TEDxYYC
Ben Cameron: Why the live arts matter
本·卡梅隆：表演艺术的真实魅力
Filmed:
Readability: 5.9
568,130 views
作为艺术行政员及现场戏剧表演迷，本·卡梅隆就现场艺术的现状提出问题——现场戏剧，现场音乐及现场舞蹈的魅力如何与无时不在的互联网竞争？在TEDxYYC，他对未来作了大胆的展望。
Ben Cameron - Arts administrator
Ben Cameron runs the arts granting program at the Doris Duke Foundation, focusing on live theater, dance and jazz. Full bio
Ben Cameron runs the arts granting program at the Doris Duke Foundation, focusing on live theater, dance and jazz. Full bio
Double-click the English transcript below to play the video.
00:15
I am a cultural omnivore,
0
0
2000
我是个文化老饕。
00:17
one whose daily commute
1
2000
2000
每天上下班时，
00:19
is made possible by attachment to an iPod --
2
4000
3000
我都会戴着iPod,
00:22
an iPod that contains Wagner and Mozart,
3
7000
2000
听着瓦格纳和莫扎特，
00:24
pop diva Christina Aguilera,
4
9000
2000
还有流行女星克里斯蒂娜·阿奎莱拉、
00:26
country singer Josh Turner,
5
11000
2000
乡村歌手乔什·特纳、
00:28
gangsta rap artist Kirk Franklin,
6
13000
2000
非常棒的说唱大师柯克·富兰克林、
00:30
concerti, symphonies and more and more.
7
15000
2000
协奏曲、交响乐，等等，等等。
00:32
I'm a voracious reader,
8
17000
2000
我还是个阅读狂，
00:34
a reader who deals with Ian McEwan down to Stephanie Meyer.
9
19000
3000
从伊恩·麦克伊文到斯蒂芬尼·梅耶。
00:37
I have read the "Twilight" tetralogy.
10
22000
3000
《暮光之城》四部曲我已经全部看完。
00:40
And one who lives for my home theater,
11
25000
3000
我也是个家庭影院迷，
00:43
a home theater where I devour DVDs, video-on-demand
12
28000
2000
我贪婪的观看DVD，视频点播节目，
00:45
and a lot of television.
13
30000
2000
及许多电视节目。
00:47
For me, "Law and Order: SVU,"
14
32000
2000
我最喜欢的有，“法律与秩序：特殊受害者”、
00:49
Tine Fey and "30 Rock"
15
34000
2000
蒂娜·菲和“摇滚30”、
00:51
and "Judge Judy" -- "The people are real, the cases are real,
16
36000
3000
还有“朱蒂法官” -- “人物确实，案件确实，
00:54
the rulings are final."
17
39000
2000
裁决是最终裁决。”
00:56
Now, I'm convinced a lot of you
18
41000
2000
我相信，你们中有很多人
00:58
probably share my passions,
19
43000
2000
都有和我一样的热情，
01:00
especially my passion for Judge Judy,
20
45000
2000
特别是对“朱蒂法官”的热情。
01:02
and you'd fight anybody
21
47000
2000
你们多半会抗议
01:04
who attempted to take her away from us,
22
49000
2000
任何想把她从我们身边带走的人。
01:06
but I'm a little less convinced that you share the central passion of my life,
23
51000
3000
但是，我不太相信你们都有和我一样的核心热情，
01:09
a passion for the live professional performing arts,
24
54000
3000
那就是对专业现场表演艺术的热情。
01:12
performing arts that represent the orchestral repertoire, yes,
25
57000
3000
专业现场表演艺术包括所有的管弦乐现场演奏剧目，
01:15
but jazz as well, modern dance, opera,
26
60000
3000
也包括爵士乐、现代舞、歌剧、
01:18
theater and more and more and more.
27
63000
2000
戏剧，等等，等等。
01:20
You know, frankly
28
65000
2000
坦白说，
01:22
it's a sector that many of us who work in the field worry
29
67000
2000
很多在这个领域工作的人都担心
01:24
is being endangered and possibly dismantled
30
69000
2000
这一领域正在受到来自科技的威胁
01:26
by technology.
