Do schools kill creativity? | Sir Ken Robinson | TED

Translator: Jens Genders Reviewer: Kian Conteh

Godmorgen. Hvordan har I det? Det har været fantastisk, har det ikke?

Good morning. How are you?

(Audience) Good.

It's been great, hasn't it?

Jeg er helt overvældet af det hele.

I've been blown away by the whole thing.

In fact, I'm leaving.

Faktisk, så går jeg nu. (Latter)

(Laughter)

Der har været tre temaer, ikke sandt,

There have been three themes running through the conference,

igennem hele konferencen, som er relevante

which are relevant to what I want to talk about.

One is the extraordinary evidence of human creativity

for det jeg gerne vil tale om.

Et af dem er de fantastiske beviser på menneskelig kreativitet

in all of the presentations that we've had

i alle de præsentationer vi har set

and in all of the people here;

just the variety of it and the range of it.

og fra alle folk her. Alene omfanget af det

og bredden. Det andet er, at

The second is that it's put us in a place

where we have no idea what's going to happen

det sætter os i en position, hvor vi slet ikke har nogen ide om, hvad der kommer til at ske

in terms of the future.

i forhold til fremtiden. Ingen ide om

No idea how this may play out.

hvordan det her kommer til at ske.

I have an interest in education.

Jeg er interesseret i uddannelse --

Actually, what I find is, everybody has an interest in education.

det vil sige, mit indtryk er, at alle har en interesse i uddannelse.

Don't you?

Er I ikke enige? Det synes jeg er meget interessant.

I find this very interesting.

Hvis du er til et middagsselskab, og du siger

If you're at a dinner party, and you say you work in education --

at du arbejder inden for uddannelse --

actually, you're not often at dinner parties, frankly.

det vil sige, du er ikke så tit til middagsselskaber, hvis vi skal være helt ærlige, hvis du arbejder inden for uddannelse.

(Laughter)

If you work in education, you're not asked.

(Latter) Du bliver ikke inviteret.

(Laughter)

Og du bliver aldrig inviteret igen, mærkelig nok. Det synes jeg er underligt.

And you're never asked back, curiously. That's strange to me.

But if you are, and you say to somebody,

Men hvis du er, og du fortæller nogen,

you know, they say, "What do you do?"

du ved, de spørger, "Hvad arbejder du med?"

and you say you work in education,

og du siger, at du arbejder inden for uddannelse,

you can see the blood run from their face.

kan du se blodet forsvinde fra deres ansigt. De tænker,

They're like, "Oh my God. Why me?"

(Laughter)

"Åh gud," du ved, "Hvorfor mig? Den ene aften i ugen jeg er i byen." (Latter)

"My one night out all week."

(Laughter)

But if you ask about their education, they pin you to the wall,

Men hvis du spørger om deres uddannelse,

så skal du bare se. Det er nemlig en af de ting,

because it's one of those things that goes deep with people, am I right?

der virkelig betyder noget for folk, er det ikke rigtigt?

Like religion and money and other things.

Ligesom religion, og penge og andre ting.

So I have a big interest in education, and I think we all do.

Jeg er meget interesset i uddannelse, og det tror jeg vi allesammen er.

Det er i virkeligheden i vores egen interesse,

We have a huge vested interest in it,

partly because it's education that's meant to take us into this future

dels for det er uddannelse som skal forestille at

føre os ind i den fremtid, som vi dårligt kan forstå.

that we can't grasp.

If you think of it,

Hvis du tænker over det, så vil børn, der starter i skolen i år,

children starting school this year will be retiring in 2065.

blive pensioneret i 2065. Der er ingen der aner --

Nobody has a clue,

despite all the expertise that's been on parade for the past four days,

på trods af al den ekspertise, som er blevet vist frem de sidste fire dage --

hvordan verden kommer til at se ud

what the world will look like in five years' time.

om bare fem år. Og alligevel skal vi

And yet, we're meant to be educating them for it.

uddanne dem til det. Så uforudsigeligheden, mener jeg,

So the unpredictability, I think, is extraordinary.

er helt utrolig.

And the third part of this is that we've all agreed, nonetheless,

Og for det tredje, så

så er vi allesammen enige om, uanset hvad, at

on the really extraordinary capacities that children have --

børnene har en ufattelig evne --

their capacities for innovation.

en evne for innovation. Jeg mener, Sirena var i går aftes helt vidunderlig,

I mean, Sirena last night was a marvel, wasn't she?

var hun ikke? Bare det at se hvad hun kunne.

Just seeing what she could do.

