4 Lessons in Creativity | Julie Burstein | TED Talks

Translator: Joseph Geni Reviewer: Morton Bast

Prevoditelj: Senzos Osijek Recezent: Ivan Stamenković

On my desk in my office, I keep a small clay pot

Na stolu u mome uredu, držim mali glineni lončić

that I made in college. It's raku, which is a kind of pottery

kojeg sam napravila na fakultetu. Lončić je raku, to je keramički stil

that began in Japan centuries ago as a way of

nastao u Japanu prije puno stoljeća

making bowls for the Japanese tea ceremony.

kao način pravljenja šalica za japansku čajanku.

This one is more than 400 years old.

Ova je starija od 400 godina.

Each one was pinched or carved out of a ball of clay,

Svaka je nastala i oblikovana iz kugle gline,

and it was the imperfections that people cherished.

i ono što su ljudi cijenili bila je nesavršenost.

Everyday pots like this cup take eight to 10 hours to fire.

Uobičajeni lončići kao ovaj trebaju oko 8 do 10 sati kako bi se zapekli.

I just took this out of the kiln last week, and the kiln itself

Ovaj lončić sam prošli tjedan izvadila iz peći, i samoj peći

takes another day or two to cool down, but raku

treba dan dva da se ohladi,

is really fast. You do it outside, and you take the kiln

ali raku se hladi mnogo brže. Postupak se obavlja vani, i peć se pojača

up to temperature. In 15 minutes, it goes to 1,500 degrees,

na odgovarajuću temperaturu. Za 15 minuta dostigne temperaturu od 1.500 stupnjeva,

and as soon as you see that the glaze has melted inside,

i čim primjetite da se glazura otopila,

you can see that faint sheen, you turn the kiln off,

možete primjetiti lagani sjaj, ugasite peć,

and you reach in with these long metal tongs,

te služeći se dugačkim metalnim štapovima posegnite unutra, i

you grab the pot, and in Japan, this red-hot pot

izvadite lončić. U Japanu, takav žareće crveni lončić,

would be immediately immersed in a solution of green tea,

bi odmah bio uronjen u otopinu zelenog čaja,

and you can imagine what that steam would smell like.

i možete si zamisliti miris te pare.

But here in the United States, we ramp up the drama

Ali ovdje u SAD-u, volimo malo začiniti stvari,

a little bit, and we drop our pots into sawdust,

pa tako uranjamo naše lončiće u piljevinu,

which catches on fire, and you take a garbage pail,

koja se zapali. Onda uzimamo kantu za smeće

and you put it on top, and smoke starts pouring out.

i s njom ju poklopimo i tada počne izlaziti dim.

I would come home with my clothes reeking of woodsmoke.

Dolazila bih kući sa odjećom koja bi mirisala na paljevinu.

I love raku because it allows me to play with the elements.

Volim raku jer mi dozvoljava da se poigravam sa elementima

I can shape a pot out of clay and choose a glaze,

Iz gline mogu oblikovati lončić i izabrati glazuru,

but then I have to let it go to the fire and the smoke,

ali onda ga moram izložiti vatri i dimu,

and what's wonderful is the surprises that happen,

i divni su rezultati koji iz toga proizlaze,

like this crackle pattern, because it's really stressful

kao što je uzorak pukotine, jer je sve to skupa vrlo stresno

on these pots. They go from 1,500 degrees

za lončiće. Oni mijenjaju temperaturu od 1.500 stupnjeva

to room temperature in the space of just a minute.

do sobne temperature u samo jednoj minuti.

Raku is a wonderful metaphor for the process of creativity.

Raku je divna metafora za proces kreativnosti.

I find in so many things that tension between

U mnogo stvari pronalazim tu tenziju

what I can control and what I have to let go

između onoga što mogu kontrolirati i onoga što ne mogu,

happens all the time, whether I'm creating a new radio show

događa se konstantno, bilo da radim na novoj radijskoj emisiji

or just at home negotiating with my teenage sons.

ili raspravljam kod kuće sa svojim sinovima tinejdžerima.

