ABOUT THE SPEAKER
Julie Burstein - Writer and radio producer
As a producer, Julie Burstein builds places to talk (brilliantly) about creative work. Her book "Spark: How Creativity Works" shares what she has learned.

Why you should listen

From where does creativity flow? In 2000, Julie Burstein created Public Radio International's show Studio 360 to explore pop culture and the arts. Hosted by novelist Kurt Andersen and produced at WNYC, the show is a guide to what's interesting now -- and asks deep questions about the drive behind creative work. Now, Burstein has written Spark: How Creativity Works, filled with stories about artists, writers and musicians (like Chuck Close, Isabel Allende, Patti Lupone). Burstein is the host of pursuitofspark.com full of conversations about creative approaches to the challenges, possibilities and pleasures of everyday life and work. She also "loves sitting in for Leonard Lopate."

More profile about the speaker
Julie Burstein | Speaker | TED.com
TED2012

Julie Burstein: 4 lessons in creativity

朱莉·伯斯坦: 創造力的四堂課

Filmed:
2,034,797 views

廣播電台主持人朱莉·伯斯坦和創意人現場對談,分享四堂關於如何在面對困難、自我懷疑、失去時創造的課。聽聽她來自製片家米拉奈勒、作家理查福特、雕刻家理查席拉、和攝影師喬爾邁耶羅維茨的見解。
- Writer and radio producer
As a producer, Julie Burstein builds places to talk (brilliantly) about creative work. Her book "Spark: How Creativity Works" shares what she has learned. Full bio

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

00:16
On my desk in my office辦公室, I keep a small clay粘土 pot
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在我辦公室的桌上,我放了一個小陶壺
00:21
that I made製作 in college學院. It's raku, which哪一個 is a kind of pottery陶器
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是我在大學時期做的
這是樂燒,一種製陶術
00:25
that began開始 in Japan日本 centuries百年 ago as a way of
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在好幾世紀以前源自日本,
00:30
making製造 bowls for the Japanese日本 tea ceremony儀式.
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日本人用這樣的技術為茶道製作了這些碗
00:34
This one is more than 400 years年份 old.
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這個壺已經有四百多歲了
00:37
Each one was pinched or carved out of a ball of clay粘土,
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每一個樂燒都是從一球黏土
捏成或雕刻而成
00:41
and it was the imperfections缺陷 that people cherished珍愛的.
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而成品本身的不完美卻是被人所珍視的
00:46
Everyday每天 pots like this cup杯子 take eight to 10 hours小時 to fire.
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每一天,像這樣的杯子
都要花費八到十小時去烘製
00:54
I just took this out of the kiln last week, and the kiln itself本身
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上個禮拜我才剛把它
從窯裡面拿出來,而這個窯本身
00:57
takes another另一個 day or two to cool down, but raku
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也需要花一兩天來冷卻,不過樂燒呢
01:01
is really fast快速. You do it outside, and you take the kiln
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就很快了,你在窯外製作它,然後將窯升溫
01:06
up to temperature溫度. In 15 minutes分鐘, it goes to 1,500 degrees,
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在十五分鐘之內
它就會達到攝氏一千五百度
01:11
and as soon不久 as you see that the glaze has melted融化了 inside,
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當你看到外層的釉已經在窯內熔化
01:14
you can see that faint sheen光澤, you turn the kiln off,
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可以看得見微亮的光澤時,將窯關掉
01:17
and you reach達到 in with these long metal金屬 tongs,
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用金屬鉗伸入窯裡
01:20
you grab the pot, and in Japan日本, this red-hot熾熱 pot
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然後抓住裡面的壺
在日本,這個火熱的容器
01:24
would be immediately立即 immersed沉浸 in a solution of green綠色 tea,
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會立刻被浸入綠茶中
01:29
and you can imagine想像 what that steam蒸汽 would smell like.
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你能想像那蒸氣聞起來的味道
01:32
But here in the United聯合的 States狀態, we ramp舷梯 up the drama戲劇
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但在美國,我們更增加一些
01:36
a little bit, and we drop下降 our pots into sawdust鋸末,
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戲劇效果.我們將我們的壺罐放在著火的
01:39
which哪一個 catches漁獲 on fire, and you take a garbage垃圾 pail,
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鋸木屑中,然後拿一個垃圾桶
01:42
and you put it on top最佳, and smoke抽煙 starts啟動 pouring澆注 out.
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把壺和燒木屑蓋起來,然後煙霧便開始傾出
01:47
I would come home with my clothes衣服 reeking發臭氣 of woodsmokewoodsmoke.
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我回家時,我的衣服散發出濃烈的木屑味
01:52
I love raku because it allows允許 me to play with the elements分子.