31
71000
2000
并可能逐渐消失。
01:28
While we initially heralded the Internet
32
73000
2000
最初我们把互联网看做是
01:30
as the fantastic new marketing device
33
75000
2000
奇妙的新行销手段，
01:32
that was going to solve all our problems,
34
77000
2000
认为它能解决我们所有的问题，
01:34
we now realize that the Internet is, if anything,
35
79000
2000
我们现在意识到互联网
01:36
too effective in that regard.
36
81000
2000
在这方面有些过头了。
01:38
Depending on who you read, an arts organization
37
83000
3000
根据你所了解的，一个艺术组织，
01:41
or an artist, who tries to attract the attention
38
86000
2000
或一名艺术家，试着吸引
01:43
of a potential single ticket buyer,
39
88000
2000
一名潜在的购票者的注意，
01:45
now competes with between
40
90000
2000
现在需要与
01:47
three and 5,000
41
92000
2000
一个典型的市民
01:49
different marketing messages
42
94000
2000
每天看到的3到500条
01:51
a typical citizen sees every single day.
43
96000
3000
不同的行销信息竞争。
01:54
We now know in fact
44
99000
2000
现在我们知道实际上
01:56
that technology is our biggest competitor for leisure time.
45
101000
2000
科技才是我们休闲时间的最大占用者。
01:58
Five years ago,
46
103000
2000
五年前，
02:00
Gen-X'ers spent 20.7 hours online and TV,
47
105000
3000
X世代的人花费20.7小时上网和看电视，
02:03
the majority on TV.
48
108000
2000
主要是看电视。
02:05
Gen-Y'ers spent even more --
49
110000
2000
Y世代的人花费更多的时间 --
02:07
23.8 hours, the majority online.
50
112000
2000
23.8小时，主要是上网。
02:09
And now, a typical
51
114000
2000
现在，一名典型的
02:11
university entering student
52
116000
2000
大学新生
02:13
arrives at college
53
118000
2000
在学校
02:15
already having spent
54
120000
2000
会花费
02:17
20,000 hours online
55
122000
2000
两万个小时上网
02:19
and an additional 10,000 hours
56
124000
2000
还有一万个小时
02:21
playing video games --
57
126000
2000
花在玩视频游戏上，
02:23
a stark reminder that we operate
58
128000
2000
这提醒我们正处在一个
02:25
in a cultural context
59
130000
2000
视频游戏卖的比
02:27
where video games now outsell
60
132000
2000
音乐和电影制品加起来
02:29
music and movie recordings combined.
61
134000
3000
还要多的文化环境中。
02:33
Moreover, we're afraid that technology
62
138000
2000
而且，我们担心科技
02:35
has altered our very assumptions of cultural consumption.
63
140000
3000
已经改变了我们的文化消费设想。
02:38
Thanks to the Internet,
64
143000
2000
感谢互联网，
02:40
we believe we can get anything we want whenever we want it,
65
145000
3000
我们相信我们能随时得到想要的东西，
02:43
delivered to our own doorstep.
66
148000
2000
并送货上门。
02:45
We can shop at three in the morning or eight at night,
67
150000
2000
我们能在凌晨三点或是晚上八点进行购物，
02:47
ordering jeans tailor-made for our unique body-types.
68
152000
3000
为自己独特的体型订购定制的牛仔裤。
02:50
Expectations of personalization
69
155000
2000
对个性化
02:52
and customization
70
157000
2000
和定制化的期待
02:54
that the live performing arts --
71
159000
2000
现场表演艺术 --
02:56
which have set curtain times, set venues,
72
161000
3000
需要固定的剧场时间，固定的场所，
02:59
attendant inconveniences of travel, parking and the like --
73
164000
3000
去场馆的路途、停车等不便之处 --
03:02
simply cannot meet.
