, katikati, katika ishara
ya kupangusa na yenye vurugu,
ya kupangusa na yenye vurugu,
06:06
is expelling the sinners
from the temple of prayer.
from the temple of prayer.
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anawafukuza watenda dhambi kutoka
katika hekalu la maombi.
katika hekalu la maombi.
06:10
The group of counterterrorism officials
had five minutes with that painting,
had five minutes with that painting,
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Kundi la wapambana na ugaidi walikuwa
na dakika tano katika mchoro ule,
na dakika tano katika mchoro ule,
06:13
and in that short amount of time,
they had to assess the situation,
they had to assess the situation,
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na katika muda huo mfupi,
walitakiwa kuichambua hali ile
walitakiwa kuichambua hali ile
06:17
analyze the details,
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kutambua taarifa,
06:19
articulate what, if anything,
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kuchanganua kwamba, kama chochote
06:21
they would do if they were
in that painting.
in that painting.
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wangefanya kama wangekuwepo
katika mchoro ule.
katika mchoro ule.
06:25
As you can imagine,
observations and insights differed.
observations and insights differed.
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Unavyoweza kuwaza,
mtazamo na ufahamu ulitofautiana.
mtazamo na ufahamu ulitofautiana.
06:28
Who would they talk to?
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Nani wangeongea nae?
06:29
Who would be the best witness?
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Nani angekuwa shuhuda mzuri?
06:31
Who was a good potential witness?
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Nani ni shahidi mzuri wa muhimu?
06:33
Who was lurking?
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Nani alikuwa anavizia?
06:34
Who had the most information?
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Nani alikuwa na taarifa zaidi?
06:36
But my favorite comment
came from a seasoned cop
came from a seasoned cop
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Lakini moja ya maoni nililopenda
lilitoka kwa polisi wa msimu
lilitoka kwa polisi wa msimu
06:39
who looked at the central figure and said,
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aliyeangalia mtu wa katikati na kusema,
06:41
"You see that guy in the pink?" --
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"Unaona jamaa mwenye pinki?" --
06:43
referring to Christ --
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akimaanisha Kristo --
06:44
he said, "I'd collar him,
he's causing all the trouble."
he's causing all the trouble."
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alisema, "Ningemkaba, ndie
anayesababisha vurugu yote."
anayesababisha vurugu yote."
06:47
(Laughter)
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(Kicheko)
06:50
So looking at art gives us a perfect
vehicle to rethink how we solve problems
vehicle to rethink how we solve problems
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Hivyo kuangalia sanaa kunatupa nyenzo bora
ya kuwaza tena jinsi tunatatua matatizo
ya kuwaza tena jinsi tunatatua matatizo
06:55
without the aid of technology.
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bila msaada wa teknolojia.
06:57
Looking at the work
of Felix Gonzalez-Torres,
of Felix Gonzalez-Torres,
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Ukiangalia kazi ya Felix Gonzalez-Torres,
07:00
you see two clocks
in perfect synchronicity.
in perfect synchronicity.
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unaona saa mbili zinazoenda
sambamba kabisa.
sambamba kabisa.
07:03
The hour, minute and
second hand perfectly aligned.
second hand perfectly aligned.
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Saa, dakika na mshale wa sekunde
vinafanana sawa sawa.
vinafanana sawa sawa.
07:07
They are installed side by side
and they're touching,
and they're touching,
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Vimewekwa upande kwa upande na zinagusana,
07:11
and they are entitled
"'Untitled' (Perfect Lovers)."
"'Untitled' (Perfect Lovers)."
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na zimepewa jina "'Isiyo na
jina'(Wapenzi Kamilifu)."
jina'(Wapenzi Kamilifu)."
07:15
But closer analysis makes you realize
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Lakini mtazamo wa karibu unafanya utambue
07:17
that these are two
battery-operated clocks,
battery-operated clocks,
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kwamba hizi ni saa mbili zitumiazo betri,
07:20
which in turn makes you understand --
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ambapo inakufanya kuelewa --
07:22
"Hey, wait a minute ...
