How frustration can make us more creative | Tim Harford

Translator: Abe Felisa Reviewer: Prameswari Rahmanu

Late in January 1975,

Di akhir Januari tahun 1975,

a 17-year-old German girl called Vera Brandes

seorang gadis Jerman berusia 17 tahun benama Vera Brandes

walked out onto the stage of the Cologne Opera House.

berjalan ke atas panggung Cologne Opera House.

The auditorium was empty.

Auditorium itu kosong,

It was lit only by the dim, green glow of the emergency exit sign.

hanya bercahayakan lampu pintu darurat hijau redup.

This was the most exciting day of Vera's life.

Itu hari yang paling mendebarkan dalam hidup Vera.

She was the youngest concert promoter in Germany,

Ia adalah promotor konser termuda di Jerman,

and she had persuaded the Cologne Opera House

dan ia berhasil membujuk Cologne Opera House

to host a late-night concert of jazz

untuk menyelenggarakan konser jazz larut malam

dari musisi Amerika, Keith Jarrett.

from the American musician, Keith Jarrett.

1,400 people were coming.

1,400 orang datang saat itu.

And in just a few hours,

Dan hanya dalam beberapa jam,

Jarrett would walk out on the same stage,

Jarrett akan keluar di panggung yang sama,

he'd sit down at the piano

ia akan duduk pada piano,

and without rehearsal or sheet music,

dan tanpa geladi maupun lembar musik,

he would begin to play.

ia mulai bermain.

But right now,

Tapi kali ini,

Vera was introducing Keith to the piano in question,

Vera mempertemukan Keith dengan piano yang meragukan,

and it wasn't going well.

dan tak bekerja dengan baik.

Jarrett looked to the instrument a little warily,

Jarrett memandang instrumen itu sedikit ragu,

played a few notes,

memainkan beberapa notnya,

walked around it,

mengitarinya,

played a few more notes,

memainkan beberapa not lagi,

muttered something to his producer.

menggumamkan sesuatu pada produsernya.

Then the producer came over to Vera and said ...

Kemudian sang produser menghampiri Vera dan berkata...

"If you don't get a new piano, Keith can't play."

"Jika kau tak mendapatkan piano yang baru, Keith tak dapat bermain."

There'd been a mistake.

Ada kesalahan.

The opera house had provided the wrong instrument.

Gedung kesenian itu salah menyediakan instrumen.

This one had this harsh, tinny upper register,

Nada-nada tinggi piano ini bersuara sember dan pelan,

because all the felt had worn away.

karena senar pianonya sudah usang.

The black notes were sticking,

Tuts hitamnya lekat,

the white notes were out of tune,

Nada tuts putihnya sumbang,

the pedals didn't work

pedalnya tidak berfungsi,

and the piano itself was just too small.

dan pianonya sendiri juga terlalu kecil.

It wouldn't create the volume

Suaranya takkan bisa memenuhi ruangan sebesar Cologne Opera House.

that would fill a large space such as the Cologne Opera House.

So Keith Jarrett left.

Jadi Keith Jarrett pergi.

He went and sat outside in his car,

Ia keluar dan duduk di dalam mobilnya,

leaving Vera Brandes

meninggalkan Vera Brandes...

untuk menelepon dan mencoba mencari piano pengganti.

to get on the phone to try to find a replacement piano.

Now she got a piano tuner,

Ia punya alat penyesuai nada,

but she couldn't get a new piano.

tapi tak bisa mendapat piano baru.

And so she went outside

Jadi ia pergi keluar...

and she stood there in the rain,

dan berdiri di tengah hujan,

talking to Keith Jarrett,

berbicara pada Keith Jarrett,

begging him not to cancel the concert.

memohon agar ia tak membatalkan konser.

And he looked out of his car

Jarrett melihat dari dalam mobil

at this bedraggled, rain-drenched German teenager,

kepada remaja Jerman yang basah kuyup ini,

took pity on her,

merasa kasihan padanya,

and said,

dan berkata,

"Never forget ... only for you."

"Jangan lupakan ini... cuma untukmu saja."

And so a few hours later,

Maka beberapa jam kemudian,

Jarrett did indeed step out onto the stage of the opera house,

Jarrett benar-benar melangkah keluar panggung gedung kesenian itu.

he sat down at the unplayable piano

Ia duduk di piano yang tak dapat dimainkan itu,

and began.

dan mulai bermain.