And she's exceptional, but I think she's not, so to speak,

Og hun er er exceptionel, men jeg tror ikke hun er, så at sige,

exceptionel i hele sin barndom.

exceptional in the whole of childhood.

Det er en person med en ekstraordinær dedikation

What you have there is a person of extraordinary dedication

who found a talent.

som har fundet et talent. Og mit postulat er,

And my contention is, all kids have tremendous talents,

at børn har utrolige talenter.

and we squander them, pretty ruthlessly.

Og vi spilder dem, ganske tankeløst.

Så jeg vil gerne tale om uddannelse og

So I want to talk about education,

and I want to talk about creativity.

jeg vil gerne tale om kreativitet. Mit postulat er, at

My contention is that creativity now is as important in education as literacy,

kreativitet er lige så vigtigt i uddannelse som stavning,

og vi burde behandle det tilsvarende.

and we should treat it with the same status.

(Applause)

(Bifald) Tak. Det var det i øvrigt det hele.

Thank you.

(Applause)

That was it, by the way. Thank you very much.

Mange tak skal I have. (Latter) Okay, 15 minutter tilbage.

(Laughter)

So, 15 minutes left.

Altså, jeg blev født -- nej. (Latter)

(Laughter)

"Well, I was born ... "

(Laughter)

Jeg hørte for nyligt en sjov historie -- jeg elsker at fortælle det her --

I heard a great story recently -- I love telling it --

om en lille pige, som var til tegneundervisning. Hun var seks år

of a little girl who was in a drawing lesson.

She was six, and she was at the back, drawing,

og hun sad nede bagerst og tegnede,

and the teacher said this girl hardly ever paid attention,

og læreren fortalte, at denne lille pige næsten aldrig

fulgte med, men i denne time gjorde hun.

and in this drawing lesson, she did.

The teacher was fascinated.

She went over to her, and she said, "What are you drawing?"

Læreren var fascineret, og gik over til hende

og spurgte, "Hvad tegner du?"

And the girl said, "I'm drawing a picture of God."

Pigen svarede, "Jeg tegner Gud."

And the teacher said, "But nobody knows what God looks like."

Og læreren spurgte, "Men der er jo ingen der ved, hvordan Gud ser ud?"

And the girl said, "They will in a minute."

Pigen svarede, "Det gør de om lidt."

(Laughter)

(Latter)

Da min søn var fire i England --

When my son was four in England --

det vil sige, han var fire overalt, hvis jeg skal være helt ærlig. (Latter)

actually, he was four everywhere, to be honest.

Teknisk set var han, uanset hvor han befandt, fire år gammel det år.

(Laughter)

If we're being strict about it, wherever he went, he was four that year.

He was in the Nativity play. Do you remember the story?

Han var med i et krybbespil.

Kan I huske historien? Nej, det var stort.

(Laughter)

No, it was big, it was a big story.

Det var en stor historie. Mel Gibson lavede efterfølgeren.

Mel Gibson did the sequel, you may have seen it.

(Laughter)

I har måske set den: "Krybbespil II." Men James havde rollen som Joseph,

"Nativity II."

But James got the part of Joseph, which we were thrilled about.

hvilket vi var henrykte over.

We considered this to be one of the lead parts.

Vi betragtede det som en af de ledende roller.

We had the place crammed full of agents in T-shirts:

Vi havde fyldt stedet med agenter i T-shirts:

"James Robinson ER Joseph!" (Latter)

"James Robinson IS Joseph!"

(Laughter)

He didn't have to speak, but you know the bit where the three kings come in?

Han havde ikke nogen replikker, men I ved der

hvor de tre konger kommer ind. De kommer med gaver,

They come in bearing gifts, gold, frankincense and myrrh.

og med guld, røgelse og myrra.

This really happened.

Det skete virkelig. Vi sad lige der

We were sitting there, and I think they just went out of sequence,

og jeg tror, at de kom lidt ud af takt,

because we talked to the little boy afterward and said,

fordi vi talte med den lille dreng bagefter, og vi spurgte,

"You OK with that?" They said, "Yeah, why? Was that wrong?"

"Er du okay med det?" Han svarede, "Ja, hvorfor? Var det forkert?"

De byttede bare, det var det hele.

They just switched.

The three boys came in, four-year-olds with tea towels on their heads.

Nå, men de tre drenge kom ind,

fire-årige med viskestykker på hovedet,

og de satte de her kasser ned,

They put these boxes down, and the first boy said, "I bring you gold."

og den første dreng sagde, "Jeg kommer med guld til jer."

And the second boy said, "I bring you myrrh."