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我熱愛樂窟,因為它讓我能玩這些元素
01:57
I can shape形狀 a pot out of clay粘土 and choose選擇 a glaze,
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我能從一團黏土中塑形出一個壺並能選擇釉料
02:02
but then I have to let it go to the fire and the smoke抽煙,
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但之後我必須把它放進火和煙中
02:06
and what's wonderful精彩 is the surprises驚喜 that happen發生,
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而最棒的是驚喜的事發生了
02:08
like this crackle裂紋 pattern模式, because it's really stressful壓力
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像這個碎裂的花紋,因為這些壺罐
02:12
on these pots. They go from 1,500 degrees
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承受了很大的壓力,它們在一分鐘之內
02:14
to room房間 temperature溫度 in the space空間 of just a minute分鐘.
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經歷了攝氏一千五百度到室溫的溫度變化
02:18
Raku is a wonderful精彩 metaphor隱喻 for the process處理 of creativity創造力.
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樂燒對於創造的過程而言,是個很棒的比喻
02:24
I find in so many許多 things that tension張力 between之間
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我發現在很多事物中
02:28
what I can control控制 and what I have to let go
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介於什麼是我能控制的
和什麼是我得放手的張力
02:32
happens發生 all the time, whether是否 I'm creating創建 a new radio無線電 show顯示
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時時都存在,不管在製作一個廣播節目
02:35
or just at home negotiating談判 with my teenage青少年 sons兒子.
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或是在家中和我的青少年兒子們談判時
02:40
When I satSAT down to write a book about creativity創造力,
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當我坐下來要寫一本有關創造的書時
02:44
I realized實現 that the steps腳步 were reversed反向的.
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我發現創造的步驟是顛倒的
02:47
I had to let go at the very beginning開始, and I had to
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在一開始時我必須要放手,然後我必須要
02:51
immerse沉浸 myself in the stories故事 of hundreds數以百計 of artists藝術家
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將我自己沈浸在幾百個藝術家, 作家,
02:55
and writers作家 and musicians音樂家 and filmmakers電影製片人, and as I listened聽了
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音樂家,和影片製作人的故事裡
03:00
to these stories故事, I realized實現 that creativity創造力
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當我聆聽這些故事時,我了解到創造力
03:05
grows成長 out of everyday每天 experiences經驗
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發芽於我們日常生活中的經驗
03:08
more often經常 than you might威力 think, including包含
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頻率比你想像的還高,也包括
03:12
letting出租 go.
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放手的經驗
03:15
It was supposed應該 to break打破, but that's okay. (Laughter笑聲) (Laughs)
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它應該要破掉的,不過沒關係 (笑聲)
03:19
That's part部分 of the letting出租 go, is sometimes有時 it happens發生
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這也是放手的一部份.有時候它發生了
03:22
and sometimes有時 it doesn't, because creativity創造力 also grows成長
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有時候它不會,因為創造力也會由
03:25
from the broken破碎 places地方.
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破碎的地方生出
03:28
The best最好 way to learn學習 about anything
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學習一切事物最好的方法
03:31
is through通過 stories故事, and so I want to tell you a story故事
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就是透過故事,所以我想要告訴你們一個故事
03:35
about work and play and about four aspects方面 of life
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關於工作還有玩樂
還有人生中的四個面向
03:40
that we need to embrace擁抱
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這些是我們需要欣然接受的
03:42
in order訂購 for our own擁有 creativity創造力 to flourish繁榮.
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為了要讓我們的創造力能夠成長茁壯
03:46
The first embrace擁抱 is something that we think,
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第一個要擁抱的就是我們常認為
03:48
"Oh, this is very easy簡單," but it's actually其實 getting得到 harder更難,
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“噢,這非常容易”但實事上這件事卻越來越難
03:52
and that's paying付款 attention注意 to the world世界 around us.
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那就是:注意我們身邊的世界
03:56
So many許多 artists藝術家 speak說話 about needing需要 to be open打開,
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所以許多藝術家談到保持開放的必要
04:01
to embrace擁抱 experience經驗, and that's hard to do when
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去擁抱經驗,這是很難的
04:04
you have a lighted發光的 rectangle長方形 in your pocket口袋 that
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當你有一個發光的長方形物體在你的口袋
04:08
takes all of your focus焦點.
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它將你的專注都奪走了
04:11
The filmmaker電影製片人 Mira米拉 Nair奈爾 speaks說話 about growing生長 up
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製片家米拉奈勒發表了有關成長的演說
04:16
in a small town in India印度. Its name名稱 is Bhubaneswar布巴內斯瓦爾,
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在印度一個叫做布班那史瓦爾的小鎮
04:20
and here's這裡的 a picture圖片 of one of the temples寺廟 in her town.