(Music)

(Musik)

Within moments it became clear that something magical was happening.

Sesaat kemudian, jelas bahwa sesuatu yang ajaib sedang terjadi.

Jarrett was avoiding those upper registers,

Jarrett menghindari tuts bagian atas,

he was sticking to the middle tones of the keyboard,

ia tetap pada tuts nada-nada tengah,

which gave the piece a soothing, ambient quality.

yang mengeluarkan kualitas suara yang menenangkan suasana.

But also, because the piano was so quiet,

Tapi, juga karena suara pianonya sangat lirih,

he had to set up these rumbling, repetitive riffs in the bass.

ia harus mengakali bagian pengulangan dengan nada-nada bas yang bergemuruh

And he stood up twisting, pounding down on the keys,

Dan ia bermain sambil berdiri, memilin, menekan kuat kunci-kuncinya,

desperately trying to create enough volume to reach the people in the back row.

berusaha mengeluarkan volume suara agar mencapai penonton di barisan belakang.

It's an electrifying performance.

Itu adalah pertunjukan yang menggetarkan.

It somehow has this peaceful quality,

Yang entah bagaimana membawa kedamaian,

and at the same time it's full of energy,

sekaligus penuh energi,

it's dynamic.

sangat berdinamika.

And the audience loved it.

Dan penonton menyukainya.

Audiences continue to love it

Penonton terus menyukainya

because the recording of the Köln Concert

karena rekaman Köln Concert

is the best-selling piano album in history

adalah album piano terlaris sepanjang sejarah

and the best-selling solo jazz album in history.

dan juga album solo jazz terlaris sepanjang sejarah.

Keith Jarrett had been handed a mess.

Keith Jarrett dihadapkan pada suatu kekacauan.

He had embraced that mess, and it soared.

Ia merengkuh kekacauan itu dan sukses besar.

But let's think for a moment about Jarrett's initial instinct.

Tapi mari berpikir sejenak tentang insting awal Jarrett.

He didn't want to play.

Ia tak mau bermain.

Of course,

Tentu saja,

I think any of us, in any remotely similar situation,

saya rasa siapapun, pada situasi yang sama,

would feel the same way, we'd have the same instinct.

akan merasakan hal yang sama, insting kita akan sama.

We don't want to be asked to do good work with bad tools.

Kita takkan mau diminta melakukan pekerjaan hebat dengan peralatan buruk.

We don't want to have to overcome unnecessary hurdles.

Kita tak mau mengatasi permasalahan yang tak perlu.

But Jarrett's instinct was wrong,

Tapi insting Jarrett salah,

and thank goodness he changed his mind.

dan syukurlah ia berubah pikiran.

And I think our instinct is also wrong.

Dan saya rasa insting kita juga salah.

I think we need to gain a bit more appreciation

Saya rasa kita harus punya sedikit apresiasi...

for the unexpected advantages of having to cope with a little mess.

untuk keuntungan tak terduga dalam mengatasi sedikit kekacauan.

So let me give you some examples

Saya beri beberapa contoh,

from cognitive psychology,

dari psikologi kognisi,

from complexity science,

dari ilmu kompleksitas,

from social psychology,

dari psikologi sosial,

and of course, rock 'n' roll.

dan tentunya, rock 'n roll.

So cognitive psychology first.

Pertama psikologi kognisi.

We've actually known for a while

Baru-baru ini kita tahu

that certain kinds of difficulty,

bahwa kesulitan tertentu,

certain kinds of obstacle,

jenis halangan tertentu,

can actually improve our performance.

sebenarnya dapat meningkatkan kinerja.

For example,

Contoh,

the psychologist Daniel Oppenheimer,

seorang psikolog Daniel Oppenheimer,

a few years ago,

beberapa tahun lalu, bekerja sama dengan para guru SMA.

teamed up with high school teachers.

And he asked them to reformat the handouts

Dan ia meminta mereka memformat ulang diktat

that they were giving to some of their classes.

yang mereka gunakan di beberapa kelas mereka.

So the regular handout would be formatted in something straightforward,

Diktat yang biasanya digunakan punya format yang lugas,

such as Helvetica or Times New Roman.

dengan huruf seperti Helvetica atau Times New Roman.

But half these classes were getting handouts that were formatted

Tapi separuh kelas menerima diktat yang terformat

in something sort of intense, like Haettenschweiler,

dengan lebih intens, seperti Haettenschweiler,

or something with a zesty bounce, like Comic Sans italicized.

atau sesuatu yang sangat ceria, seperti Comic Sans cetak miring.