Den anden dreng sagde, "Jeg kommer med Myrra."

And the third boy said, "Frank sent this."

(Laughter)

Og den tredje dreng sagde, "Frank sendte det her." (Latter)

What these things have in common is that kids will take a chance.

Fælles for de her ting er, at børn tager gerne en chance.

If they don't know, they'll have a go.

Selv hvis de ikke ved det, prøver de alligevel.

Har jeg ret? De er ikke bange for at tage fejl.

Am I right? They're not frightened of being wrong.

Det skal lige siges, at jeg ikke mener, at det at tage fejl, er det samme som at være kreativ.

I don't mean to say that being wrong is the same thing as being creative.

What we do know is, if you're not prepared to be wrong,

Hvad vi ved er,

at hvis du ikke er forberedt på at lave fejl,

you'll never come up with anything original --

kommer du aldrig til at finde på noget originalt.

if you're not prepared to be wrong.

Hvis du ikke er klar til at lave fejl. Og når de endelig bliver voksne,

And by the time they get to be adults, most kids have lost that capacity.

har de fleste børn mistet den evne.

De er blevet bange for at lave fejl.

They have become frightened of being wrong.

And we run our companies like this.

Og sådan leder vi i øvrigt vores virksomheder.

We stigmatize mistakes.

Vi stigmatiserer fejl. Vi har nu

And we're now running national education systems

uddannelsessystemer hvor

where mistakes are the worst thing you can make.

det at fejle er det værste man kan gøre.

And the result is that we are educating people

Resultatet er, at vi uddanner folk ud af

out of their creative capacities.

deres kreative evner. Picasso sagde engang:

Picasso once said this, he said that all children are born artists.

han sagde, at alle børn bliver født som kunstere.

The problem is to remain an artist as we grow up.

Udfordringen er, at forblive kunstner, når vi vokser op. Det er min klare holdning

I believe this passionately, that we don't grow into creativity,

at vi ikke vokser ind i kreavitet,

we grow out of it.

vi vokser ud af det. Eller rettere, vi bliver uddannet ud af det.

Or rather, we get educated out of it.

Hvordan kan det være?

So why is this?

Jeg boede i Stratford-on-Avon indtil for fem år siden.

I lived in Stratford-on-Avon until about five years ago.

In fact, we moved from Stratford to Los Angeles.

Faktisk så flyttede vi fra Stratford til Los Angeles.

Så I kan nok forestille jer, hvordan det var en helt gnidningsfri overgang.

So you can imagine what a seamless transition this was.

(Laughter)

(Latter) Faktisk

Actually, we lived in a place called Snitterfield,

boede vi et sted kaldet Snitterfield,

just outside Stratford,

lige udenfor Stratford, hvor

which is where Shakespeare's father was born.

Shakespeares far blev født. Blev I lige ramt af en ny tanke? Det blev jeg.

Are you struck by a new thought? I was.

You don't think of Shakespeare having a father, do you?

Man tænker ikke på, at Shakespeare havde en far, gør man?

Do you?

Gør I? Fordi jeg tænker ikke på

Because you don't think of Shakespeare being a child, do you?

Shakespeare som barn, gør I?

Shakespeare being seven?

Shakespeare som syv-årig? Jeg har aldrig tænkt over det. Jeg mener, han var

I never thought of it.

I mean, he was seven at some point.

syv år på et tidspunkt. Han var i

He was in somebody's English class, wasn't he?

en eller andens engelskklasse. Hvor irriterende ville det ikke være?

(Laughter)

How annoying would that be?

(Latter) "Bør arbejde hårdere." At blive sendt i seng af sin far, I ved,

(Laughter)

"Must try harder."

(Laughter)

Being sent to bed by his dad, to Shakespeare, "Go to bed, now!"

til Shakespeare," Gå i seng, nu,"

To William Shakespeare.

til William Shakespeare, "og læg så den blyant.

"And put the pencil down!"

Og hold op med at tale sådan. Det forvirrer alle."

(Laughter)

"And stop speaking like that."

(Laughter)

"It's confusing everybody."

(Laughter)

(Latter)

Anyway, we moved from Stratford to Los Angeles,

Nå, men vi flyttede fra Stratford til Los Angeles,

og jeg vil egentlig gerne lige sige et par ord om overgangen.

and I just want to say a word about the transition.

Min søn ville ikke med.

Actually, my son didn't want to come.

I've got two kids; he's 21 now, my daughter's 16.

Jeg har to børn. Han er 21 nu; min datter er 16.

He didn't want to come to Los Angeles.

