Weird, or just different? | Derek Sivers

655,985 views ใƒป 2010-01-29

TED


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืžืชืจื’ื: Dan Caspi ืžื‘ืงืจ: Sigal Tifferet
00:15
So, imagine you're standing on a street anywhere in America
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ืื–, ื“ืžื™ื™ื ื• ืฉืืชื ืขื•ืžื“ื™ื ื‘ืจื—ื•ื‘ ื‘ื›ืœ ืžืงื•ื ื‘ืืžืจื™ืงื”
00:19
and a Japanese man comes up to you and says,
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ื•ืื“ื ื™ืคื ื™ ื ื™ื’ืฉ ืืœื™ื›ื ื•ืื•ืžืจ
00:22
"Excuse me, what is the name of this block?"
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"ืกืœื—ื• ืœื™, ืžื” ืฉื ื”ื‘ืœื•ืง (ืงื‘ื•ืฆืช ื‘ื ื™ื™ื ื™ื) ื”ื–ื”?"
00:24
And you say, "I'm sorry, well, this is Oak Street, that's Elm Street.
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ื•ืืชื ืื•ืžืจื™ื "ืื ื™ ืžืฆื˜ืขืจ. ื•ื‘ื›ืŸ, ื–ื” ืจื—ื•ื‘ ืื•ืง, ื–ื” ืจื—ื•ื‘ ืืœื
00:28
This is 26th, that's 27th."
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"ื–ื” ืจื—ื•ื‘ ืฉื ืงืจื '26' ื•ื–ื” ื”- 27."
00:30
He says, "OK, but what is the name of that block?"
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ื”ื•ื ืื•ืžืจ "ืื•ืงื™ื™. ืžื” ืฉื ื”ื‘ืœื•ืง ื”ื–ื”?"
00:32
You say, "Well, blocks don't have names.
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ืืชื ืื•ืžืจื™ื "ื•ื‘ื›ืŸ, ืœื‘ืœื•ืงื™ื ืื™ืŸ ืฉืžื•ืช.
00:35
Streets have names; blocks are just the
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"ืœืจื—ื•ื‘ื•ืช ื™ืฉ ืฉืžื•ืช; ื‘ืœื•ืงื™ื ื”ื ืจืง
00:37
unnamed spaces in between streets."
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ื”ืžืจื•ื•ื—ื™ื ืฉืื™ืŸ ืœื”ื ืฉืžื•ืช ืฉื‘ื™ืŸ ื”ืจื—ื•ื‘ื•ืช"
00:39
He leaves, a little confused and disappointed.
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ื”ื•ื ืขื•ื–ื‘, ืงืฆืช ืžื‘ื•ืœื‘ืœ ื•ืžืื•ื›ื–ื‘.
00:43
So, now imagine you're standing on a street, anywhere in Japan,
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ืื– ืขื›ืฉื™ื• ื“ืžื™ื™ื ื• ืฉืืชื ืขื•ืžื“ื™ื ื‘ืจื—ื•ื‘, ื‘ื›ืœ ืžืงื•ื ื‘ื™ืคืŸ
00:46
you turn to a person next to you and say,
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ืืชื ืคื•ื ื™ื ืœืื“ื ืฉืœื™ื“ื›ื ื•ืื•ืžืจื™ื
00:48
"Excuse me, what is the name of this street?"
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"ืกืœื— ืœื™, ืื™ืš ืงื•ืจืื™ื ืœืจื—ื•ื‘ ื”ื–ื”?"
00:50
They say, "Oh, well that's Block 17 and this is Block 16."
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ื•ื”ื ืื•ืžืจื™ื "ืื”, ื•ื‘ื›ืŸ ื–ื” ื‘ืœื•ืง 17 ื•ื–ื” ื‘ืœื•ืง 16."
00:54
And you say, "OK, but what is the name of this street?"
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ื•ืืชื ืื•ืžืจื™ื "ืื•ืงื™ื™, ืื‘ืœ ืžื” ื”ืฉื ืฉืœ ื”ืจื—ื•ื‘ ื”ื–ื”?"
00:57
And they say, "Well, streets don't have names.
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ื•ื”ื ืื•ืžืจื™ื "ื•ื‘ื›ืŸ, ืœืจื—ื•ื‘ื•ืช ืื™ืŸ ืฉืžื•ืช.
00:59
Blocks have names.
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"ืœื‘ืœื•ืงื™ื ื™ืฉ ืฉืžื•ืช.
01:01
Just look at Google Maps here. There's Block 14, 15, 16, 17, 18, 19.