Now, these are really ugly fonts,

Nah, jenis-jenis huruf itu amat buruk,

and they're difficult fonts to read.

dan sulit dibaca.

But at the end of the semester,

Tapi pada akhir semester,

students were given exams,

para siswa diberikan ujian,

and the students who'd been asked to read the more difficult fonts,

dan para siswa yang diminta membaca jenis huruf yang lebih sulit,

had actually done better on their exams,

mengerjakan ujian lebih baik,

in a variety of subjects.

dalam berbagai mata pelajaran.

And the reason is,

Dan alasannya adalah,

the difficult font had slowed them down,

jenis huruf yang sulit memperlambat mereka,

forced them to work a bit harder,

memaksa mereka untuk belajar lebih keras,

to think a bit more about what they were reading,

untuk berpikir ekstra tentang yang mereka baca,

menafsirkannya ...

to interpret it ...

and so they learned more.

sehingga mereka belajar lebih.

Another example.

Contoh lain.

The psychologist Shelley Carson has been testing Harvard undergraduates

Psikolog Shelley Carson menguji mahasiswa Harvard

for the quality of their attentional filters.

mengenai kualitas daya saring atensi mereka.

What do I mean by that?

Apa maksudnya?

What I mean is, imagine you're in a restaurant,

Begini, bayangkan Anda berada di restoran,

you're having a conversation,

bercakap-cakap.

there are all kinds of other conversations going on in the restaurant,

Ada banyak percakapan lainnya yang berlangsung di restoran itu.

you want to filter them out,

Anda ingin menyaringnya.

you want to focus on what's important to you.

Anda ingin fokus pada apa yang penting bagi Anda.

Can you do that?

Bisakah Anda melakukannya?

Jika bisa, Anda punya daya saring atensi yang baik dan kuat.

If you can, you have good, strong attentional filters.

But some people really struggle with that.

Tapi sebagian orang kesulitan.

Some of Carson's undergraduate subjects struggled with that.

Beberapa subyek mahasiswa S2 Carson kesulitan.

Mereka punya daya saring yang lemah dan keropos --

They had weak filters, they had porous filters --

mereka membiarkan informasi lain masuk.

let a lot of external information in.

And so what that meant is they were constantly being interrupted

Jadi itu artinya mereka terus terganggu

by the sights and the sounds of the world around them.

dengan pandangan dan suara di sekitar mereka.

If there was a television on while they were doing their essays,

Jika ada TV yang menyala saat mereka mengerjakan esai,

mereka tak dapat menyaringnya.

they couldn't screen it out.

Now, you would think that that was a disadvantage ...

Nah, Anda mungkin berpikir itu adalah suatu kerugian.

but no.

Tapi tidak.

When Carson looked at what these students had achieved,

Ketika Carson melihat yang telah dicapai para mahasiswa ini,

the ones with the weak filters

yang punya daya saring lemah

were vastly more likely

cenderung mempunyai tahapan hidup yang lebih kreatif dan nyata dalam hidup;

to have some real creative milestone in their lives,

to have published their first novel,

mempublikasikan novel pertama mereka,

to have released their first album.

meluncurkan album pertama mereka.

These distractions were actually grists to their creative mill.

Semua gangguan itu sebenarnya bahan baku akal kreatif mereka.

They were able to think outside the box because their box was full of holes.

Mereka mampu berpikir kreatif karena mereka tak punya batasan.

Let's talk about complexity science.

Mari kita bahas ilmu kompleksitas.

So how do you solve a really complex --

Bagaimana menyelesaikan masalah rumit?

the world's full of complicated problems --

dunia penuh masalah rumit -- bagaimana menyelesaikannya?

how do you solve a really complicated problem?

Contohnya, ketika Anda mencoba membuat mesin jet.

For example, you try to make a jet engine.

There are lots and lots of different variables,

Ada berbagai macam variabel yang berbeda,

the operating temperature, the materials,

suhu pengoperasiannya, materialnya,

all the different dimensions, the shape.

segala dimensi yang berbeda, bentuknya.

You can't solve that kind of problem all in one go,

Anda tak dapat menyelesaikan semua masalah itu sekaligus.

it's too hard.

Terlalu sulit.

So what do you do?

Jadi apa yang Anda lakukan?

Well, one thing you can do is try to solve it step-by-step.