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而這是她的小鎮中其中一座廟的照片
04:24
Mira米拉 Nair奈爾: In this little town, there were like 2,000 temples寺廟.
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米拉奈勒:在這個小鎮中,大概有兩千座廟宇
04:27
We played發揮 cricket蟋蟀 all the time. We kind of grew成長 up
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我們老是在玩蟋蟀,我們算是在瓦礫堆中
04:30
in the rubble瓦礫. The major重大的 thing that inspired啟發 me,
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長大的,主要激發我
04:33
that led me on this path路徑, that made製作 me a filmmaker電影製片人 eventually終於,
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走上這條路,最後成為一個製片家的
04:37
was traveling旅行 folk民間 theater劇院 that would come through通過 the town
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是會到我們鎮上的移動劇團
04:40
and I would go off and see these great battles戰鬥
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我會到操場去看
04:43
of good and evil邪惡 by two people in a school學校 field領域
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正義與邪惡兩方之間的大戰
04:47
with no props道具 but with a lot of, you know,
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沒有道具,只有,你知道的
04:49
passion, and hashish大麻 as well, and it was amazing驚人.
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熱情,和印度大麻花,這是非常驚人的
04:53
You know, the folk民間 tales故事 of Mahabharata摩訶婆羅多 and Ramayana羅摩衍那,
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你知道, 民間傳說摩訶波羅多和羅摩耶那史詩
04:56
the two holy books圖書, the epics史詩 that everything comes out of
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這兩本聖書、史詩, 在印度是一切的出處
04:59
in India印度, they say. After seeing眼看 that JatraJatra, the folk民間 theater劇院,
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在看過移動劇團加塔亞後
05:03
I knew知道 I wanted to get on, you know, and perform演出.
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我就知道我想要上台去,你知道的,去表演
05:08
Julie朱麗葉 Burstein伯斯坦: Isn't that a wonderful精彩 story故事?
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講者:這不是個很棒的故事嗎?
05:10
You can see the sort分類 of break打破 in the everyday每天.
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在日常生活中你就能看見這樣子的機會
05:12
There they are in the school學校 fields領域, but it's good and evil邪惡,
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他們就在校園操場上
但是具備了正義與邪惡兩方
05:15
and passion and hashish大麻. And Mira米拉 Nair奈爾 was a young年輕 girl女孩
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還有熱情和印度大麻花
米拉奈爾是個年輕女孩
05:20
with thousands數千 of other people watching觀看 this performance性能,
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和上千名觀眾一起看表演
05:24
but she was ready準備. She was ready準備 to open打開 up
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但她準備好了。準備好向在她心裡閃耀之處
05:27
to what it sparked引發 in her, and it led her,
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敞開她自己。她說,這帶領她
05:30
as she said, down this path路徑 to become成為
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通往得獎製片者的
05:33
an award-winning獲獎 filmmaker電影製片人.
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道路上
05:36
So being存在 open打開 for that experience經驗 that might威力 change更改 you
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對於有可能改變你的經驗保持開放的心胸
05:38
is the first thing we need to embrace擁抱.
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是第一件我們需要欣然接受的事
05:41
Artists藝術家 also speak說話 about how some of their most powerful強大 work
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藝術家也常說到他們最有力的作品
05:47
comes out of the parts部分 of life that are most difficult.
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是如何產生於生命中最困難的時刻
05:52
The novelist小說家 Richard理查德 Ford speaks說話 about
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小說家理查・福特談到
05:56
a childhood童年 challenge挑戰 that continues繼續 to be something
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一個童年的挑戰延續成為某件
06:00
he wrestles搏鬥 with today今天. He's severely嚴重 dyslexic誦讀困難.
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他至今仍舊努力解決的事。
他有嚴重的閱讀障礙
06:04
Richard理查德 Ford: I was slow to learn學習 to read, went all the way
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理查・福特:我學習閱讀得很慢,在
06:07
through通過 school學校 not really reading more than the minimum最低限度,
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全部求學期間,我的閱讀只是在最低程度
06:11
and still to this day can't read silently默默
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而至今我默讀也不會
06:14
much faster更快 than I can read aloud高聲,
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比大聲朗讀時快很多
06:17
but there were a lot of benefits好處 to being存在 dyslexic誦讀困難 for me
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但是閱讀障礙對我而言有很多好處
06:20
because when I finally最後 did reconcile調和 myself to how slow
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因為當我終於接受我閱讀會是多麼地慢時
06:23
I was going to have to do it, then I think I came來了 very slowly慢慢地
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我慢慢地開始
06:28
into an appreciation升值 of all of those qualities氣質 of language語言
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欣賞語言中的特質
06:31
and of sentences句子 that are not just the cognitive認知
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還有不只是語言中認知層面的句子
06:34
aspects方面 of language語言: the syncopations切分音, the sounds聲音 of words,
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的句子。其中的切分音、單字的音
06:37
what words look like, where paragraphs段落 break打破,
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這些字的樣子、段落是在哪裡分隔
06:39
where lines break打破. I mean, I wasn't so badly dyslexic誦讀困難 that
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詩句是在那裡切斷。
我的意思是,我的閱讀障礙
06:42
I was disabled from reading. I just had to do it
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並沒有嚴重到我不能閱讀。我只是需要
06:45
really slowly慢慢地, and as I did, lingering纏綿 on those sentences句子
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讀地很慢。當我如此這樣做,我徘徊在
06:50
as I had to linger縈繞, I fell下跌 heir繼承者 to language's語言的 other qualities氣質,
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我需要徘徊的句子之中時,
我成為語言裡其他本質的繼承人
06:54
which哪一個 I think has helped幫助 me write sentences句子.