74
167000
2000
无法达到。
03:04
And we're all acutely aware:
75
169000
2000
我们都敏锐的意识到：
03:06
what's it going to mean in the future
76
171000
2000
这在未来意味着什么
03:08
when we ask someone to pay a hundred dollars
77
173000
2000
当我们让人花一百美元
03:10
for a symphony, opera or ballet ticket,
78
175000
3000
去买交响乐、歌剧或是芭蕾演出的票
03:13
when that cultural consumer is used to downloading on the internet
79
178000
3000
当文化消费者习惯与在英特网上
03:16
24 hours a day
80
181000
2000
一天二十四小时的
03:18
for 99 cents a song or for free?
81
183000
2000
以99美分一首或是免费的下载歌曲时？
03:22
These are enormous questions
82
187000
2000
我们这些工作在这一
03:24
for those of us who work in this terrain.
83
189000
2000
领域的人面临着许多难题。
03:26
But as particular as they feel to us,
84
191000
2000
但我们有种奇特的感觉，
03:28
we know we're not alone.
85
193000
2000
我们知道我们不是孤独的。
03:30
All of us are engaged
86
195000
2000
我们一起努力
03:32
in a seismic, fundamental
87
197000
2000
对文化和沟通
03:34
realignment of culture and communications,
88
199000
2000
进行翻天覆地的基本的重组，
03:36
a realignment that is shaking and decimating
89
201000
2000
这种重组动摇和摧毁了
03:38
the newspaper industry, the magazine industry,
90
203000
3000
报纸业、杂志业、
03:41
the book and publishing industry and more.
91
206000
3000
图书和出版业等行业。
03:45
Saddled in the performing arts as we are, by antiquated union agreements
92
210000
3000
我们背负着表演艺术，通过陈旧的联盟协议
03:48
that inhibit and often prohibit
93
213000
3000
这协议阻止，常常禁止
03:51
mechanical reproduction and streaming,
94
216000
2000
机械性的复制和传播，
03:53
locked into large facilities
95
218000
2000
我们被困在庞大的设施之中，
03:55
that were designed to ossify
96
220000
2000
这些设施旨在
03:57
the ideal relationship
97
222000
2000
使艺术家和观众间
03:59
between artist and audience
98
224000
2000
的理想关系变得僵化
04:01
most appropriate to the 19th century
99
226000
2000
这在十九世纪有最佳的体现
04:03
and locked into a business model dependent on high ticket revenues,
100
228000
3000
把我们困在了依赖于高票房收入的商业模式中，
04:06
where we charge exorbitant prices.
101
231000
3000
在这种模式中我们收取了过高的票价，
04:09
Many of us shudder in the wake of the collapse of Tower Records
102
234000
3000
我们中许多人在“淘儿唱片”倒闭后战栗不已
04:12
and ask ourselves, "Are we next?"
103
237000
3000
我们问自己，“我们是下一个么？”
04:16
Everyone I talk to in performing arts
104
241000
2000
我交谈过的每个现场艺术领域中的人
04:18
resonates to the words of Adrienne Rich,
105
243000
3000
都对艾德里安娜·里奇的一句话产生共鸣，
04:21
who, in "Dreams of a Common Language," wrote,
106
246000
2000
她在“共同语言之梦”中写道，
04:23
"We are out in a country that has
107
248000
2000
“我们身处在一个
04:25
no language, no laws.
108
250000
2000
没有语言、没有法律的国度。
04:27
Whatever we do together is pure invention.
109
252000
2000
无论我们一起做什么都是完全虚构的。
04:29
The maps they gave us
110
254000
2000
呈现给我们的地图
04:31
are out of date by years."
111
256000
3000
也已过时多年。”
04:35
And for those of you who love the arts,
112
260000
2000
对你们中那些爱好艺术的人来说，
04:37
aren't you glad you invited me here to brighten your day?