Han ville ikke med til Los Angeles. Han elskede tanken,

He loved it, but he had a girlfriend in England.

men han havde en kæreste i England. Dette var hans livs store kærlighed, Sarah.

This was the love of his life, Sarah.

Han havde kendt hende en måned.

He'd known her for a month.

De havde haft deres fire års jubilæum,

(Laughter)

Mind you, they'd had their fourth anniversary,

fordi det er lang tid, når man er 16.

because it's a long time when you're 16.

He was really upset on the plane.

Nå, men han var virkelig ophidset i flyet,

He said, "I'll never find another girl like Sarah."

og han sagde, "Jeg finder aldrig en anden pige som Sarah."

And we were rather pleased about that, frankly --

Og det passede os egentlig ganske fint, hvis jeg skal være helt ærlig.

fordi hun var den primære årsag til, at vi forlod landet.

(Laughter)

because she was the main reason we were leaving the country.

(Laughter)

(Latter)

Men når man opdager noget, når man flytter til Amerika

But something strikes you when you move to America

og når man rejser omkring i verden:

and travel around the world:

samtlige uddannelsessystemer på jorden har det samme hierarki for uddannelsesretninger.

every education system on earth has the same hierarchy of subjects.

Samtlige. Uanset hvor man tager hen.

Every one. Doesn't matter where you go.

Man skulle ikke tro det, men sådan er det.

You'd think it would be otherwise, but it isn't.

Øverst at matematik og sprog,

At the top are mathematics and languages, then the humanities.

og så humaniora, og nederst er kunst.

At the bottom are the arts. Everywhere on earth.

Overalt på Jorden.

And in pretty much every system, too, there's a hierarchy within the arts.

Og i stort set samtlige systemer,

er der også et hierarki inden for kunst.

Art and music are normally given a higher status in schools

Kunst og musik får normalt en højere status i skolerne,

than drama and dance.

end drama og dans. Der er ikke et uddannelsessystem på planeten,

There isn't an education system on the planet

that teaches dance every day to children

hvor børn dagligt bliver undervist i dans

the way we teach them mathematics.

som vi gør med matematik. Hvorfor?

Why?

Why not?

Hvorfor ikke? Det, tror jeg, er ganske vigtigt.

I think this is rather important.

Jeg tror, at matematik er meget vigtigt, men det er dans også.

I think math is very important, but so is dance.

Children dance all the time if they're allowed to, we all do.

Børn danser konstant, hvis de får lov til det. Det gør vi allesammen.

We all have bodies, don't we? Did I miss a meeting?

Vi har allesammen en krop, har vi ikke? Eller har jeg misforstået noget?

(Laughter)

(Latter) I virkeligheden sker der det,

Truthfully, what happens is, as children grow up,

at efterhånden som børn vokser op, begynder vi at uddanne dem

we start to educate them progressively from the waist up.

i stigende grad fra taljen og op. Og derefter fokuserer vi på deres hoveder.

And then we focus on their heads.

Lidt til den ene side.

And slightly to one side.

Hvis du besøgte uddannelse, som et rumvæsen,

If you were to visit education as an alien

and say "What's it for, public education?"

og spurgte, "Hvad skal uddannelse gøre godt for?"

I think you'd have to conclude, if you look at the output,

Jeg tror du ville være nødt til at konkludere -- hvis du ser på resultatet,

who really succeeds by this,

hvem det i virkeligheden gavner,

who does everything they should,

dem der gør alt hvad de får besked på,

who gets all the brownie points, who are the winners --

dem der får alle de gode karakterer, dem der er vinderne --

I think you'd have to conclude the whole purpose of public education

Jeg tror du ville være nødt til at konkludere, at hele formålet med offentlig uddannelse

throughout the world

verden over

is to produce university professors.

er, at producere universitetsprofessorer. Er det ikke rigtigt?

Isn't it?

They're the people who come out the top.

Det er dem, der kommer ud i toppen.

And I used to be one, so there.

(Laughter)

Og jeg plejede at være en af dem. (Latter)

Jeg kan godt lide universitetsprofessorer, men

And I like university professors,

but, you know, we shouldn't hold them up

vi bør ikke holde dem op som det ypperste mennesker kan opnå.

as the high-water mark of all human achievement.

They're just a form of life.

De er bare en slags liv,

Another form of life.

en lidt anden slags liv. Men de er ganske specielle,

But they're rather curious.

og jeg siger dette med stor kærlighed for dem.

And I say this out of affection for them:

there's something curious about professors.