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我想這幫助了我寫每一個句子
06:57
JBJB: It's so powerful強大. Richard理查德 Ford, who's誰是 won韓元 the Pulitzer普利策 Prize,
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講者:多麼強而有力。
理查・福特,普利茲獎的得主
07:01
says that dyslexia誦讀困難 helped幫助 him write sentences句子.
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說閱讀障礙幫助了他寫作
07:07
He had to embrace擁抱 this challenge挑戰, and I use that word
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他必須欣然接受這個挑戰,
而我是故意用「欣然接受」這個字。
07:09
intentionally故意地. He didn't have to overcome克服 dyslexia誦讀困難.
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他不必克服閱讀障礙
07:14
He had to learn學習 from it. He had to learn學習 to hear the music音樂
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他需要從中學習。他需要學著去
07:17
in language語言.
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聽語言中的音樂。
07:20
Artists藝術家 also speak說話 about how pushing推動 up against反對
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藝術家也談到逼自己超越
07:25
the limits範圍 of what they can do, sometimes有時 pushing推動
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自己的極限,有時是如何將他們推入
07:28
into what they can't do, helps幫助 them focus焦點
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自己以前做不到的事,幫助他們專注於
07:31
on finding發現 their own擁有 voice語音.
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找到他們自己的聲音
07:35
The sculptor雕塑家 Richard理查德 Serra塞拉 talks會談 about how,
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雕刻家理查席拉說道
07:39
as a young年輕 artist藝術家, he thought he was a painter畫家,
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身為一個年輕藝術家,他認為他是一個畫家
07:42
and he lived生活 in Florence佛羅倫薩 after graduate畢業 school學校.
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他住在佛羅倫斯在他畢業以後
07:46
While he was there, he traveled旅行 to Madrid馬德里,
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當他在那裡時,他旅行到馬德里
07:49
where he went to the Prado普拉多 to see this picture圖片
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在那裡他去了普拉多美術館去看
07:51
by the Spanish西班牙語 painter畫家 Diego迭戈 VelVELázquezzquez.
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西班牙畫家維拉斯奎茲的畫作
07:55
It's from 1656, and it's called "Las拉斯維加斯 Meninas梅尼納斯,"
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它作於1656年,它的名字是《宮女》
08:00
and it's the picture圖片 of a little princess公主
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它是一幅一個小公主
08:02
and her ladies-in-waiting女士們在等待, and if you look over
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和她的侍女的畫作。若你仔細看
08:06
that little blonde金發 princess's公主的 shoulder, you'll你會 see a mirror鏡子,
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那個金髮小公主的肩膀後面,你會看到一面鏡子
08:09
and reflected反射的 in it are her parents父母, the King國王 and Queen女王
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反射於其中的是她的父母,西班牙的
08:13
of Spain西班牙, who would be standing常設 where you might威力 stand
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國王和皇后,他們於理應該就站在你看畫時
08:16
to look at the picture圖片.
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所站的地方
08:18
As he often經常 did, VelVELázquezzquez put himself他自己 in this painting繪畫 too.
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如同他常常做的,維拉斯奎茲將他自己放在畫中
08:23
He's standing常設 on the left with his paintbrush畫筆 in one hand
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他正站在畫中的左邊,一隻手裡拿著他的筆刷
08:28
and his palette調色板 in the other.
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另一隻手拿著他的調色盤
08:30
Richard理查德 Serra塞拉: I was standing常設 there looking at it,
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理查席拉:我站在那看著這幅畫
08:32
and I realized實現 that VelVELázquezzquez was looking at me,
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然後我了解到維拉斯奎茲正在看著我
08:35
and I thought, "Oh. I'm the subject學科 of the painting繪畫."
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我想到:噢,我就是這幅畫中的主題
08:39
And I thought, "I'm not going to be able能夠 to do that painting繪畫."