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"Hebu, subiri kidogo ...
07:23
One of those batteries
is going to stop before the other.
is going to stop before the other.
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Moja ya betri itasimama kabla ya nyenzake.
07:26
One of those clocks is going
to slow down and die before the other
to slow down and die before the other
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Moja ya hizi saa itakuja kupunguza
mwendo na kufa kabla ya nyingine
mwendo na kufa kabla ya nyingine
07:29
and it's going to alter
the symmetry of the artwork."
the symmetry of the artwork."
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na itaenda kuongeza usawa
wa kazi hii ya sanaa."
wa kazi hii ya sanaa."
07:33
Just articulating that thought process
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Vile tu unavyoliwaza hilo jambo
07:36
includes the necessity
of a contingency plan.
of a contingency plan.
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hujumuisha uhitaji wa mpango wa dharura.
07:40
You need to have contingencies
for the unforeseen,
for the unforeseen,
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Unahitaji kuwa na dharura kwa
yale yasiyoonekana,
yale yasiyoonekana,
07:43
the unexpected and the unknown,
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yasiyotegemewa na yasiyojulikana,
07:45
whenever and however they may happen.
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muda yanapotokea na namna yanavyotokea.
07:50
Now, using art to increase
our visual intelligence
our visual intelligence
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Sasa, kwa kutumia sanaa kuongeza
maarifa ya uono
maarifa ya uono
07:53
involves planning for contingencies,
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hujumuisha kupanga kwa dharura,
07:55
understanding the big picture
and the small details
and the small details
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kuelewa picha kubwa na taarifa ndogo
07:58
and noticing what's not there.
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na kugundua kipi kinachokosekana.
08:00
So in this painting by Magritte,
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Hivyo mchoro huu uliochorwa na Magritte,
08:02
noticing that there are no tracks
under the train,
under the train,
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kugundua kwamba hakuna reli
chini ya treni,
chini ya treni,
08:06
there is no fire in the fireplace
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hakuna moto katika sehemu ya moto
08:08
and there are no candles
in the candlesticks
in the candlesticks
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na hakuna mishumaa
ndani ya vinara
ndani ya vinara
08:10
actually more accurately
describes the painting
describes the painting
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kiuhalisia inaelezea mchoro
08:13
than if you were to say, "Well,
there's a train coming out of a fireplace,
there's a train coming out of a fireplace,
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zaidi ya ungesema, "Sasa, kuna treni
inayotokea sehemu palipo na moto,
inayotokea sehemu palipo na moto,
08:16
and there are candlesticks on the mantle."
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na kuna vinara katika pazia
08:18
It may sound counterintuitive
to say what isn't there,
to say what isn't there,
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Itaonekana kisicho cha kawaida
kusema kisichokuwepo,
kusema kisichokuwepo,
08:21
but it's really a very valuable tool.
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lakini ni nyenzo yenye thamani.
08:24
When a detective who had learned
about visual intelligence
about visual intelligence
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Pale mpelezi aliyejifunza kuhusu
uono wa maarifa
uono wa maarifa
08:27
in North Carolina
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huko Carolina Kaskazini
08:28
was called to the crime scene,
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aliitwa katika eneo la tukio,
08:29
it was a boating fatality,
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ilikuwa mashua yenye majeruhi,
08:31
and the eyewitness told this detective
that the boat had flipped over
that the boat had flipped over
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na shuhuda alimwambia huyu mpelelezi
kwamba mashua ilipinduka
kwamba mashua ilipinduka
08:34
and the occupant had drowned underneath.
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na aliyekuwepo alizama chini.
08:38
Now, instinctively, crime scene
investigators look for what is apparent,
investigators look for what is apparent,
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Sasa, kwa haraka, wapelelezi wa uhalifu
huangalia kile kinachoonekana,
huangalia kile kinachoonekana,
08:41
but this detective
did something different.
did something different.
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lakini mpelelezi huyu
alifanya kitu tofauti.
alifanya kitu tofauti.
08:43
He looked for what wasn't there,
which is harder to do.
which is harder to do.