Satu hal yang dapat dilakukan, mencobanya selangkah demi selangkah.

So you have some kind of prototype

Anda punya semacam prototipe,

and you tweak it, you test it, you improve it.

Anda rekayasa, uji, dan perbaiki.

You tweak it, you test it, you improve it.

Anda rekayasa, uji, dan perbaiki.

Now, this idea of marginal gains will eventually get you a good jet engine.

Gagasan keuntungan tambahan ini akhirnya akan menghasilkan mesin jet yang bagus.

And it's been quite widely implemented in the world.

Dan metode ini sudah cukup umum digunakan.

So you'll hear about it, for example, in high performance cycling,

Jadi Anda akan dengar, contohnya, dalam bersepeda tingkat tinggi,

web designers will talk about trying to optimize their web pages,

desainer web akan bicara upaya mengoptimalkan halaman web mereka,

they're looking for these step-by-step gains.

mereka mencari keuntungan selangkah demi selangkah.

That's a good way to solve a complicated problem.

Itu cara yang baik untuk menyelesaikan masalah rumit.

But you know what would make it a better way?

Tapi Anda tahu apa yang lebih baik?

A dash of mess.

Kekacauan.

You add randomness,

Tambahkan sesuatu yang acak,

early on in the process,

pada proses awalnya,

you make crazy moves,

lakukanlah tindakan gila,

you try stupid things that shouldn't work,

cobalah hal-hal bodoh yang tak membawa keberhasilan,

and that will tend to make the problem-solving work better.

itu cenderung membuat penyelesaian masalah menjadi lebih baik.

And the reason for that is

Dan alasannya...

the trouble with the step-by-step process,

masalah dengan proses selangkah demi selangkah,

the marginal gains,

keuntungan tambahan,

is they can walk you gradually down a dead end.

hal itu perlahan membawa Anda ke jalan buntu.

And if you start with the randomness, that becomes less likely,

Jika Anda mulai dengan sesuatu yang acak, cenderung tidak demikian,

and your problem-solving becomes more robust.

dan keterampilan Anda memecahkan masalah menjadi lebih kokoh.

Let's talk about social psychology.

Mari bicara tentang psikologi sosial.

So the psychologist Katherine Phillips, with some colleagues,

Psikolog bernama Katherine Philips dengan beberapa koleganya,

recently gave murder mystery problems to some students,

baru-baru ini memberikan kasus misteri pembunuhan kepada beberapa siswa,

and these students were collected in groups of four

dan siswa ini dikelompokan menjadi empat orang per kelompok

and they were given dossiers with information about a crime --

dan diberikan berkas-berkas dengan informasi kejahatan --

alibis and evidence, witness statements and three suspects.

alibi dan bukti, pernyataan saksi, dan tiga tersangka.

And the groups of four students were asked to figure out who did it,

Dan kelompok empat siswa itu diminta untuk mencari siapa pelakunya,

who committed the crime.

yang melakukan kejahatan.

And there were two treatments in this experiment.

Dan ada dua perlakuan pada percobaan ini.

In some cases these were four friends,

Kadang keempatnya bersahabat,

mereka saling mengenal baik.

they all knew each other well.

In other cases,

Di kesempatan lain,

three friends and a stranger.

tiga orang sahabat dan seorang yang asing.

Anda bisa lihat arah pembicaraan saya.

And you can see where I'm going with this.

Jelas, saya ingin menyampaikan bahwa

Obviously I'm going to say

that the groups with the stranger solved the problem more effectively,

kelompok dengan satu orang asing menyelesaikan masalah lebih efektif,

which is true, they did.

itu benar.

Actually, they solved the problem quite a lot more effectively.

Sebenarnya, mereka memecahkan masalah jauh lebih efektif.

So the groups of four friends,

Jadi kelompok dengan empat orang sahabat,

they only had a 50-50 chance of getting the answer right.

kesempatan mereka hanya 50-50 menjawab dengan benar.

Yang sebenarnya tak begitu hebat --

Which is actually not that great --

in multiple choice, for three answers? 50-50's not good.

soal pilihan ganda dengan tiga jawaban? 50-50 tidak begitu bagus.