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然後我繼續想到:我永遠不可能畫出這樣的畫
08:41
I was to the point where I was using運用 a stopwatch跑表
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在當時我使用秒錶
08:44
and painting繪畫 squares廣場 out of randomness隨機性,
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隨意地畫些方塊
08:49
and I wasn't getting得到 anywhere隨地. So I went back and dumped
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沒有任何的進步。所以
我回到義大利並在亞諾河畔
08:51
all my paintings繪畫 in the Arno阿諾, and I thought, I'm going to just start開始 playing播放 around.
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丟掉我所有的畫作。
然後我想:我要開始輕鬆地玩耍
08:54
JBJB: Richard理查德 Serra塞拉 says that so nonchalantly漠不關心地, you might威力
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講者:理查席拉說得如此不在乎,
08:57
have missed錯過 it. He went and saw this painting繪畫 by a guy
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你們可能沒有領會到。
他看到一幅畫,出自於一個
09:00
who'd誰願意 been dead for 300 years年份, and realized實現,
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已經死了三百多年的人,然後領悟到
09:04
"I can't do that," and so Richard理查德 Serra塞拉 went back
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“我做不到”。所以理查席拉回到
09:08
to his studio工作室 in Florence佛羅倫薩, picked採摘的 up all of his work
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他在佛羅倫斯的工作室,拿起他到當時為止
09:11
up to that point, and threw it in a river.
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所有的畫作,然後將它們丟進河裡。
09:15
Richard理查德 Serra塞拉 let go of painting繪畫 at that moment時刻,
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理查席拉在那一刻放開了繪畫這件事
09:18
but he didn't let go of art藝術. He moved移動 to New York紐約 City,
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但他並沒有放棄藝術。他搬到紐約
09:22
and he put together一起 a list名單 of verbs動詞
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然後他組合了一串動詞
09:25
— to roll, to crease, to fold
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-捲,弄皺,折疊-
09:28
more than a hundred of them, and as he said,
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超過一百種動作,然後他說
09:31
he just started開始 playing播放 around. He did these things
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他開始輕鬆地玩耍了。他重複這件事
09:33
to all kinds of material材料. He would take a huge巨大 sheet of lead
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在不同的材質上。他會拿一大張的鉛紙
09:36
and roll it up and unroll it. He would do the same相同 thing
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捲它再展開它。他會做同樣的事
09:40
to rubber橡膠, and when he got to the direction方向 "to lift電梯,"
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於橡膠上,然後當他玩到"舉“這個方法
09:45
he created創建 this, which哪一個 is in the Museum博物館 of Modern現代 Art藝術.
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他創造出這個作品,現在在現代藝術博物館中。
09:50
Richard理查德 Serra塞拉 had to let go of painting繪畫
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理查席拉必須放棄繪畫
09:53
in order訂購 to embark從事 on this playful調皮 exploration勘探
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才能開始從事這個好玩的探索
09:57
that led him to the work that he's known已知 for today今天:
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引導他創造出今天他為人知曉的作品
10:00
huge巨大 curves曲線 of steel that require要求 our time and motion運動
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鋼鐵的巨大弧線
那些需要我們用時間和動作
10:06
to experience經驗. In sculpture雕塑,
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去經驗的。在雕刻中
10:09
Richard理查德 Serra塞拉 is able能夠 to do what he couldn't不能 do in painting繪畫.
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理查席拉能做那些
他在繪畫中不能做到的事
10:13
He makes品牌 us the subject學科 of his art藝術.
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他讓我們成為他作品中的主題
10:17
So experience經驗 and challenge挑戰
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所以經驗和挑戰
10:21
and limitations限制 are all things we need to embrace擁抱
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和極限全是我們需要欣然接受
10:25
for creativity創造力 to flourish繁榮.
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讓創造力繁榮
10:27
There's a fourth第四 embrace擁抱, and it's the hardest最難.
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這是第四個欣然接受,而這也是最難的
10:31
It's the embrace擁抱 of loss失利,
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要欣然接受失去
10:33
the oldest最老的 and most constant不變 of human人的 experiences經驗.
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這個最古老也是最亙古不變的人類經驗
10:37
In order訂購 to create創建, we have to stand in that space空間
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為了要創造,我們需要站在
10:40
between之間 what we see in the world世界 and what we hope希望 for,
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我們看到的和我們希望的世界的中間
10:44
looking squarely筆直 at rejection拒絕, at heartbreak心碎,
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直視拒絕,直視心碎
10:49
at war戰爭, at death死亡.
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直視戰爭,直視死亡。
10:51
That's a tough強硬 space空間 to stand in.