When I sat down to write a book about creativity,

Kada sam se odlučila napisati knjigu o kreativnosti,

I realized that the steps were reversed.

shvatila sam kako su koraci obrnuti.

I had to let go at the very beginning, and I had to

U samom početku morala sam se prepustiti

immerse myself in the stories of hundreds of artists

i uroniti u priče stotine umjetnika,

and writers and musicians and filmmakers, and as I listened

pisaca, glazbenika i redatelja, i slušajući

to these stories, I realized that creativity

njihove priče, shvatila sam da se kreativnost

grows out of everyday experiences

povećava svakodnevnim iskustvima

more often than you might think, including

češće nego što zapravo mislimo, uključujući

letting go.

prepuštanje.

It was supposed to break, but that's okay. (Laughter) (Laughs)

Trebao se razbiti, ali to je u redu.(Smijeh) (Smije se).

That's part of the letting go, is sometimes it happens

I to je dio puštanja, nekada se dogodi

and sometimes it doesn't, because creativity also grows

ali nekada i ne, jer kreativnost također proizlazi

from the broken places.

i iz slomljenih mjesta.

The best way to learn about anything

Najbolji način učenja o svemu

is through stories, and so I want to tell you a story

jest kroz priču, tako da vam želim ispričati priču

about work and play and about four aspects of life

o poslu i igri i o 4 aspekta života

that we need to embrace

koja trebamo prihvatiti

in order for our own creativity to flourish.

kako bi se naša kreativnost razvila.

The first embrace is something that we think,

Prva stvar koju trebamo prihvatiti je nešto za što mislimo,

"Oh, this is very easy," but it's actually getting harder,

"Oh, ovo je vrlo lako," ali zapravo postaje sve teže,

and that's paying attention to the world around us.

a to je praćenje onoga što se događa oko nas.

So many artists speak about needing to be open,

Puno umjetnika priča o tome kako trebamo biti otvoreni,

to embrace experience, and that's hard to do when

prihvatiti nova iskustva, a to je teško učiniti kad

you have a lighted rectangle in your pocket that

imate osvijetljeni kvadrat u džepu koji

takes all of your focus.

vam odvlači pozornost.

The filmmaker Mira Nair speaks about growing up

Redateljica Mira Nair govori o odrastanju

in a small town in India. Its name is Bhubaneswar,

u malom gradu u Indiji. Zove se Bhubaneswar,

and here's a picture of one of the temples in her town.

a ovo je slika jednog od hramova u njemu.

Mira Nair: In this little town, there were like 2,000 temples.

Mira Nair: U ovom malom gradiću, nalazilo se oko 2.000 hramova.

We played cricket all the time. We kind of grew up

Cijelo vrijeme smo igrali kriket. Na neki način smo odrasli

in the rubble. The major thing that inspired me,

okruženi ruševinama. Najveća stvar koja me inspirirala,

that led me on this path, that made me a filmmaker eventually,

koja me dovela na ovaj put i učinila me redateljicom,

was traveling folk theater that would come through the town

jest putujuće narodno kazalište koje bi dolazilo u grad

and I would go off and see these great battles

i ja bih odlazila gledati velike borbe između

of good and evil by two people in a school field

dobra i zla dvoje ljudi na školskom igralištu

with no props but with a lot of, you know,

bez ikakvih rekvizita ali sa puno, znate,

passion, and hashish as well, and it was amazing.

strasti, i hašiša također, i bilo je nevjerojatno.

You know, the folk tales of Mahabharata and Ramayana,

Znate, narodne priče Mahabharate i Ramayana,

the two holy books, the epics that everything comes out of

dvije svete knjige, epovi iz kojih proizlazi sve

in India, they say. After seeing that Jatra, the folk theater,

u Indiji, kako kažu. Nakon što sam vidjela Jatru, narodno kazalište

I knew I wanted to get on, you know, and perform.

znala sam kako i ja želim nastupati.

Julie Burstein: Isn't that a wonderful story?

Julie Burstein: Nije li to prekrasna priča?

You can see the sort of break in the everyday.

Nadahnuće možemo pronaći u svakodnevnici.