Det er min erfaring, at der er noget specielt ved professorer --

In my experience -- not all of them, but typically -- they live in their heads.

ikke dem alle, men typisk -- de lever i deres hoved.

They live up there and slightly to one side.

De lever deroppe, og lidt til den ene side.

De er kropsløse, I ved, på en lidt bogstavelig måde.

They're disembodied, you know, in a kind of literal way.

They look upon their body as a form of transport for their heads.

De ser deres krop

som en form for transportmiddel til deres hoved.

(Laughter)

Don't they?

It's a way of getting their head to meetings.

(Latter) Det er en måde at få deres hoveder rundt til møder.

(Laughter)

Hvis I vil se ægte beviser på ud-af-kroppen oplevelser,

If you want real evidence of out-of-body experiences, by the way,

i øvrigt, så tag til en konference

get yourself along to a residential conference of senior academics

for højtstående akademikere,

and pop into the discotheque on the final night.

og kig ind forbi dansegulvet den sidste aften.

(Laughter)

(Latter) Der vil I se det, voksne mænd og kvinder

And there, you will see it.

Grown men and women writhing uncontrollably, off the beat.

der vrider sig ukontrollabelt, ude af takt,

(Laughter)

mens de venter på at det stopper, så de kan tage hjem og skrive en rapport om det.

Waiting until it ends, so they can go home and write a paper about it.

Vores uddannelsessystem er baseret på akademiske evner.

(Laughter)

Our education system is predicated on the idea of academic ability.

Og det er der en grund til.

And there's a reason.

Around the world, there were no public systems of education,

Hele systemet blev opfundet -- der var, verden over,

ikke noget offentligt uddannelsessystem før det 19. århundrede.

really, before the 19th century.

Det blev altsammen til

They all came into being to meet the needs of industrialism.

i takt med industrialiseringen.

Så hierarkiet bygger på to ideer.

So the hierarchy is rooted on two ideas.

Number one, that the most useful subjects for work are at the top.

Et, at de mest brugbare emner i forhold til arbejde

I

So you were probably steered benignly away from things at school

ting i skolen, i god tro, da I var børn. Ting I kunne lide,

when you were a kid,

med argumentet, at det ville I

things you liked,

on the grounds you would never get a job doing that.

aldrig komme til at arbejde med. Har jeg ret?

Is that right?

Hold dig fra musik, du bliver aldrig musiker;

"Don't do music, you're not going to be a musician;

hold dig fra kunst, du bliver aldrig en kunstner.

don't do art, you won't be an artist."

Benign advice -- now, profoundly mistaken.

Givet i god tro -- nu, dybt perfekt. Hele verden

The whole world is engulfed in a revolution.

er i gang med en revolution.

And the second is academic ability,

Det andet er akademiske evner, som efterhånden dominerer

which has really come to dominate our view of intelligence,

vores syn på intelligens,

fordi universiteterne designede systemerne i deres eget billede.

because the universities design the system in their image.

Hvis I tænker over det, er hele systemet

If you think of it,

the whole system of public education around the world is a protracted process

med offentlig uddannelse, verden over, en lang optagelse

til universiteter.

of university entrance.

Konsekvensen er, at mange talentfulde,

And the consequence is that many highly talented,

brilliant, creative people think they're not,

geniale, kreative mennesker tror, at de ikke er det,

because the thing they were good at at school

fordi det de var gode til i skolen

ikke blev påskønnet, eller i virkeligheden blev stigmatiseret.

wasn't valued, or was actually stigmatized.

And I think we can't afford to go on that way.

Jeg mener ikke, at vi har råd til at gøre det sådan.

In the next 30 years, according to UNESCO,

Ifølge UNESCO vil der i løbet af de næste 30 år være

more people worldwide will be graduating through education

flere mennesker der består

than since the beginning of history.

en uddannelse, end der har været i hele historien.

More people.

Flere mennesker, og det er kombinationen

And it's the combination of all the things we've talked about:

af alle de ting, vi har talt om --

technology and its transformational effect on work,

teknologi og dets indvirkning på arbejde, og demografien

and demography and the huge explosion in population.

og den store eksplosion i befolkningstal.

Suddenly, degrees aren't worth anything.

Pludselig er diplomer ikke noget værd. Er det ikke rigtigt?

Isn't that true?

Da jeg studerende var det sådan, at hvis du havde et diplom, havde du et job.

When I was a student, if you had a degree, you had a job.

If you didn't have a job, it's because you didn't want one.

Hvis du ikke havde et job, var det fordi du ikke ville have et.

And I didn't want one, frankly.