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這是個令人難以立足的空間
10:54
The educator教育家 Parker帕克 Palmer帕爾默 calls電話 it "the tragic悲慘 gap間隙,"
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教育家帕爾默稱它為“悲劇的裂口”
10:59
tragic悲慘 not because it's sad傷心 but because it's inevitable必然,
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悲劇並不是因為悲傷
而是因為這是無可避免的
11:03
and my friend朋友 Dick迪克 Nodel結點1 likes喜歡 to say,
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我的朋友迪克諾度喜歡這麼說
11:06
"You can hold保持 that tension張力 like a violin小提琴 string
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“你可以抓住像小提琴弦上的張力
11:09
and make something beautiful美麗."
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而創造美麗的事物”
11:13
That tension張力 resonates共振 in the work of the photographer攝影師
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這緊繃的張力也在攝影師的作品中共鳴
11:16
Joel喬爾 Meyerowitz邁耶羅維茨, who at the beginning開始 of his career事業 was
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喬爾邁耶羅維茨的作品裡。
他在職業生涯的一開始
11:19
known已知 for his street photography攝影, for capturing捕獲 a moment時刻
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出名於他的街頭攝影,捕獲街上
11:22
on the street, and also for his beautiful美麗 photographs照片
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的瞬間。他也知名於美麗的風景
11:26
of landscapes景觀 -- of Tuscany托斯卡納, of Cape Cod鱈魚,
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攝影-塔斯卡尼、鱈魚岬、
11:30
of light.
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光影。
11:32
Joel喬爾 is a New Yorker紐約客, and his studio工作室 for many許多 years年份
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喬是個紐約人,而他的工作室很多年來
11:36
was in Chelsea切爾西, with a straight直行 view視圖 downtown市中心
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都位於卻爾西,有著能一路看見商業區
11:40
to the World世界 Trade貿易 Center中央, and he photographed拍照
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到世界貿易中心的視野。他拍攝
11:42
those buildings房屋 in every一切 sort分類 of light.
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這些建築物於各種不同的光影下
11:47
You know where this story故事 goes.
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你們知道這個故事怎麼發展的了
11:50
On 9/11, Joel喬爾 wasn't in New York紐約. He was out of town,
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911那天,喬不在紐約市,他出城了
11:53
but he raced賽跑 back to the city, and raced賽跑 down to the site現場
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但他飛快回到城裡,一路狂奔到
11:58
of the destruction毀壞.
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遭破壞的地點
12:00
Joel喬爾 Meyerowitz邁耶羅維茨: And like all the other passersby路人,
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喬爾邁耶羅維茨:就像所有的路人一樣
12:02
I stood站在 outside the chain link鏈接 fence籬笆 on Chambers錢伯斯
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我站在菱形粗鋼絲網牆外,在議院
12:05
and Greenwich格林威治, and all I could see was the smoke抽煙
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和格林威治街交叉口。所有我能看到的只有煙
12:07
and a little bit of rubble瓦礫, and I raised上調 my camera相機
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和一點點的瓦礫堆。我拿起我的相機
12:11
to take a peek窺視, just to see if there was something to see,
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想多看到一點,只是想看看是否有什麼能看見的
12:14
and some cop警察, a lady淑女 cop警察, hit擊中 me on my shoulder,
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然後有個警察,一個女警,打了一下我的肩膀
12:18
and said, "Hey, no pictures圖片!"
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然後說:嘿,不准拍照!
12:20
And it was such這樣 a blow打擊 that it woke醒來 me up,
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而這是把我叫醒的一擊
12:24
in the way that it was meant意味著 to be, I guess猜測.
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我猜我是註定要如此被喚醒
12:28
And when I asked her why no pictures圖片, she said,
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然後當我問她為什麼不能拍照時,她說
12:30
"It's a crime犯罪 scene現場. No photographs照片 allowed允許."
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“這是一個犯罪現場,沒有任何的照片是允許的”
12:33
And I asked her, "What would happen發生 if I was a member會員
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我接著問:“如果我是一個記者,
12:34
of the press?" And she told me,
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那情況會是如何?” 然後她告訴我
12:36
"Oh, look back there," and back a block was the press corps兵團
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“噢,看看你後面” 而後面正是一大批的記者
12:41
tied up in a little penned-in操刀設計,在 area,
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被限制於一個囚禁式的區域
12:44
and I said, "Well, when do they go in?"
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然後我說:“好吧,他們什麼時候能進去?”
12:46
and she said, "Probably大概 never."
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她說:“可能永遠不能”
12:48
And as I walked away from that, I had this crystallization結晶,
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當我離開時,我想清楚具體看見一件事
12:53
probably大概 from the blow打擊, because it was an insult侮辱 in a way.
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有可能是因為那一擊,因為那是一種侮辱
12:56
I thought, "Oh, if there's no pictures圖片,
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我想:噢,如果沒有照片
12:58
then there'll有會 be no record記錄. We need a record記錄."