113
262000
3000
有没有为邀请我来这儿，点亮你们的生活，而感到高兴？
04:40
(Laughter)
114
265000
2000
（笑声）
04:42
(Applause)
115
267000
2000
（掌声）
04:44
Now, rather than saying that we're on the brink of our own annihilation,
116
269000
3000
现在，与其说我们正处在崩溃的边缘，
04:47
I prefer to believe that we are engaged in a fundamental reformation,
117
272000
3000
我宁愿相信我们在进行基础性的改革，
04:50
a reformation like the religious Reformation
118
275000
3000
像十六世纪时的宗教改革
04:53
of the 16th century.
119
278000
2000
那样的重组。
04:55
The arts reformation, like the religious Reformation,
120
280000
3000
艺术改革，像宗教改革那样，
04:58
is spurred in part by technology,
121
283000
2000
部分是被科技推动的，
05:00
with indeed, the printing press really leading the charge
122
285000
2000
事实上是印刷机引领了
05:02
on the religious Reformation.
123
287000
2000
宗教革命。
05:04
Both reformations were predicated on fractious discussion,
124
289000
3000
以富有争议的讨论，
05:07
internal self-doubt
125
292000
2000
内部的自我怀疑为前提的改革
05:09
and massive realignment of antiquated business models.
126
294000
3000
和过时的商业模型的大型重组。
05:12
And at heart, both reformations, I think
127
297000
2000
实际上，我想这两种改革
05:14
were asking the questions:
128
299000
2000
都提出了问题：
05:16
who's entitled to practice?
129
301000
2000
谁有资格来进行改革？
05:18
How are they entitled to practice?
130
303000
2000
他们是如何获得资格的？
05:20
And indeed, do we need anyone
131
305000
2000
事实上，为了感受到崇高的神
05:22
to intermediate for us
132
307000
2000
我们需要人
05:24
in order to have an experience with a spiritual divine?
133
309000
3000
来为我们作为媒介么？
05:29
Chris Anderson, someone I trust you all know,
134
314000
3000
克里斯·安德森，我相信你们都知道他，
05:32
editor-in-chief of Wired magazine and author of "The Long Tail,"
135
317000
2000
他是联线杂志的主编和《长尾理论》的作者，
05:34
really was the first -- for me -- to nail a lot of this.
136
319000
3000
对我而言，他确实是第一个专注于此的人。
05:37
He wrote a long time ago, you know,
137
322000
2000
在很久之前，你知道，他写
05:39
thanks to the invention of the Internet,
138
324000
2000
下了对互联网发明、
05:41
web technology,
139
326000
2000
网络科技、
05:43
mini-cams and more,
140
328000
2000
迷你摄像头等等的感谢，
05:45
the means of artistic production
141
330000
2000
这意味着艺术产品
05:47
have been democratized
142
332000
2000
在人类历史上
05:49
for the first time in all of human history.
143
334000
3000
第一次变得大众化。
05:52
In the 1930s, if any of you wanted to make a movie,
144
337000
2000
在20世纪30年代，如果你们中任何人想拍部电影，
05:54
you had to work for Warner Brothers or RKO
145
339000
3000
你需要为华纳兄弟公司或是雷电华电影公司工作
05:57
because who could afford a movie set
146
342000
2000
因为他们能提供摄影场地
05:59
and lighting equipment and editing equipment
147
344000
2000
灯光设备、剪辑设备
06:01
and scoring and more?
148
346000
2000
和配乐设备等？
06:03
And now who in this room doesn't know a 14 year-old
149
348000
3000
而现在，这屋里的人不知道的一名14岁的孩子
06:06
hard at work on her second, third, or fourth movie?
150
351000
2000
却在努力制作她第二、第三或者第四部电影了？
06:08
(Laughter)
151
353000
2000
（笑声）
06:10
Similarly, the means of artistic distribution
152
355000
3000
同样地，这意味着艺术的传播
06:13
have been democratized for the first time in human history.
153
358000
3000
在人类历史上第一次变得大众化。
06:16
Again, in the '30s, Warner Brothers, RKO did that for you.