Og jeg ville ikke have et, for at være helt ærlig. (Latter)

(Laughter)

Men nu drager børn med diplomer ofte

But now kids with degrees are often heading home

to carry on playing video games,

hjem, for at fortsætte med at spille videospil,

fordi du har brug for mastergrad, hvor den tidligere stilling krævede en bachelorgrad,

because you need an MA where the previous job required a BA,

og nu skal du have en ph.d. for det andet.

and now you need a PhD for the other.

It's a process of academic inflation.

Det er akademisk inflation.

And it indicates the whole structure of education is shifting beneath our feet.

Og det indikerer, at uddannelseskonstruktionen

ændrer sig under os. Vi er nødt til at tænke i helt nye baner

We need to radically rethink our view of intelligence.

i forhold til vores syn på intelligens.

Vi ved tre ting om intelligens.

We know three things about intelligence.

Et, intelligens er fleksibelt. Vi tænker på verden på alle de måder

One, it's diverse.

We think about the world in all the ways that we experience it.

vi oplever den. Vi tænker visuelt,

We think visually, we think in sound, we think kinesthetically.

vi tænker i lyd, vi tænker med hele kroppen.

We think in abstract terms, we think in movement.

Vi tænker i abstrakte begreber, vi tænker i bevægelse.

Secondly, intelligence is dynamic.

To, intelligens er dynamisk.

If you look at the interactions of a human brain,

Hvis du ser på interaktionerne i den menneskelige hjerne, som vi hørte om

as we heard yesterday from a number of presentations,

i går fra flere talere,

intelligence is wonderfully interactive.

intelligens er vidunderligt interaktiv.

The brain isn't divided into compartments.

Hjernen er ikke delt ind i afdelinger.

In fact, creativity --

Faktisk er kreativitet -- hvilket jeg definerer som det at

which I define as the process of having original ideas that have value --

få en original idea af værdi --

more often than not comes about

som regel noget der kommer via interaktion

through the interaction of different disciplinary ways of seeing things.

med forskellige måder at se ting på.

Hjernen er bevidst -- der er i øvrigt

By the way, there's a shaft of nerves that joins the two halves of the brain,

en samling af nerver, som samler de to hjernehalvdele,

called the corpus callosum.

kaldet corpus callosum. Den er tykkere hos kvinder.

It's thicker in women.

I forlængelse af Helen i går, tror jeg,

Following off from Helen yesterday,

at det formentlig er derfor kvinder er bedre til at multi-taske.

this is probably why women are better at multitasking.

Because you are, aren't you?

Fordi det er I, er I ikke?

There's a raft of research, but I know it from my personal life.

Der er en masse research, men jeg ved det fra mit eget liv.

If my wife is cooking a meal at home, which is not often ...

Hvis min kone er i gang med at lave mad derhjemme --

hvilket heldigvis ikke sker så tit, gudskelov. (Latter)

thankfully.

(Laughter)

Men I ved, hun er i gang -- nej, hun er faktisk god til nogle ting --

No, she's good at some things.

men hvis hun laver mad,

But if she's cooking, she's dealing with people on the phone,

er hun igang med at tale i telefon,

she's talking to the kids, she's painting the ceiling --

hun taler med børnene, maler loftet,

(Laughter)

laver hjertekirurgi herovre.

she's doing open-heart surgery over here.

If I'm cooking, the door is shut, the kids are out,

Hvis jeg laver mad, er døren lukket, ungerne er ude,

the phone's on the hook,

telefonstikket er trukket ud. Hvis hun kommer ind, bliver jeg irriteret.

if she comes in, I get annoyed.

I say, "Terry, please, I'm trying to fry an egg in here."

Jeg siger, "Terry, helt ærligt, jeg er lige ved at stege et æg. Prøv lige at giv mig lidt plads." (Latter)

(Laughter)

"Give me a break."

(Laughter)

Actually, do you know that old philosophical thing,

I kender den der gamle filosofiske ting,

"If a tree falls in a forest, and nobody hears it, did it happen?"

når et træ falder i skoven, og der ikke er nogen der hører det,

skete det så overhovedet? Kan I huske den gamle kending?

Remember that old chestnut?

I saw a great T-shirt recently, which said,

Jeg så en t-shirt for kort tid siden, hvor der stod, "Hvis en mand siger sin mening

"If a man speaks his mind in a forest, and no woman hears him,

i en skov, og ingen kvinde hører hvad han siger,

is he still wrong?"

tager han så stadig fejl?" (Latter)

(Laughter)

And the third thing about intelligence is,

Den tredje ting ved intelligens er,

it's distinct.

at det er tydeligt. Jeg er i gang med at skrive en ny bog for tiden

I'm doing a new book at the moment called "Epiphany,"

med titlen "Åbenbaring," som er baseret på en række

which is based on a series of interviews with people

interviews med folk, om hvordan de har opdaget

about how they discovered their talent.

deres talent. Jeg er fascineret af, hvordan folk kom frem til det.