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Aliangalia ambacho hakipo,
ambapo ni ngumu kufanya.
ambapo ni ngumu kufanya.
08:47
And he raised the question:
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Na aliuliza swali:
08:48
if the boat had really
tipped flipped over --
tipped flipped over --
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kama kweli mashua ilipinduka --
08:51
as the eyewitness said that it did --
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kama mashuhuda wanavyosema --
08:53
how come the papers that were kept
at one end of the boat
at one end of the boat
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inakuwaje makaratasi yaliyowekwa
mwisho mmoja wa mashua
mwisho mmoja wa mashua
08:56
were completely dry?
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yapo makavu kabisa?
08:58
Based on that one small
but critical observation,
but critical observation,
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Kulingana na mtazamo huo
mdogo lakini muhimu,
mdogo lakini muhimu,
09:02
the investigation shifted
from accidental death to homicide.
from accidental death to homicide.
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upelelezi ulihama kutoka
katika kifo mpaka mauaji.
katika kifo mpaka mauaji.
09:08
Now, equally important
to saying what isn't there
to saying what isn't there
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Sasa, muhimu kusema kipi
kisichokuwepo pale
kisichokuwepo pale
09:10
is the ability to find visual connections
where they may not be apparent.
where they may not be apparent.
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ni uwezo wa kutafuta muunganiko wa
uono ambapo vitu havionekani.
uono ambapo vitu havionekani.
09:16
Like Marie Watt's totem pole of blankets.
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Kama tambiko la Marie Watt la nguzo ya
matandiko.
matandiko.
09:19
It illustrates that finding hidden
connections in everyday objects
connections in everyday objects
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Inaelezea kwamba kutafuta muunganiko
uliojificha katika vitu vya kila siku
uliojificha katika vitu vya kila siku
09:23
can resonate so deeply.
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unaweza sisimua kiundani sana.
09:25
The artist collected blankets
from all different people
from all different people
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Msanii alikusanya matandiko kutoka
kwa watu mbalimbali
kwa watu mbalimbali
09:28
in her community,
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katika jamii yake,
09:29
and she had the owners
of the blankets write, on a tag,
of the blankets write, on a tag,
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na aliwaambia wamiliki wa matandiko
hayo kuandika, katika nembo,
hayo kuandika, katika nembo,
09:33
the significance of
the blanket to the family.
the blanket to the family.
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umuhimu wa kitandiko hicho kwa familia.
09:36
Some of the blankets
had been used for baby blankets,
had been used for baby blankets,
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Baadhi ya matandiko
yametumika kwa ajili ya watoto,
yametumika kwa ajili ya watoto,
09:39
some of them had been used
as picnic blankets,
as picnic blankets,
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baadhi yametumika kama
matandiko ya mandari,
matandiko ya mandari,
09:41
some of them had been used for the dog.
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baadhi yalikuwa yakitumika kwa ajili ya
mbwa.
mbwa.
09:44
We all have blankets in our homes
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Wote tuna matandiko majumbani mwetu
09:47
and understand the significance
that they play.
that they play.
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na tunaelewa umuhimu yaliyonao.
09:50
But similarly, I instruct new doctors:
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Lakini kwa usawa, nawaelekeza matabibu
wapya:
wapya:
09:53
when they walk into a patient's room,
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wanapokwenda katika chumba cha mgonjwa,
09:54
before they pick up that medical chart,
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kabla ya kuchukua chati ya mgonjwa,
09:58
just look around the room.
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jaribu kutazama katika kile chumba.
10:00
Are there balloons or cards,
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Kuna mapulizo au kadi,
10:02
or that special blanket on the bed?
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au kile kitandiko mahususi katika kitanda?
10:05
That tells the doctor there's a connection
to the outside world.
to the outside world.
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Hiyo inamueleza daktari kuna uhusiano
na dunia ya nje.
na dunia ya nje.
10:09
If that patient has someone
in the outside world
in the outside world
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Kama mgonjwa huyo ana mtu
katika dunia ya nje
katika dunia ya nje
10:12
to assist them and help them,
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wa kuwaongoza na kuwasaidia,
10:14
the doctor can implement the best care
with that connection in mind.
with that connection in mind.