154
361000
3000
再提一次，在三十年代，华纳兄弟公司或是雷电华电影公司为你们做了这些艺术传播。
06:19
Now, go to YouTube, Facebook;
155
364000
2000
现在，去YouTube、Facebook；
06:21
you have worldwide distribution
156
366000
2000
你可以不用离开
06:23
without leaving the privacy of your own bedroom.
157
368000
3000
你自己卧室的私密空间就能在世界范围内传播艺术。
06:27
This double impact is occasioning
158
372000
2000
这双重影响引起了
06:29
a massive redefinition of the cultural market,
159
374000
3000
文化市场的重大调整，
06:32
a time when anyone is a potential author.
160
377000
3000
任何人都是潜在的创作者的时代来临了。
06:36
Frankly, what we're seeing now in this environment
161
381000
2000
坦白说，现在我们这个环境中所见的
06:38
is a massive time,
162
383000
2000
是一个剧变的时期，
06:40
when the entire world is changing
163
385000
2000
当整个世界都在变化时，
06:42
as we move from a time when audience numbers are plummeting.
164
387000
3000
我们远离了观众人数下降的时期。
06:45
But the number of arts participants,
165
390000
2000
但艺术参与者的数量，
06:47
people who write poetry, who sing songs,
166
392000
3000
写诗的人、唱歌的人、
06:50
who perform in church choirs,
167
395000
2000
演出教堂合唱的人，
06:52
is exploding beyond our wildest imaginations.
168
397000
3000
正以远超我们想象的速度增加。
06:55
This group, others have called the "pro ams,"
169
400000
3000
这一团体，大家称之为“专业余者”
06:58
amateur artists doing work at a professional level.
170
403000
2000
业余艺术家达到一个专业的水准。
07:00
You see them on YouTube, in dance competitions,
171
405000
2000
你能在YouTube中看到他们，在舞蹈比赛中，
07:02
film festivals and more.
172
407000
2000
电影节中，等等。
07:04
They are radically expanding
173
409000
2000
他们正完全地扩展
07:06
our notions of the potential of an aesthetic vocabulary,
174
411000
3000
我们美学词汇潜力的观念，
07:09
while they are challenging and undermining
175
414000
3000
而他们在调整和渐渐破坏着
07:12
the cultural autonomy of our traditional institutions.
176
417000
3000
我们传统制度的文化自主性。
07:15
Ultimately, we now live in a world
177
420000
2000
最后，我们现在生活在
07:17
defined not by consumption,
178
422000
2000
由参与定义，
07:19
but by participation.
179
424000
2000
而不是由消费定义的世界中。
07:22
But I want to be clear,
180
427000
2000
但我想弄清楚，
07:24
just as the religious Reformation did not spell the end
181
429000
2000
正如宗教改革并没有终结
07:26
to the formal Church or to the priesthood;
182
431000
3000
正式的教堂或是神职，
07:29
I believe that our artistic institutions
183
434000
2000
我相信我们的艺术机构
07:31
will continue to have importance.
184
436000
2000
将继续拥有重要的地位。
07:33
They currently are the best opportunities
185
438000
2000
目前这些机构仍然是艺术家们
07:35
for artists to have lives of economic dignity --
186
440000
2000
保障经济上的体面的最好途径，
07:37
not opulence -- of dignity.
187
442000
3000
不是富裕，只是经济上的体面。
07:40
And they are the places where artists
188
445000
2000
而在这些地方那些应得的和
07:42
who deserve and want to work at a certain scale of resources
189
447000
2000
需要一定规模资源的艺术家将
07:44
will find a home.
190
449000
2000
找到归宿。
07:46
But to view them as synonymous
191
451000
2000
但把他们看作
07:48
with the entirety of the arts community
192
453000
2000
是整个艺术界
07:50
is, by far, too short-sighted.