I'm fascinated by how people got to be there.

Det startede i virkeligheden med en samtale jeg havde

It's really prompted by a conversation I had with a wonderful woman

med en vidunderlig kvinde, som de færreste formentlig

who maybe most people have never heard of, Gillian Lynne.

har hørt om. Hun hedder Gillian Lynne.

Kender I hende? Nogle gør. Hun er koreograf

Have you heard of her? Some have.

She's a choreographer, and everybody knows her work.

og alle kender det hun har lavet.

Hun har lavet "Cat," og "Phantom of the Opera."

She did "Cats" and "Phantom of the Opera."

Hun er vidunderlig. Jeg var tidligere i bestyrelsen ved Den Kongelige Ballet, i England,

She's wonderful.

I used to be on the board of The Royal Ballet, as you can see.

som I kan se.

(Laughter)

Nå, men Gillian og jeg spiste frokost en dag, og jeg spurgte

Gillian and I had lunch one day. I said, "How did you get to be a dancer?"

"Gillian, hvordan gik det til, at du blev danser?" Hun svarede,

It was interesting.

at det var interessant, fordi da hun gik i skole,

When she was at school, she was really hopeless.

var hun helt håbløs. Og skolen, i 30'erne,

And the school, in the '30s, wrote to her parents and said,

skrev til hendes forældre, at "Vi tror

"We think Gillian has a learning disorder."

Gillian har problemer med at lære." Hun kunne ikke koncentrere sig,

She couldn't concentrate; she was fidgeting.

hun var rastløs. Jeg tror man i dag ville sige,

I think now they'd say she had ADHD.

at hun har DAMP. Ville I ikke? Men det her var i 30'erne,

Wouldn't you?

But this was the 1930s, and ADHD hadn't been invented at this point.

og DAMP var ikke opfundet endnu.

It wasn't an available condition.

Det var ikke en tilgængelig diagnose. (Latter)

(Laughter)

Folk vidste slet ikke, at de kunne have det.

People weren't aware they could have that.

Nå, men hun gik til en specialist. Hun var i det her rum med egepaneler

(Laughter)

Anyway, she went to see this specialist.

og hun var der sammen med sin mor,

So, this oak-paneled room, and she was there with her mother,

og hun blev ført hen til en stol og satte sig,

og hun sad på sine hænder i 20 minutter, mens

and she was led and sat on this chair at the end,

den her mand talte med hendes mor om alle

and she sat on her hands for 20 minutes,

de problemer, som Gillian havde i skolen. Til sidst --

while this man talked to her mother

about all the problems Gillian was having at school,

fordi hun forstyrrede folk,

because she was disturbing people, her homework was always late, and so on.

hendes lektier blev altid afleveret for sent, og så videre,

et lille barn på otte -- til sidst gik lægen hen og satte sig

Little kid of eight.

In the end, the doctor went and sat next to Gillian and said,

ved siden af Gillian, og sagde, "Gillian,

"I've listened to all these things your mother's told me.

jeg har hørt på alle de ting din mor

har fortalt mig, og jeg er nødt til at tale med hende alene."

I need to speak to her privately.

Han sagde," Vent her, vi kommer tilbage, og der varer ikke særlig længe."

Wait here. We'll be back. We won't be very long,"

and they went and left her.

De gik, og efterlod hende der.

Men på vej ud af rummet, tændte han for en radio

But as they went out of the room,

he turned on the radio that was sitting on his desk.

der stod på hans skrivebord. Og da de

kom ud af lokalet, sagde han til hendes mor,

And when they got out of the room,

"Prøv bare at stå her og se på hende." Og i samme øjeblik de gik ud af rummet,

he said to her mother, "Just stand and watch her."

And the minute they left the room,

fortalte hun, var hun oppe og stå, og bevægede sig til musikken.

she was on her feet, moving to the music.

De så på hende i nogle minutter

And they watched for a few minutes, and he turned to her mother and said,

og han vendte sig mod hendes mor og sagde,

"Mrs. Lynne, Gillian isn't sick.

"Fru Lynne, Gillian er ikke syg. Hun er en danser.

She's a dancer.

Tag hende med til en danseskole."

Take her to a dance school."