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就沒有記錄。我們需要一個記錄
13:01
And I thought, "I'm gonna make that record記錄.
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然後我想到:我必須做那個記錄
13:03
I'll find a way to get in, because I don't want to
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我會找到一個進去的方法,因為我不想
13:05
see this history歷史 disappear消失."
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看見這個歷史消失
13:07
JBJB: He did. He pulled in every一切 favor偏愛 he could,
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講者:他做到了。他找到了他能找來的所有幫助
13:12
and got a pass通過 into the World世界 Trade貿易 Center中央 site現場,
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然後拿到一個進入世貿中心的通行證
13:14
where he photographed拍照 for nine months個月 almost幾乎 every一切 day.
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在那裡他拍了九個月的照片,幾乎每一天都拍。
13:18
Looking at these photographs照片 today今天 brings帶來 back
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看著這些照片讓我想起
13:21
the smell of smoke抽煙 that lingered徘徊 on my clothes衣服
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徘徊在我衣物上的煙味
13:24
when I went home to my family家庭 at night.
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當我在傍晚回家時
13:26
My office辦公室 was just a few少數 blocks away.
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我的辦公室離世貿中心只有只個街區遠
13:30
But some of these photographs照片 are beautiful美麗,
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但其中有些照片很漂亮
13:33
and we wondered想知道, was it difficult for Joel喬爾 Meyerowitz邁耶羅維茨
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而我們想知道,對喬爾邁耶羅維茨這困難嗎
13:36
to make such這樣 beauty美女 out of such這樣 devastation毀壞?
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從廢墟殘骸中創造這樣的美?
13:41
JMJM: Well, you know, ugly醜陋, I mean, powerful強大
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喬:你知道,醜陋,我是說,強而有力的
13:44
and tragic悲慘 and horrific可怕的 and everything, but
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還有悲劇的和可怕的和一切
13:47
it was also as, in nature性質, an enormous巨大 event事件
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但它也是,在自然中,一個重大的事件
13:52
that was transformed改造 after the fact事實 into this residue殘留,
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在殘餘中轉化
13:57
and like many許多 other ruins廢墟
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就像其他很多遺跡
13:59
— you go to the ruins廢墟 of the Colosseum鬥獸場 or the ruins廢墟 of a cathedral大教堂 someplace某個地方
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-你會去古羅馬大型競技場或大教堂的遺跡-
14:03
and they take on a new meaning含義 when you watch the weather天氣.
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當你看著它們的處境時它們呈現新的意義
14:07
I mean, there were afternoons下午 I was down there,
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我的意思是,有幾個下午我在那裡時
14:09
and the light goes pink and there's a mist薄霧 in the air空氣
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光線變成粉紅色的,空氣中有薄霧
14:13
and you're standing常設 in the rubble瓦礫, and I found發現 myself
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你站在廢墟中,然後我發現自己
14:17
recognizing認識 both the inherent固有 beauty美女 of nature性質
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認出了大自然的內在美
14:21
and the fact事實 that nature性質, as time,
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而自然,以時間方式呈現,
14:23
is erasing擦除 this wound傷口.
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正在抹去這個傷痕的事實
14:27
Time is unstoppable勢不可擋, and it transforms變換 the event事件.
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時間的流逝是不可擋的,而它改變了這個事件
14:31
It gets得到 further進一步 and further進一步 away from the day,
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它離那天越來越遠
14:33
and light and seasons季節 temper脾氣 it in some way,
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光和季節以某種方式調和它
14:37
and it's not that I'm a romantic浪漫. I'm really a realist現實主義者.
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這不是因為我很浪漫。我真的是個現實主義者
14:41
The reality現實 is, there's the Woolworth伍爾沃斯 Building建造
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現實是,威爾伍斯大樓
14:45
in a veil面紗 of smoke抽煙 from the site現場, but it's now like a scrim紗幕
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在這個場景煙霧的薄紗中
但它現在看起來像一塊窗簾布
14:51
across橫過 a theater劇院, and it's turning車削 pink,
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蓋過劇院,而它現在正在轉成粉紅色
14:55
you know, and down below下面 there are hoses軟管 spraying,
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你知道,下面有在噴灑的水管
14:58
and the lights燈火 have come on for the evening晚間, and the water
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路燈因傍晚而亮起,而水
15:01
is turning車削 acid green綠色 because the sodium lamps燈具 are on,
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轉為酸綠,因為納燈開了
15:05
and I'm thinking思維, "My God, who could dream夢想 this up?"
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我想著:我的天啊,誰能料想到此景?
15:07
But the fact事實 is, I'm there, it looks容貌 like that,
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但事實上,我就在那裡,它看起來像
15:11
you have to take a picture圖片.