There they are in the school fields, but it's good and evil,

Nalazili su se na školskim igralištima, ali bilo je i dobrog i lošeg,

and passion and hashish. And Mira Nair was a young girl

i strasti i hašiša. Mira Nair je bila mlada djevojka

with thousands of other people watching this performance,

koja je, kao i tisuće ostalih ljudi, gledala taj nastup

but she was ready. She was ready to open up

ali ona je bila spremna. Bila se spremna otvoriti onome

to what it sparked in her, and it led her,

što je taj nastup probudio u njoj, i to ju je vodilo,

as she said, down this path to become

ona kaže, putem koji će ju dovesti

an award-winning filmmaker.

do nagrađivane redateljice.

So being open for that experience that might change you

Dakle, biti otvoreni novome iskustvu koje će vas možda promjeniti

is the first thing we need to embrace.

je prva stvar koju moramo prihvatiti.

Artists also speak about how some of their most powerful work

Umjetnici također pričaju o tome kako neki od njihovih najsnažnijih djela

comes out of the parts of life that are most difficult.

dolaze nadahnuti djelovima života koji su najteži.

The novelist Richard Ford speaks about

Romanopisac Richard Ford govori o

a childhood challenge that continues to be something

izazovu iz djetinjstva koje mu i danas predstavlja nešto

he wrestles with today. He's severely dyslexic.

s čime se bori. On ima teži oblik disleksije.

Richard Ford: I was slow to learn to read, went all the way

Richard Ford: Jako sam sporo učio čitati, kroz čitavo

through school not really reading more than the minimum,

školovanje sposobnost čitanja mi je bila minimalna

and still to this day can't read silently

i sve do današnjeg dana ne mogu u sebi čitati

much faster than I can read aloud,

ništa brže nego na glas,

but there were a lot of benefits to being dyslexic for me

ali disleksija mi je donijela puno prednosti,

because when I finally did reconcile myself to how slow

jer kada sam se konačno pomirio

I was going to have to do it, then I think I came very slowly

sa sporim napretkom, onda sam polako počeo

into an appreciation of all of those qualities of language

cijeniti sve ostale osobine jezika

and of sentences that are not just the cognitive

i rečenica, a ne samo kognitivne aspekte

aspects of language: the syncopations, the sounds of words,

jezika: skraćenice, zvuk riječi

what words look like, where paragraphs break,

izgled riječi, odjeljak između dijelova

where lines break. I mean, I wasn't so badly dyslexic that

i redova. . Hoću reći, nisam bio toliko disleksičan

I was disabled from reading. I just had to do it

da nisam mogao čitati. Samo sam to morao činiti

really slowly, and as I did, lingering on those sentences

vrlo sporo, i kroz taj proces, zadržavajući se na rečenicama

as I had to linger, I fell heir to language's other qualities,

počeo sam cijeniti ostale kvalitete jezika

which I think has helped me write sentences.

što mi je pomoglo u oblikovanju svojih rečenica.

JB: It's so powerful. Richard Ford, who's won the Pulitzer Prize,

JB: Snažna priča. Richard Ford, dobitnik Pulitzerove nagrade,

says that dyslexia helped him write sentences.

kaže kako mu je disleksija pomogla u oblikovanju rečenica.

He had to embrace this challenge, and I use that word

Morao je prihvatiti taj izazov, a tu riječ koristim

intentionally. He didn't have to overcome dyslexia.

namjerno. Nije morao prevladati disleksiju.

He had to learn from it. He had to learn to hear the music

On je morao naučiti iz nje. Morao je naučiti čuti glazbu

in language.

u jeziku.

Artists also speak about how pushing up against

Umjetnici također pričaju o tome kako im izlaženje

the limits of what they can do, sometimes pushing

izvan granica onoga što mogu, ponekad gurajući

into what they can't do, helps them focus

u ono što ne mogu pomaže usredotočiti se

on finding their own voice.

na pronalaženje njihova glasa.