(Laughter)

(Tawa)

Tiga sahabat dan seorang tak dikenal,

The three friends and the stranger,

even though the stranger didn't have any extra information,

walaupun si orang asing tidak punya informasi tambahan,

even though it was just a case

walaupun itu hanya masalah

of how that changed the conversation to accommodate that awkwardness,

bagaimana mengubah percakapan untuk mengatasi kecanggungan,

the three friends and the stranger,

tiga orang sahabat dan seorang asing,

they had a 75 percent chance of finding the right answer.

mereka punya 75% kesempatan menemukan jawaban yang benar.

That's quite a big leap in performance.

Itu kinerja yang sangat baik.

But I think what's really interesting

Tapi saya rasa yang sangat menarik

is not just that the three friends and the stranger did a better job,

tak hanya tiga sahabat dan seorang asing melakukan pekerjaan lebih baik,

but how they felt about it.

tapi bagaimana perasaan mereka.

So when Katherine Phillips interviewed the groups of four friends,

Jadi ketika Katherine Phillips mewawancarai kelompok empat sahabat,

they had a nice time,

mereka bersenang-senang.

they also thought they'd done a good job.

Mereka juga mengira melakukan pekerjaan yang baik.

They were complacent.

Mereka terlena.

When she spoke to the three friends and the stranger,

Ketika ia bicara dengan tiga sahabat dan seorang asing,

they had not had a nice time --

mereka tidak bersenang-senang --

it's actually rather difficult, it's rather awkward ...

melainkan lebih sulit, cenderung canggung...

and they were full of doubt.

dan mereka penuh keraguan.

They didn't think they'd done a good job even though they had.

Mereka tak merasa bekerja dengan baik walaupun tidak demikian.

Saya rasa itu benar-benar memberi contoh tantangan yang kita hadapi di sini.

And I think that really exemplifies

the challenge that we're dealing with here.

Because, yeah --

Karena, ya --

the ugly font,

jenis huruf yang buruk,

the awkward stranger,

orang asing yang canggung,

the random move ...

pergerakan yang acak ...

these disruptions help us solve problems,

gangguan semacam ini membantu kita memecahkan masalah,

they help us become more creative.

membantu kita menjadi lebih kreatif.

Tapi kita tak merasa mereka membantu kita.

But we don't feel that they're helping us.

We feel that they're getting in the way ...

Kami merasa mereka menghalangi ...

and so we resist.

jadi kita menolaknya.

And that's why the last example is really important.

Itu mengapa contoh terakhir sangat penting.

So I want to talk about somebody

Saya ingin berbicara tentang seseorang

from the background of the world of rock 'n' roll.

dengan latar belakang dunia rock 'n' roll.

And you may know him, he's actually a TED-ster.

Mungkin Anda kenal, ia penceramah TED.

His name is Brian Eno.

Namanya Brian Eno.

He is an ambient composer -- rather brilliant.

Ia seorang komposer ambien -- yang sangat pandai.

He's also a kind of catalyst

Ia juga semacam katalis...

behind some of the great rock 'n' roll albums of the last 40 years.

di belakang beberapa album rock 'n' roll yang hebat 40 tahun terakhir.

He's worked with David Bowie on "Heroes,"

Ia bekerja sama dengan David Bowie pada "Heroes,"

he worked with U2 on "Achtung Baby" and "The Joshua Tree,"

ia bekerja sama dengan U2 pada "Achtung Baby" dan "The Joshua Tree,"

ia bekerja dengan DEVO,

he's worked with DEVO,

he's worked with Coldplay, he's worked with everybody.

ia bekerja sama dengan Coldplay, dan semua orang.

And what does he do to make these great rock bands better?

Dan apa yang ia lakukan untuk membuat semua band rock ini menjadi lebih baik?

Well, he makes a mess.

Yah, ia membuat kekacauan.

He disrupts their creative processes.

Ia mengganggu proses kreatifnya.

It's his role to be the awkward stranger.

ia berperan menjadi orang asing yang canggung,

It's his role to tell them

berperan mengatakan pada mereka

that they have to play the unplayable piano.

bahwa mereka harus memainkan piano yang rusak.

And one of the ways in which he creates this disruption

Dan salah satu cara membuat gangguan ini

is through this remarkable deck of cards --

adalah melalui setumpuk kartu yang menakjubkan --

I have my signed copy here -- thank you, Brian.

Saya punya satu dengan tanda tangannya -- terima kasih, Brian.

Namanya The Oblique Strategies (Strategi Serong),

They're called The Oblique Strategies,

he developed them with a friend of his.

ia menciptakannya dengan seorang teman.

And when they're stuck in the studio,

Dan ketika mereka terjebak di studio,

Brian Eno will reach for one of the cards.