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daktari anaweza pendekeza matunzo bora
akiwa na uelewa na yale mahusiano akilini.
akiwa na uelewa na yale mahusiano akilini.
10:20
In medicine, people
are connected as humans
are connected as humans
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Katika utabibu, watu
wanaunganika kama wanadamu
wanaunganika kama wanadamu
10:23
before they're identified
as doctor and patient.
as doctor and patient.
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kabla hawajatambulika
kama daktari na mgonjwa.
kama daktari na mgonjwa.
10:27
But this method of enhancing perception --
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Lakini njia hii ya kuongeza utambuzi --
10:30
it need not be disruptive,
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haitakiwi kuwa haribifu,
10:31
and it doesn't necessitate
an overhaul in looking.
an overhaul in looking.
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na haina mahitaji ya kukarabati
namna ya kutazama.
namna ya kutazama.
10:35
Like Jorge Méndez Blake's sculpture
of building a brick wall
of building a brick wall
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Kama sanamu ya Jorge Méndez
ya kujenga ukuta wa matofali
ya kujenga ukuta wa matofali
10:39
above Kafka's book "El Castillo"
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juu ya kitabu cha Kafka "El Castillo"
10:42
shows that more astute observation
can be subtle and yet invaluable.
can be subtle and yet invaluable.
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inaonyesha utazamaji wa kistaarabu unaweza
kuwa kiuerevu lakini ulio na thamani.
kuwa kiuerevu lakini ulio na thamani.
10:47
You can discern the book,
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Unaweza tambua kitabu,
10:49
and you can see
how it disrupted the symmetry
how it disrupted the symmetry
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na unaweza kuona namna gani umeharibu msawazo
10:51
of the bricks directly above it,
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wa matofali juu yake,
10:54
but by the time you get
to the end of the sculpture,
to the end of the sculpture,
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lakini muda ambao unafika
mwisho wa sanamu,
mwisho wa sanamu,
10:56
you can no longer see the book.
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huwezi kuona kitabu.
10:59
But looking at the work of art
in its entirety,
in its entirety,
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Lakini kuangalia kazi ya sanaa katika
ukamilifu wake,
ukamilifu wake,
11:02
you see that the impact
of the work's disruption on the bricks
of the work's disruption on the bricks
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unaona kwamba matokeo ya
uharibifu katika matofali
uharibifu katika matofali
11:06
is nuanced and unmistakable.
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ni wa dhahiri na usiokoswea.
11:09
One thought,
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Wazo moja,
11:10
one idea,
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jambo moja,
11:12
one innovation can alter an approach,
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ubunifu mmoja unaweza ongeza namna,
11:16
change a process
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kubadili mchakato
11:17
and even save lives.
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na hata kuokoa maisha.
11:20
I've been teaching visual intelligence
for over 15 years,
for over 15 years,
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Nimekuwa nikifundisha maarifa ya uono
kwa miaka zaidi ya 15,
kwa miaka zaidi ya 15,
11:24
and to my great amazement
and astonishment --
and astonishment --
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na kwa mshangao wangu mkubwa
na ustaajabu --
na ustaajabu --
11:27
to my never-ending astonishment
and amazement,
and amazement,
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kwa mshangao na ustaajabu
usiokoma,
usiokoma,
11:30
I have seen that looking at art
with a critical eye
with a critical eye
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Nimeona kwamba kuangalia kazi ya sanaa
na jicho la ukaribu
na jicho la ukaribu
11:33
can help to anchor us in our world
of uncharted waters,
of uncharted waters,
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kunaweza kutusaidia katika dunia yetu
ya maji yasiyopimwa,
ya maji yasiyopimwa,
11:37
whether you are a paramilitary trooper,
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kama upo katika jeshi,
11:39
a caregiver, a doctor or a mother.
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mtoa msaada, tabibu au mama.
11:43
Because let's face it, things go wrong.
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Kwa sababu tukubali, mambo huenda mrama.