The sculptor Richard Serra talks about how,

Kipar Richard Serra priča o tome kako je,

as a young artist, he thought he was a painter,

kao mladi umjetnik, mislio da je slikar,

and he lived in Florence after graduate school.

i nakon diplomiranja je živio u Firenci.

While he was there, he traveled to Madrid,

Za vrijeme svoga boravka tamo, otputovao je u Madrid

where he went to the Prado to see this picture

gdje je otišao u Prado vidjeti ovu sliku

by the Spanish painter Diego Velázquez.

španjolskog slikara Diega Velazqueza.

It's from 1656, and it's called "Las Meninas,"

Nastala je 1656., i zove se „Las Meninas“

and it's the picture of a little princess

a prikazuje malu princezu

and her ladies-in-waiting, and if you look over

sa svojim pratiteljicama, i ako pogledate preko ramena

that little blonde princess's shoulder, you'll see a mirror,

te plavokose princeze, vidjet ćete ogledalo

and reflected in it are her parents, the King and Queen

u čijem odrazu možete vidjeti njezine roditelje- Kralja i Kraljicu

of Spain, who would be standing where you might stand

Španjolske, koji bi stajali na mjestu s kojega vi

to look at the picture.

promatrate sliku.

As he often did, Velázquez put himself in this painting too.

Kao što je to često činio, Velazquez se stavio i u ovu sliku također.

He's standing on the left with his paintbrush in one hand

Stoji na lijevoj strani sa svojim kistom u jednoj ruci

and his palette in the other.

i paletom u drugoj.

Richard Serra: I was standing there looking at it,

Richard Serra: Stajao sam ondje gledajući u to,

and I realized that Velázquez was looking at me,

i shvatio da Velazquez gleda u mene,

and I thought, "Oh. I'm the subject of the painting."

i pomislio: „Oh, ja sam predmet slike."

And I thought, "I'm not going to be able to do that painting."

I pomislio sam: Neću moći naslikati ovu sliku.“

I was to the point where I was using a stopwatch

U tom sam trenutku držao štopericu

and painting squares out of randomness,

i slikao kvadrate potpuno slučajno

and I wasn't getting anywhere. So I went back and dumped

i to nikamo nije vodilo. Vratio sam se i bacio

all my paintings in the Arno, and I thought, I'm going to just start playing around.

sve svoje slike u Arno i pomislio, samo ću se početi igrati.

JB: Richard Serra says that so nonchalantly, you might

JB: Richard Serra kaže to tako nonšalanto,

have missed it. He went and saw this painting by a guy

možda niste razumjeli. Vidio je sliku koju je naslikao netko

who'd been dead for 300 years, and realized,

tko je mrtav 300 godina i shvatio

"I can't do that," and so Richard Serra went back

"Ja to ne mogu“ i Richard Serra se vratio

to his studio in Florence, picked up all of his work

u svoj studio u Firenci, pokupio sve svoje radove

up to that point, and threw it in a river.

i bacio ih u rijeku.

Richard Serra let go of painting at that moment,

. Richard Serra napustio je slikarstvo u tom trenutku,

but he didn't let go of art. He moved to New York City,

ali nije napustio umjetnost. Preselio se u New York ,

and he put together a list of verbs

i sastavio popis glagola

— to roll, to crease, to fold —

-okretati, nabrati, slagati-

more than a hundred of them, and as he said,

više od stotinu njih, i kako je rekao,

he just started playing around. He did these things

počeo se igrati. Činio je te stvari

to all kinds of material. He would take a huge sheet of lead

svim vrstama materijala. Uzeo bi veliki komad olova

and roll it up and unroll it. He would do the same thing

i uvijao ga i ispravljao ga. Istu stvar činio je

to rubber, and when he got to the direction "to lift,"

i s gumom i kad je došao do smjera „podići"

he created this, which is in the Museum of Modern Art.

stvorio je ovo, što se nalazi u Muzeju suvremene umjetnosti.