193
455000
3000
则显然太短视了。
07:53
And indeed, while we've tended to polarize
194
458000
2000
而事实上，在我们倾向于把
07:55
the amateur from the professional,
195
460000
2000
业余者从专业人员中分离出来时，
07:57
the single most exciting development
196
462000
2000
近五年到十年来
07:59
in the last five to 10 years
197
464000
2000
最令人激动的
08:01
has been the rise
198
466000
2000
进展就是
08:03
of the professional hybrid artist,
199
468000
2000
专业的复合型艺术家的兴起，
08:05
the professional artist
200
470000
2000
这些专业艺术家，
08:07
who works, not primarily in the concert hall or on the stage;
201
472000
2000
主要不是在音乐厅或是舞台上表演
08:09
but most frequently around
202
474000
2000
而常常为
08:11
women's rights, or human rights,
203
476000
2000
女权、人权、
08:13
or on global warming issues or AIDS relief for more --
204
478000
3000
全球变暖问题或AIDS救助等表演，
08:16
not out of economic necessity,
205
481000
2000
他们并不是出于经济上的需求，
08:18
but out of a deep, organic conviction
206
483000
2000
而是出于一种内心的信念，
08:20
that the work that she or he, is called to do
207
485000
3000
他或她被召唤去做的工作
08:23
cannot be accomplished in the traditional
208
488000
2000
在传统封闭的艺术环境中
08:25
hermetic arts environment.
209
490000
2000
是无法完成的。
08:27
Today's dance world is not defined solely
210
492000
3000
当今的舞蹈世界不再单纯
08:30
by the Royal Winnipeg Ballet or the National Ballet of Canada,
211
495000
3000
由皇家温尼伯芭蕾舞团或加拿大国家芭蕾舞团来界定了，
08:33
but by Liz Lerman's Dance Exchange --
212
498000
3000
而是由莉兹·莱尔曼舞蹈交流这样的公司来界定，
08:36
a multi-generational, professional dance company,
213
501000
3000
这是个跨越好几代的专业舞蹈公司，
08:39
whose dancers range in age from 18 to 82,
214
504000
3000
其中舞者的年龄从18岁到82岁，
08:42
and who work with genomic scientists
215
507000
2000
该公司与基因科学家合作
08:44
to embody the DNA strand
216
509000
2000
具体描述出DNA链
08:46
and with nuclear physicists at CERN.
217
511000
3000
并与欧洲原子核研究委员会合作。
08:49
Today's professional theater community
218
514000
2000
如今的专业剧院团体
08:51
is defined, not only the Shaw and Stratford Festivals,
219
516000
3000
也不是在由肖伯纳和斯特拉特福德节来界定，
08:54
but by the Cornerstone Theater of Los Angeles --
220
519000
3000
而是由洛杉矶基石剧院来界定，
08:57
a collective of artists that after 9/11,
221
522000
3000
这是一个艺术家的共同体，在9/11之后，
09:00
brought together 10 different religious communities --
222
525000
3000
汇集了十个不同宗教信仰的社群 --
09:03
the Bahia, the Catholic,
223
528000
2000
巴哈伊教徒、天主教徒、
09:05
the Muslim, the Jewish,
224
530000
2000
穆斯林教徒、犹太人、
09:07
even the Native American
225
532000
2000
甚至还有美洲原住民
09:09
and the gay and lesbian communities of faith,
226
534000
2000
及男女同性恋者，
09:11
helping them create their own individual plays
227
536000
3000
它帮助他们创造自己独特的戏剧
09:14
and one massive play,
228
539000
2000
和一台大型戏剧，
09:16
where they explored the differences in their faith
229
541000
2000
在其中他们探索了他们信仰的不同
09:18
and found commonality
230
543000
2000
并发现了信仰的共同性
09:20
as an important first step
231
545000
2000
在跨信仰融合上
09:22
toward cross-community healing.
232
547000
2000
迈出了重要的第一步。
09:25
Today's performers, like Rhodessa Jones,
233
550000
2000
如今的表演者，如罗德萨·琼斯，
09:27
work in women's prisons,
234
552000
2000
在女子监狱工作，
09:29
helping women prisoners articulate the pain of incarceration,
235
554000
3000
帮助女囚犯减轻监禁的痛苦，
09:32
while today's playwrights and directors work with youth gangs
236
557000
2000
而如今的剧作家和导演们与年轻的帮派合作
09:34
to find alternate channels to violence
237
559000
3000
以找出可改变暴力的渠道
09:37
and more and more and more.