11:46
(Laughter)
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(Kicheko)
11:47
Things go wrong.
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Mambo yanaenda vibaya.
11:48
And don't misunderstand me,
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Na usinielewa vibaya,
11:50
I'd eat that doughnut in a minute.
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Nitakula hilo andazi kwa dakika.
11:51
(Laughter)
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(Kicheko)
11:53
But we need to understand the consequences
of what it is that we observe,
of what it is that we observe,
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Lakini tunahitaji kuelewa matokeo
ya kipi ambacho tunatazama,
ya kipi ambacho tunatazama,
11:57
and we need to convert observable details
into actionable knowledge.
into actionable knowledge.
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na tunahitaji kubadili taarifa zionekanazo
katika maarifa ya matendo.
katika maarifa ya matendo.
12:02
Like Jennifer Odem's sculpture
of tables standing sentinel
of tables standing sentinel
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Kama sanamu ya Jennifer Odem
ya meza ya mlinzi
ya meza ya mlinzi
12:06
on the banks of the Mississippi River
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katika kingo ya mto wa Mississippi
12:09
in New Orleans,
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huko New Orleans,
12:10
guarding against the threat
of post-Katrina floodwaters
of post-Katrina floodwaters
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zikilinda hatari ya mafuriko ya maji
baada ya kimbunga cha Katrina
baada ya kimbunga cha Katrina
12:13
and rising up against adversity,
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na kunyanyuka dhidi ya majanga,
12:16
we too have the ability
to act affirmatively
to act affirmatively
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pia tuna uwezo wa kuhakikisha
12:19
and affect positive change.
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na kufanya yale yaliyo chanya.
12:21
I have been mining the world of art
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Nimekuwa nikichimba katika dunia ya sanaa
12:24
to help people across
the professional spectrum
the professional spectrum
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kuwasaidia watu katika utaalamu
12:27
to see the extraordinary in the everyday,
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kuona visivyo vya kawaida kila siku,
12:30
to articulate what is absent
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kutafuta kile ambacho hakipo
12:33
and to be able to inspire
creativity and innovation,
creativity and innovation,
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na kuweza kuchochea ubunifu,
12:37
no matter how small.
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bila kujali udogo.
12:38
And most importantly,
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Na kilicho muhimu,
12:40
to forge human connections
where they may not be apparent,
where they may not be apparent,
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kutengeneza muunganisho wa
kibinadamu pale ambao haupo.
kibinadamu pale ambao haupo.
12:44
empowering us all to see our work
and the world writ large
and the world writ large
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kutupa uwezo wote kuona kazi zetu
na dunia kwa ujumla
na dunia kwa ujumla
12:48
with a new set of eyes.
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katika namna mpya ya macho.
12:50
Thank you.
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Asante.
12:52
(Applause)
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(Makofi)
ABOUT THE SPEAKER
Amy Herman - Visual educatorBy showing people how to look closely at painting, sculpture and photography, Amy Herman helps them hone their visual intelligence to recognize the most pertinent and useful information as well as recognize biases that impede decision making.
Why you should listen
Amy Herman is a lawyer and art historian who uses works of art to sharpen observation, analysis and communication skills. She developed her Art of Perception seminar in 2000 to improve medical students' observation and communication skills with their patients when she was the head of education at The Frick Collection in New York City. She subsequently adapted the program for a wide range of professionals and leads sessions internationally for the New York City Police Department, the FBI, the French National Police, the Department of Defense, Interpol, the State Department, Fortune 500 companies, first responders, the military and the intelligence community. In her highly participatory presentation, she demonstrates the relevance of visual literacy across the professional spectrum and how the analysis of works of art affords participants in her program an innovative way to refresh their sense of critical inquiry and reconsider the skills necessary for improved performance and effective leadership. The program has been featured in the New York Times, The Wall Street Journal, "The CBS Evening News" and Smithsonian Magazine, among others.
Herman holds an AB, a JD and an MA in art history. Her book, Visual Intelligence, was published in May 2016 and was on both the New York Times and Washington Post bestseller lists.
Amy Herman | Speaker | TED.com