Brian Eno akan mengambil satu kartu.

He'll draw one at random,

Ia mengambilnya dengan acak,

and he'll make the band follow the instructions on the card.

dan ia membuat band mengikuti instruksi kartunya.

So this one ...

Jadi yang satu ini...

"Change instrument roles."

"Ubah peran instrumen."

Yeah, everyone swap instruments -- Drummer on the piano --

Setiap orang menukar instrumennya -- Dummer pada piano --

Brilliant, brilliant idea.

Cerdas, ide yang cerdas.

"Look closely at the most embarrassing details. Amplify them."

"Lihat pada detail yang paling memalukan dari dekat. Lalu perkuatlah."

"Make a sudden, destructive, unpredictable action. Incorporate."

"Lakukan tindakan yang mendadak, merusak, tak terduga. Gabungkan."

These cards are disruptive.

Kartu-kartu ini mengganggu.

Now, they've proved their worth in album after album.

Nah, mereka membuktikan potensi mereka dari album ke album.

The musicians hate them.

Para musisi membenci mereka.

(Laughter)

(Tawa)

So Phil Collins was playing drums on an early Brian Eno album.

Phil Collins memainkan drum di album awal Brian Eno.

He got so frustrated he started throwing beer cans across the studio.

Ia frustrasi sampai melempar kaleng bir ke sebrang studio.

Carlos Alomar, great rock guitarist,

Carlos Alomar, gitaris rock yang hebat,

working with Eno on David Bowie's "Lodger" album,

bekerja sama dengan Eno pada album David Bowie "Lodger,"

and at one point he turns to Brian and says,

dan pada suatu saat ia berpaling pada Brian dan berkata,

"Brian, this experiment is stupid."

"Brian, percobaan ini bodoh."

But the thing is it was a pretty good album,

Tapi masalahnya, album itu cukup bagus.

but also,

Tapi juga,

Carlos Alomar, 35 years later, now uses The Oblique Strategies.

Carlos Alomar, 35 tahun kemudian, saat ini menggunakan The Oblique Strategies

And he tells his students to use The Oblique Strategies

Dan ia menyuruh muridnya menggunakan The Oblique Strategies.

because he's realized something.

karena ia menyadari sesuatu.

Just because you don't like it doesn't mean it isn't helping you.

Hanya karena Anda tak menyukainya bukan berarti tak membantu Anda.

The strategies actually weren't a deck of cards originally,

Strategi itu sebenarnya bukan setumpuk kartu pada awalnya,

they were just a list --

tapi hanya sebuah daftar --

list on the recording studio wall.

daftar pada dinding studio rekaman.

A checklist of things you might try if you got stuck.

Hal-hal yang bisa dicoba saat pikiran buntu.

The list didn't work.

Daftar itu tak berhasil.

Know why?

Tahu sebabnya?

Not messy enough.

Tidak cukup kacau.

Your eye would go down the list

Mata Anda akan merunut daftarnya

and it would settle on whatever was the least disruptive,

dan akan memilih yang paling tak mengganggu,

the least troublesome,

yang masalahnya paling kecil,

which of course misses the point entirely.

yang tentunya akan menghilangkan intinya.

And what Brian Eno came to realize was,

Dan yang Brian Eno sadari adalah,

yes, we need to run the stupid experiments,

ya, kita perlu melakukan percobaan bodoh,

kita perlu berurusan dengan orang asing yang canggung,

we need to deal with the awkward strangers,

we need to try to read the ugly fonts.

kita perlu membaca jenis huruf yang buruk.

These things help us.

Hal-hal ini membantu kita,

They help us solve problems,

membantu kita memecahkan masalah, untuk menjadi lebih kreatif.

they help us be more creative.

But also ...

Tapi juga ...

we really need some persuasion if we're going to accept this.

kita benar-benar harus dibujuk jika kita akan menjalankannya.

So however we do it ...

Bagaimana pun kita melakukannya...

whether it's sheer willpower,

apakah dengan sedikit niat,

whether it's the flip of a card

apakah dengan selembar kartu,

or whether it's a guilt trip from a German teenager,

atau dengan serombongan anak remaja Jerman,

all of us, from time to time,

kita semua, dari waktu ke waktu,

need to sit down and try and play the unplayable piano.

perlu duduk dan mencoba bermain piano yang rusak.

Thank you.

Terima kasih.

(Applause)

(Tepuk tangan)