238
562000
3000
等等等等。
09:40
And indeed, I think, rather than being annihilated,
239
565000
3000
实际上，我想与其说现场表演艺术正走向灭亡，
09:43
the performing arts are posed on the brink of a time
240
568000
2000
不如说它正处在一个时代的边缘，
09:45
when we will be more important
241
570000
2000
在这个时代中我们变得
09:47
than we have ever been.
242
572000
2000
前所未有的重要。
09:49
You know, we've said for a long time,
243
574000
2000
我们强调了很久，
09:51
we are critical to the health of the economic communities in your town.
244
576000
3000
我们对城镇内的经济共同体的健康很重要。
09:54
And absolutely --
245
579000
2000
绝对重要。
09:56
I hope you know that every dollar spent on a performing arts ticket in a community
246
581000
3000
我希望大家知道，每在现场表演艺术的门票上花一美元，
09:59
generates five to seven additional dollars for the local economy,
247
584000
3000
就为地方经济带来五到七美元的额外收入，
10:02
dollars spent in restaurants or on parking,
248
587000
2000
而花在餐馆或停车上的钱，
10:04
at the fabric stores where we buy fabric for costumes,
249
589000
3000
我们为演出服装在布料店购买布料花的钱
10:07
the piano tuner who tunes the instruments and more.
250
592000
3000
我们为乐器调音雇佣钢琴调音师等等。
10:10
But the arts are going to be more important to economies
251
595000
2000
但随着我们不断前进，艺术将
10:12
as we go forward,
252
597000
2000
对经济越来越重要
10:14
especially in industries we can't even imagine yet,
253
599000
3000
特别是对那些我们甚至没有想到的产业，
10:17
just as they have been central to the iPod
254
602000
2000
就像它们曾对iPod
10:19
and the computer game industries,
255
604000
2000
和电脑游戏产业那样极为重要，
10:21
which few, if any of us
256
606000
2000
少数人，如果我们中有人，
10:23
come have foreseen 10 to 15 years ago.
257
608000
2000
能预测10到15年之后的情形。
10:26
Business leadership will depend more and more
258
611000
2000
商业领导将越来越依赖于
10:28
on emotional intelligence,
259
613000
2000
情商，
10:30
the ability to listen deeply,
260
615000
2000
认真倾听，
10:32
to have empathy,
261
617000
2000
产生共鸣，
10:34
to articulate change, to motivate others --
262
619000
2000
清晰的表达变化，激励他人的能力 --
10:36
the very capacities
263
621000
2000
每次相遇这种艺术
10:38
that the arts cultivate with every encounter.
264
623000
3000
都能培养出这些真正的能力。
10:41
Especially now,
265
626000
2000
尤其是当下，
10:43
as we all must confront
266
628000
2000
我们都必须面对
10:45
the fallacy of a market-only orientation,
267
630000
3000
只以市场为导向、
10:48
uninformed by social conscience;
268
633000
2000
泯灭社会良知的谬论。
10:50
we must seize and celebrate the power of the arts
269
635000
3000
我们必须利用和宣扬艺术的力量
10:53
to shape our individual and national characters,
270
638000
3000
来塑造我们个人和国民的特性，
10:56
and especially characters of the young people,
271
641000
3000
尤其是年轻人的特性，
10:59
who all too often, are subjected to bombardment of sensation,
272
644000
3000
他们时常屈从于感性的冲击，
11:02
rather than digested experience.