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"ืคืฉื•ื˜ ืชืกืชื›ืœ ืขืœ ื”ืžืคื” ื”ื–ื• ืฉืœ ื’ื•ื’ืœ. ื”ื ื” ื‘ืœื•ืง 14, 15, 16, 17, 18, 19.
01:05
All of these blocks have names,
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"ืœื›ืœ ื”ื‘ืœื•ืงื™ื ื”ืืœื” ื™ืฉ ืฉืžื•ืช.
01:07
and the streets are just the unnamed spaces in between the blocks.
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"ื”ืจื—ื•ื‘ื•ืช ื”ื ืคืฉื•ื˜ ื”ืžืจื•ื•ื—ื™ื ืฉืื™ืŸ ืœื”ื ืฉืžื•ืช ืฉื‘ื™ืŸ ื”ื‘ืœื•ืงื™ื."
01:11
And you say then, "OK, then how do you know your home address?"
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ื•ืืชื ืื•ืžืจื™ื "ืื•ืงื™ื™, ืื– ืื™ืš ืืชื ื™ื•ื“ืขื™ื ืืช ื›ืชื•ื‘ืช ื”ื‘ื™ืช ืฉืœื›ื?"
01:14
He said, "Well, easy, this is District Eight.
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ื•ื”ื•ื ืื•ืžืจ "ื•ื‘ื›ืŸ, ื‘ืงืœื•ืช - ื–ื” ืžื—ื•ื– ืฉืžื•ื ื”
01:17
There's Block 17, house number one."
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"ื”ื ื” ื‘ืœื•ืง 17, ื‘ื™ืช ืžืกืคืจ 1."
01:20
You say, "OK, but walking around the neighborhood,
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ืืชื ืื•ืžืจื™ื "ืื•ืงื™ื™. ืื‘ืœ ืžื”ืกื™ื‘ื•ื‘ ืฉืขืฉื™ืชื™ ื‘ืฉื›ื•ื ื”
01:22
I noticed that the house numbers don't go in order."
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"ืฉืžืชื™ ืœื‘ ืฉื”ื‘ืชื™ื ืœื ืžืกื•ื“ืจื™ื ืœืคื™ ื”ืกื“ืจ."
01:24
He says, "Of course they do. They go in the order in which they were built.
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ื”ื•ื ืื•ืžืจ "ื›ืžื•ื‘ืŸ ืฉื›ืŸ. ื”ื ืžืกื•ื“ืจื™ื ืœืคื™ ื”ืกื“ืจ ืฉื‘ื• ื ื‘ื ื•.
01:27
The first house ever built on a block is house number one.
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"ื”ื‘ื™ืช ื”ืจืืฉื•ืŸ ืฉื ื‘ื ื” ื‘ื‘ืœื•ืง ื”ื•ื ื‘ื™ืช ืžืกืคืจ ืื—ืช.
01:30
The second house ever built is house number two.
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"ื”ื‘ื™ืช ื”ืฉื ื™ ืฉื ื‘ื ื” ื”ื•ื ื‘ื™ืช ืžืกืคืจ ืฉืชื™ื™ื.
01:33
Third is house number three. It's easy. It's obvious."
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"ื”ืฉืœื™ืฉื™ ื”ื•ื ื‘ื™ืช ืžืกืคืจ ืฉืœื•ืฉ. ื–ื” ืงืœ. ื–ื” ื‘ืจื•ืจ"
01:35
So, I love that sometimes we need to
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ืื ื™ ืื•ื”ื‘ ืฉืœืคืขืžื™ื ืื ื—ื ื• ืฆืจื™ื›ื™ื
01:38
go to the opposite side of the world
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ืœื”ื’ื™ืข ืœืฆื“ ื”ืฉื ื™ ืฉืœ ื”ืขื•ืœื
01:40
to realize assumptions we didn't even know we had,
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ื›ื“ื™ ืœื”ื‘ื™ืŸ ืฉื™ืฉ ืœื ื• ื”ื ื—ื•ืช ื™ืกื•ื“ ืฉื‘ื›ืœืœ ืœื ื™ื“ืขื ื• ืขืœื™ื”ืŸ,
01:42
and realize that the opposite of them may also be true.
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ื•ืœื’ืœื•ืช ืฉื”ื”ืคืš ืžื”ืŸ ื™ื›ื•ืœ ืœื”ื™ื•ืช ื ื›ื•ืŸ ื‘ืื•ืชื” ื”ืžื™ื“ื”.
01:45
So, for example, there are doctors in China
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ืœื“ื•ื’ืžื, ื™ืฉ ืจื•ืคืื™ื ื‘ืกื™ืŸ
01:47
who believe that it's their job to keep you healthy.