Richard Serra had to let go of painting

Richard Serra morao je napustiti slikanje

in order to embark on this playful exploration

kako bi otisnuo na svoje razigrano istraživanje

that led him to the work that he's known for today:

koje ga je dovelo do posla po kojem je danas poznat:

huge curves of steel that require our time and motion

nabori čelika koji zahtijevaju naše vrijeme i pokrete

to experience. In sculpture,

kako bismo ih iskusili. U skulpturi,

Richard Serra is able to do what he couldn't do in painting.

Richard Serra može učiniti ono što nije mogao u slikarstvu.

He makes us the subject of his art.

On nas čini predmetom svoje umjetnosti.

So experience and challenge

Dakle, iskustvo i izazov,

and limitations are all things we need to embrace

ograničenja su koje moramo prigrliti

for creativity to flourish.

kako bi naša kreativnost procvala.

There's a fourth embrace, and it's the hardest.

Tu je i čevrto prihvaćanje, a ono je najteže.

It's the embrace of loss,

To je prihvaćanje gubitka,

the oldest and most constant of human experiences.

najstarije i najkonstantnije od svih ljudskih iskustava.

In order to create, we have to stand in that space

Kako bismo stvarali, moramo stajati u prostoru

between what we see in the world and what we hope for,

između onoga što vidimo u svijetu i onoga čemu se nadamo,

looking squarely at rejection, at heartbreak,

gledajući jednostavno na odbacivanje, na slomljeno srce,

at war, at death.

na rat, na smrt.

That's a tough space to stand in.

Teško je stajati između toga.

The educator Parker Palmer calls it "the tragic gap,"

Pedagog Parker Palmer naziva to „tragičan jaz“,

tragic not because it's sad but because it's inevitable,

tragičan ne zato što je tužan već zato što je neizbježan

and my friend Dick Nodel likes to say,

a moj prijatelj Dick Nodel voli reći,

"You can hold that tension like a violin string

„Možeš zadržati tu napetost kao žicu violine

and make something beautiful."

i stvoriti nešto prelijepo.“

That tension resonates in the work of the photographer

Ta se tenzija očituje i u radu fotografa

Joel Meyerowitz, who at the beginning of his career was

Joela Meyerowitza, koji je na početku svoje karijere bio

known for his street photography, for capturing a moment

poznat zahvaljujući svojim uličnim fotografijama, hvatanju trenutka

on the street, and also for his beautiful photographs

na ulici, kao i zbog svojih prekrasnih fotografija

of landscapes -- of Tuscany, of Cape Cod,

krajolika – Toskane, Cape Coda,

of light.

svjetla.

Joel is a New Yorker, and his studio for many years

Joel je New Yorčanin, a njegov se studio mnogo godina

was in Chelsea, with a straight view downtown

nalazio u Chealseau, s izravnim pogledom na centar grada

to the World Trade Center, and he photographed

i World Trade Center i fotografirao je

those buildings in every sort of light.

te zgrade pod svakom vrstom svjetla.

You know where this story goes.

Znate čemu vodi ova priča.

On 9/11, Joel wasn't in New York. He was out of town,

11. rujna Joel nije bio u New Yorku. Bio je izvan grada,

but he raced back to the city, and raced down to the site

ali dojurio je natrag, i dotrčao na mjesto

of the destruction.

uništenja.

Joel Meyerowitz: And like all the other passersby,

Joel Meyerowitz: Kao i svi ostali prolaznici,

I stood outside the chain link fence on Chambers

stajao sam izvan lančano povezane ograde na Chambersu

and Greenwich, and all I could see was the smoke

i Greenwhichu i sve što sam mogao vidjeti bio je dim

and a little bit of rubble, and I raised my camera

i malo šljunka, i podigao sam kameru,

to take a peek, just to see if there was something to see,

da malo zavirim, , samo da vidim ima li čega ondje

and some cop, a lady cop, hit me on my shoulder,

i neki policajac, policajka, udarila me po ramenu

and said, "Hey, no pictures!"

i rekla: „Hej, bez fotografiranja.“

And it was such a blow that it woke me up,

Bio je to takav udarac da me probudio,

in the way that it was meant to be, I guess.

na način na koji je trebalo, pretpostavljam.

And when I asked her why no pictures, she said,

Kad sam ju pitao zašto ne smijem fotografirati, rekla je:

"It's a crime scene. No photographs allowed."