273
647000
2000
而不是从中获取经验。
11:05
Ultimately, especially now in this world,
274
650000
3000
最后，尤其是在当今世界，
11:08
where we live in a context
275
653000
2000
我们生活在一个
11:10
of regressive and onerous immigration laws,
276
655000
3000
退步且繁杂的移民法律之下，
11:13
in reality TV that thrives on humiliation,
277
658000
3000
在电视真人秀中繁盛的屈辱性的节目，
11:16
and in a context of analysis,
278
661000
2000
并在一个解析的环境中，
11:18
where the thing we hear most repeatedly,
279
663000
2000
其中我们在美国
11:20
day-in, day-out in the United States,
280
665000
3000
常不断地日复一日地听到，
11:23
in every train station, every bus station, every plane station is,
281
668000
2000
在每个火车站，每个公交车站，每个飞机场都能听到，
11:25
"Ladies and gentlemen,
282
670000
2000
“女士们先生们，
11:27
please report any suspicious behavior
283
672000
2000
请向距您最近的相关部门
11:29
or suspicious individuals
284
674000
2000
报告任何
11:31
to the authorities nearest you,"
285
676000
2000
可疑行为和可疑人员，”
11:33
when all of these ways we are encouraged
286
678000
2000
我们被鼓励用所有这些
11:35
to view our fellow human being with hostility
287
680000
2000
带着敌意、恐惧、轻视和猜疑的
11:37
and fear and contempt and suspicion.
288
682000
3000
方式来观察我们周围的人们。
11:41
The arts, whatever they do, whenever they call us together,
289
686000
3000
不论做什么，不论何时，艺术把我们召集在一起，
11:44
invite us to look at our fellow human being
290
689000
2000
艺术让我们用慷慨和好奇的
11:46
with generosity and curiosity.
291
691000
3000
眼光来看待周围的人。
11:50
God knows, if we ever needed
292
695000
2000
上帝知道，如果我们在
11:52
that capacity in human history,
293
697000
2000
人类历史上曾需要过这种能力，
11:54
we need it now.
294
699000
3000
那么我们现在也需要它。
12:00
You know, we're bound together,
295
705000
2000
我们紧密的连接在一起，
12:02
not, I think by technology, entertainment and design,
296
707000
3000
我想这不是因为技术、娱乐或是设计，
12:05
but by common cause.
297
710000
2000
而是一个共同的理由。
12:07
We work to promote healthy vibrant societies,
298
712000
3000
我们努力建立一个健康且充满活力的社会，
12:10
to ameliorate human suffering,
299
715000
3000
为了减轻人类的痛苦，
12:13
to promote a more thoughtful,
300
718000
2000
为了促成一个更周到的、
12:15
substantive, empathic world order.
301
720000
3000
更持久的、更多感情投入的世界秩序。
12:19
I salute all of you as activists in that quest
302
724000
3000
我向所有为这一目标努力的人们致敬，
12:22
and urge you to embrace and hold dear the arts in your work,
303
727000
3000
并强烈希望你们拥抱并珍视你们所从事的艺术，
12:25
whatever your purpose may be.
304
730000
3000
无论你们的意图是什么。
12:28
I promise you the hand of the Doris Duke Charitable Foundation
305
733000
3000
我向你们承诺，从现在至将来
12:31
is stretched out in friendship for now and years to come.
306
736000
3000
多丽丝‧杜克慈善基金会都会伸出友谊之手。
12:34
And I thank you for your kindness and your patience in listening to me this afternoon.
307
739000
2000
十分感谢各位的善良和耐心来听我今天下午的演讲。
12:36
Thank you, and godspeed.
308
741000
2000
谢谢，祝万事如意。
ABOUT THE SPEAKER
Ben Cameron - Arts administratorBen Cameron runs the arts granting program at the Doris Duke Foundation, focusing on live theater, dance and jazz.
Why you should listen
Ben Cameron is the Program Director, Arts, at the Doris Duke Charitable Foundation in New York, where he supervises a $13 million grants program aimed at the theatre, contemporary dance, jazz and presenting fields. Grants happen in three main areas: commissioning and distribution of new works; building strong arts organizations; and supporting national arts organizations.
During 13 seasons, Cameron has been a panelist on the opera quiz during the Live from the Metropolitan radio broadcasts from New York. He has also served as a member of the Tony Awards Nominating Committee.
Ben Cameron | Speaker | TED.com