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ืฉืžืืžื™ื ื™ื ืฉื–ื” ื”ืชืคืงื™ื“ ืฉืœื”ื ืœืฉืžื•ืจ ืขืœื™ื›ื ื‘ืจื™ืื™ื.
01:50
So, any month you are healthy you pay them,
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ื›ืš, ื‘ื›ืœ ื—ื•ื“ืฉ ืฉืืชื ื‘ืจื™ืื™ื ืืชื ืžืฉืœืžื™ื ืœื”ื,
01:52
and when you're sick you don't have to pay them because they failed
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ื•ื›ืฉืืชื ื—ื•ืœื™ื ืืชื ืœื ืฆืจื™ื›ื™ื ืœืฉืœื ืœื”ื ื›ื™ ื”ื ืœื ืžื™ืœืื•
01:54
at their job. They get rich when you're healthy, not sick.
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ืืช ืชืคืงื™ื“ื. ื”ื ืžืชืขืฉืจื™ื ื›ืฉืืชื ื‘ืจื™ืื™ื, ืœื ื—ื•ืœื™ื.
01:56
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
01:59
In most music, we think of the "one"
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ื‘ืจื•ื‘ ืกื•ื’ื™ ื”ืžื•ื–ื™ืงื” ืื ื—ื ื• ื—ื•ืฉื‘ ืขืœ "ืื—ืช"
02:01
as the downbeat, the beginning of the musical phrase: one, two, three, four.
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ื›ืคืขื™ืžื” ื”ืจืืฉื•ื ื”, ื”ื”ืชื—ืœื” ืฉืœ ืžืงื˜ืข ืžื•ื–ื™ืงืœื™. ืื—ืช, ืฉืชื™ื™ื ืฉืœื•ืฉ ืืจื‘ืข
02:05
But in West African music, the "one"
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ืื‘ืœ ื‘ืžื•ื–ื™ืงื” ืžืขืจื‘-ืืคืจื™ืงืื™ืช, ื”"ืื—ืช"
02:07
is thought of as the end of the phrase,
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ื ืชืคืก ื›ืกื•ืฃ ื”ืžืงื˜ืข,
02:09
like the period at the end of a sentence.
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ื›ืžื• ื”ื ืงื•ื“ื” ื‘ืกื•ืฃ ื”ืžืฉืคื˜.
02:11
So, you can hear it not just in the phrasing, but the way they count off their music:
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ื›ืš ืฉืืคืฉืจ ืœืฉืžื•ืข ืืช ื–ื” ืœื ืจืง ื‘ื”ื’ื™ื™ื”, ืืœื ื’ื ื‘ื“ืจืš ืฉื”ื ืžืžืกืคืจื™ื ืืช ื”ืžื•ื–ื™ืงื” ืฉืœื”ื.
02:13
two, three, four, one.
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ืฉืชื™ื™ื, ืฉืœื•ืฉ, ืืจื‘ืข, ืื—ืช.
02:16
And this map is also accurate.
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ื•ื”ืžืคื” ื”ื–ื• ื”ื™ื ื’ื ื ื›ื•ื ื”.
02:19
(Laughter)
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(ืฆื—ื•ืง)
02:21
There's a saying that whatever true thing you can say about India,
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ื™ืฉ ืžืฉืคื˜ ืฉืื•ืžืจ ืฉืขืœ ื›ืœ ื“ื‘ืจ ื ื›ื•ืŸ ืฉืืคืฉืจ ืœื•ืžืจ ืขืœ ื”ื•ื“ื•,
02:24
the opposite is also true.
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ื”ื”ืคืš ื”ื•ื ื’ื ื ื›ื•ืŸ.
02:26
So, let's never forget, whether at TED, or anywhere else,
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ืื–, ื‘ื•ืื• ืœืขื•ืœื ืœื ื ืฉื›ื—, ืื ื‘- TED ืื• ื‘ื›ืœ ืžืงื•ื ืื—ืจ,
02:28
that whatever brilliant ideas you have or hear,
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ืฉื›ืœ ืจืขื™ื•ืŸ ืžื‘ืจื™ืง ืฉื™ืฉ ืœื›ื ืื• ืฉืืชื ืฉื•ืžืขื™ื,
02:31
that the opposite may also be true.
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ื’ื ื”ื”ืคืš ื™ื›ื•ืœ ืœื”ื™ื•ืช ื ื›ื•ืŸ.
02:33
Domo arigato gozaimashita.
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ืชื•ื“ื” ืจื‘ื” ืœื›ื (ื‘ื™ืคื ื™ืช).
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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