„Ovo je mjesto zločina. Fotografiranje nije dozvoljeno.“

And I asked her, "What would happen if I was a member

Upitao sam ju: "Što bi se dogodilo da sam predstavnik

of the press?" And she told me,

tiska?“ Rekla mi je:

"Oh, look back there," and back a block was the press corps

„Pogledaj tamo!", i jedan blok iza bile su čete novinara

tied up in a little penned-in area,

nakupljeni u mali označeni prostor,

and I said, "Well, when do they go in?"

i rekao sam: „Pa, kada će ući unutra?“

and she said, "Probably never."

odgovorila je: „Vjerojatno nikad“.

And as I walked away from that, I had this crystallization,

I dok sam odlazio, shvatio sam

probably from the blow, because it was an insult in a way.

vjerojatno od udarca, jer je to ionako bila uvreda.

I thought, "Oh, if there's no pictures,

Pomislio sam: „Oh, ako ne bude bilo fotografija,

then there'll be no record. We need a record."

nećemo imati bilješke. Mi trebamo bilješke.“

And I thought, "I'm gonna make that record.

I pomislio sam: „Ja ću napraviti tu evidenciju.

I'll find a way to get in, because I don't want to

Pronaći ću način da uđem unutra, jer ne želim

see this history disappear."

da ovaj dio povijesti nestane.“

JB: He did. He pulled in every favor he could,

JB: Učinio je to. Povukao je svaku vezu koju je mogao,

and got a pass into the World Trade Center site,

i dobio je mogućnost prolaska do World Trade Centra,

where he photographed for nine months almost every day.

gdje je fotografirao devet mjeseci gotovo svaki dan.

Looking at these photographs today brings back

Gledajući ove fotografije danas, ponovno se vraća

the smell of smoke that lingered on my clothes

miris dima koji mi se zadržao na odjeći

when I went home to my family at night.

kada sam se vratio obitelji noću.

My office was just a few blocks away.

Moj ured nalazio se samo nekoliko blokova dalje.

But some of these photographs are beautiful,

Ali neke fotografije su prekrasne,

and we wondered, was it difficult for Joel Meyerowitz

i pitali smo se, je li bilo teško Joelu Meyerowitzu

to make such beauty out of such devastation?

stvoriti takvu ljepotu od takve devastacije?

JM: Well, you know, ugly, I mean, powerful

JB: Pa, znate, ružno, mislim, snažno

and tragic and horrific and everything, but

i tragično i užasno i sve to,

it was also as, in nature, an enormous event

ali bilo je ujedno, u prirodi, ogroman događaj

that was transformed after the fact into this residue,

koji je nakon toga pretvoren u ovaj ostatak

and like many other ruins

i kao mnoge druge ruševine

— you go to the ruins of the Colosseum or the ruins of a cathedral someplace —

- odlazite na ruševine Koloseuma ili nekakve katedrale negdje -

and they take on a new meaning when you watch the weather.

i one dobivaju novo značenje kada gledate vrijeme.

I mean, there were afternoons I was down there,

Mislim, bilo je poslijepodneva kada sam bio tamo,

and the light goes pink and there's a mist in the air

svjetlo je bilo ružičasto i bila je magla u zraku

and you're standing in the rubble, and I found myself

i vi stojite u ruševinama, šljunku i pronašao sam sebe

recognizing both the inherent beauty of nature

kako shvaćam da nerazdvojivu ljepotu prirode

and the fact that nature, as time,

i činjenicu da priroda, kao i vrijeme,

is erasing this wound.

briše ovu ranu.

Time is unstoppable, and it transforms the event.

Vrijeme je nezaustavljivo i ono mijenja događaj.

It gets further and further away from the day,

Udaljava se dalje i dalje od dana,

and light and seasons temper it in some way,

a svjetlo i godišnja doba ga primiruju na neki način,

and it's not that I'm a romantic. I'm really a realist.

i to ne zato što sam ja romantik. Ja sam pravi realist.