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你必須要照張相
15:13
JBJB: You have to take a picture圖片. That sense of urgency,
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講者:你必須要照張相。那種憂患意識
15:16
of the need to get to work, is so powerful強大 in Joel's喬爾的 story故事.
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需要開始工作的需求,在喬的故事裡很強大
15:22
When I saw Joel喬爾 Meyerowitz邁耶羅維茨 recently最近, I told him how much
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我最近看見喬爾邁耶羅維茨時,我告訴他我有多麼
15:25
I admired尊敬的 his passionate多情 obstinacy牛脾氣, his determination決心
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欽佩他熱情的頑強,他的決心
15:29
to push through通過 all the bureaucratic官僚主義 red tape膠帶 to get to work,
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要克服所有官僚的繁文縟節去工作
15:34
and he laughed笑了, and he said, "I'm stubborn倔強,
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然後他笑著說:「我很固執
15:36
but I think what's more important重要
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但我想更重要的
15:38
is my passionate多情 optimism樂觀."
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是我熱情的樂觀主義。」
15:42
The first time I told these stories故事, a man in the audience聽眾
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我第一次說這個故事時,觀眾席裡有一個男人
15:45
raised上調 his hand and said, "All these artists藝術家 talk about
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舉手並說道:『這些藝術家談他們的作品
15:48
their work, not their art藝術, which哪一個 has got me thinking思維 about
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而非他們的藝術品,這讓我開始思考關於
15:53
my work and where the creativity創造力 is there,
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我的工作,和其中的創造力在哪裡
15:56
and I'm not an artist藝術家." He's right. We all wrestle搏鬥
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而我不是一個藝術家。』他是對的,我們都和
16:00
with experience經驗 and challenge挑戰, limits範圍 and loss失利.
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經驗和挑戰搏鬥,還有極限和失去
16:05
Creativity創造力 is essential必要 to all of us,
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創造力是對我們每個人來說都是不可缺的
16:07
whether是否 we're scientists科學家們 or teachers教師,
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不論我們是科學家或老師
16:10
parents父母 or entrepreneurs企業家.
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父母或企業家
16:14
I want to leave離開 you with another另一個
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我想要留下另一個
16:16
image圖片 of a Japanese日本 tea bowl. This one
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日本茶壺的印象給你們。這一個
16:19
is at the Freer弗里爾 Gallery畫廊 in Washington華盛頓, D.C.
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在弗利爾美術館,位在華盛頓特區
16:22
It's more than a hundred years年份 old and you can still see
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它已經超過一千歲了而你們仍舊能看到
16:25
the fingermarks指印 where the potter製陶工人 pinched it.
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陶藝家捏它時的指痕i
16:28
But as you can also see, this one did break打破
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但你們也能看到,它的確破裂
16:31
at some point in its hundred years年份.
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在幾百年中的某個時刻
16:34
But the person who put it back together一起,
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但把它拼湊回來的那個人
16:37
instead代替 of hiding the cracks裂縫,
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卻沒有遮掩住裂痕
16:39
decided決定 to emphasize注重 them, using運用 gold lacquer to repair修理 it.
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反而決定要強調它們,使用金漆去修復它
16:45
This bowl is more beautiful美麗 now, having been broken破碎,
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這個碗現在更美麗了,比起它最初被造的時候
16:50
than it was when it was first made製作,
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更為破裂
16:53
and we can look at those cracks裂縫, because
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我們現在能看著這些裂痕,因為
16:55
they tell the story故事 that we all live生活,
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他們訴說了我們都經歷過的故事
16:57
of the cycle週期 of creation創建 and destruction毀壞,
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創造和破壞的循環
17:01
of control控制 and letting出租 go, of picking選擇 up the pieces
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控制和放手,撿起碎片
17:06
and making製造 something new.
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然後創造出新的東西
17:08
Thank you. (Applause掌聲)
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謝謝(掌聲)
Translated by Jiin Wu
Reviewed by Audrey Her

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ABOUT THE SPEAKER
Julie Burstein - Writer and radio producer
As a producer, Julie Burstein builds places to talk (brilliantly) about creative work. Her book "Spark: How Creativity Works" shares what she has learned.

Why you should listen

From where does creativity flow? In 2000, Julie Burstein created Public Radio International's show Studio 360 to explore pop culture and the arts. Hosted by novelist Kurt Andersen and produced at WNYC, the show is a guide to what's interesting now -- and asks deep questions about the drive behind creative work. Now, Burstein has written Spark: How Creativity Works, filled with stories about artists, writers and musicians (like Chuck Close, Isabel Allende, Patti Lupone). Burstein is the host of pursuitofspark.com full of conversations about creative approaches to the challenges, possibilities and pleasures of everyday life and work. She also "loves sitting in for Leonard Lopate."

More profile about the speaker
Julie Burstein | Speaker | TED.com