I said, "What happened?"

Jeg spurgte, "Hvad skete der?"

She said, "She did. I can't tell you how wonderful it was.

Hun sagde, "Det gjorde hun. Jeg kan slet ikke fortælle dig hvor vidunderligt det var.

We walked in this room, and it was full of people like me --

Vi kom ind i det her lokale, og det var fyldt med

people who couldn't sit still,

folk som mig. Folk der ikke kunne sidde stille.

people who had to move to think."

Folk der var nødt til at bevæge sig, for at kunne tænke." Som var nødt til at bevæge sig, for at kunne tænke.

Who had to move to think.

De lærte ballet, de lærte steppedans, de lærte jazz,

They did ballet, they did tap, jazz; they did modern; they did contemporary.

de lærte moderne dans, de lærte tidens dans.

Hun var endeligt til optagelsesprøve ved Den Kongelig Balletskole,

She was eventually auditioned for the Royal Ballet School.

hun blev solodanser. Hun havde en vidunderlig karriere

She became a soloist; she had a wonderful career at the Royal Ballet.

ved Den Kongelige Ballet. Endelig blev hun færdig

She eventually graduated from the Royal Ballet School,

ved Den Kongelige Balletskole, og

stiftede sit eget kompagni, Gillian Lynne Dansekompagni,

founded the Gillian Lynne Dance Company,

met Andrew Lloyd Webber.

mødte Andrew Lloyd Weber. Hun har lavet

She's been responsible for

some of the most successful musical theater productions in history,

nogle af de mest succesfulde musikalske

she's given pleasure to millions,

teaterproduktioner i historien, hun har skabt glæde for millioner,

and she's a multimillionaire.

Somebody else might have put her on medication and told her to calm down.

og hun er en multimillionær. Andre

(Applause)

havde måske givet hende medicin og bedt hende

om at slappe af.

Jeg tror -- (Bifald) Jeg tror følgende:

What I think it comes to is this:

Al Gore spoke the other night

Al Gore talte den anden aften

about ecology and the revolution that was triggered by Rachel Carson.

om økologi, og den revolution der blev udløst af Rachel Carson.

Jeg tror vores eneste håb for fremtiden

I believe our only hope for the future

is to adopt a new conception of human ecology,

er, at tillægge os en ny forståelse for menneskelig økologi,

en hvor vi starter med at genoplive vores opfattelse

one in which we start to reconstitute our conception

of the richness of human capacity.

af den menneskelige kreativitets rigdom.

Our education system has mined our minds

Vores uddannelsessystem har udnyttet vores hjerner på samme måde

in the way that we strip-mine the earth for a particular commodity.

som vi har drevet minedrift på Jorden: for at finde en specifik vare.

I fremtiden vil det ikke være til vores fordel.

And for the future, it won't serve us.

We have to rethink the fundamental principles

Vi er nødt til at tænke anderledes på de fundamentale principper.

on which we're educating our children.

På den måde vi uddanner vores børn. Der var

There was a wonderful quote by Jonas Salk, who said,

et vidunderligt citat af Jonas Salk, som sagde, "Hvis alle insekter

"If all the insects were to disappear from the Earth,

forsvandt fra Jorden,

within 50 years, all life on Earth would end.

ville alt liv på Jorden ende inden for 50 år.

Hvis alle mennesker forsvandt fra Jordens overflade,

If all human beings disappeared from the Earth,

ville alle former for liv blomstre inden for 50 år."

within 50 years, all forms of life would flourish."

Han har ret.

And he's right.

Det TED fejrer, er den menneskelige opfindsomhed.

What TED celebrates is the gift of the human imagination.

Vi er nødt til at sørge for, at vi bruger denne gave

We have to be careful now that we use this gift wisely,

fornuftigt, og at vi undgår nogle af de scenarier,

and that we avert some of the scenarios that we've talked about.

scenarier vi har talt om. Den eneste måde vi

And the only way we'll do it is by seeing our creative capacities

kan gøre det på, er ved at se vores kreative evner

for the richness they are

som den rigdom det er, og se

and seeing our children for the hope that they are.

vores børn som det håb de er. Det er vores opgave

And our task is to educate their whole being,

at uddanne hele deres væsen, så de kan gå fremtiden i møde.

so they can face this future.

By the way -- we may not see this future,

I øvrigt -- vi kommer måske ikke til at se den fremtid,

but they will.

men de gør. Det er vores job at hjælpe dem

And our job is to help them make something of it.

med at få noget godt ud af den. Mange tak skal I have.

Thank you very much.

(Applause)