The reality is, there's the Woolworth Building

Stvarnost je, ovdje je Woolworth Building

in a veil of smoke from the site, but it's now like a scrim

u velu dima od mjesta događaja, ali sada je kao platno

across a theater, and it's turning pink,

prekoputa kazališta, i postaje ružičasto,

you know, and down below there are hoses spraying,

znate, i tamo dolje gumena cijevi koje prskaju,

and the lights have come on for the evening, and the water

i svjetla su došla tijekom večeri, voda

is turning acid green because the sodium lamps are on,

postaje fluorescentno zelena jer rade natrijeve žarulje

and I'm thinking, "My God, who could dream this up?"

i ja razmišljam: „Moj Bože, tko bi mogao ovo osmisliti?"

But the fact is, I'm there, it looks like that,

Ali činjenica je da sam ja ovdje, to izgleda tako,

you have to take a picture.

morate fotografirati.

JB: You have to take a picture. That sense of urgency,

JB: Morate fotografirati. Taj osjećaj žurnosti,

of the need to get to work, is so powerful in Joel's story.

o potrebi da se vrati na posao, tako je snažan u Joelovoj priči.

When I saw Joel Meyerowitz recently, I told him how much

Kada sam nedavno vidio Joela Meyerowitza, rekao sam mu koliko

I admired his passionate obstinacy, his determination

se divim strastvenoj tvrdoglavosti, njegovoj odlučnosti

to push through all the bureaucratic red tape to get to work,

da se progura kroz sve birokratske crvene trake kako bi radio,

and he laughed, and he said, "I'm stubborn,

a on se nasmijao i rekao: „Tvrdoglav sam,

but I think what's more important

ali mislim da je važniji

is my passionate optimism."

moj strastveni optimizam."

The first time I told these stories, a man in the audience

Kada sam prvi put ispričao ove priče, čovjek u publici

raised his hand and said, "All these artists talk about

podigao je ruku i rekao: "Svi ovi umjetnici pričaju

their work, not their art, which has got me thinking about

svom radu, ne njihovoj umjetnosti, što me navelo da razmišljam

my work and where the creativity is there,

o svom radu i gdje je kreativnost u tome,

and I'm not an artist." He's right. We all wrestle

a ja nisam umjetnik.“ On je u pravu. Svi se mučimo

with experience and challenge, limits and loss.

s iskustvom i izazovima, ograničenjima i gubitcima.

Creativity is essential to all of us,

Kreativnost je esencijalna za sve nas,

whether we're scientists or teachers,

bez obzira jesmo li znanstvenici ili učitelji,

parents or entrepreneurs.

roditelji ili poduzetnici.

I want to leave you with another

Želim vas ostaviti s još jednom

image of a Japanese tea bowl. This one

slikom japanske zdjele za čaj. Ova se

is at the Freer Gallery in Washington, D.C.

malazi se u Freer Gallery u Washingtonu, D.C.

It's more than a hundred years old and you can still see

Stara je više od stotinu godina i još uvijek možete vidjeti

the fingermarks where the potter pinched it.

otiske prstiju koje je lončar utisnuo.

But as you can also see, this one did break

Ali, kao što možete vidjeti, razbila se

at some point in its hundred years.

u jednom trenutku u tih svojih 100 godina.

But the person who put it back together,

Ali osoba koja ju je sastavila,

instead of hiding the cracks,

umjesto da prikrije pukotine,

decided to emphasize them, using gold lacquer to repair it.

odlučila ih je naglasiti, koristeći zlatni lak za popravljanje.

This bowl is more beautiful now, having been broken,

Ova je zdjela ljepša sada, nakon što je slomljena,

than it was when it was first made,

nego što je bila pri nastanku,

and we can look at those cracks, because

i možemo gledati te pukotine jer

they tell the story that we all live,

govore da svi živimo

of the cycle of creation and destruction,

od ciklusa kreacije i destrukcije,

of control and letting go, of picking up the pieces

od kontroliranja i prepuštanja, od prikupljanja stvari

and making something new.

i stvaranja nečega novoga.

Thank you. (Applause)

Hvala vam. (Pljesak)