A powerful way to unleash your natural creativity | Tim Harford

669,449 views ใƒป 2019-02-07

TED


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

00:00
Transcriber: Ivana Korom Reviewer: Joanna Pietrulewicz
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ืชืจื’ื•ื: Ofir Blum ืขืจื™ื›ื”: maor madmon
00:13
"To do two things at once is to do neither."
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"ืœืขืฉื•ืช ืฉื ื™ ื“ื‘ืจื™ื ื‘ื• ื–ืžื ื™ืช, ื–ื” ืœื ืœืขืฉื•ืช ืืฃ ืื—ื“ ืžื”ื."
00:17
It's a great smackdown of multitasking, isn't it,
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ื–ื” ืื›ืŸ ืžื›ื” ืจืฆื™ื ื™ืช ืœืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’,
00:20
often attributed to the Roman writer Publilius Syrus,
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ืืžื™ืจื” ื–ื• ื‘ื“ืจืš ื›ืœืœ ืžืฉื•ื™ื›ืช ืœืกื•ืคืจ ื”ืจื•ืžื™ ืคื•ื‘ืœื™ืœื™ื•ืก ืกื™ืจื•ืก,
00:24
although you know how these things are, he probably never said it.
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ืœืžืจื•ืช ืฉืืชื ื™ื•ื“ืขื™ื ืื™ืš ื”ื“ื‘ืจื™ื ื”ืืœื” ืขื•ื‘ื“ื™ื, ื”ื•ื ื›ื ืจืื” ืœื ืืžืจ ืืช ื–ื” ืืฃ ืคืขื.
00:28
What I'm interested in, though, is -- is it true?
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ืื‘ืœ ืชื—ื•ื ื”ืขื ื™ื™ืŸ ืฉืœื™ ื”ื•ื -- ื”ืื ื”ืžืฉืคื˜ ื”ื–ื” ื ื›ื•ืŸ?
00:31
I mean, it's obviously true for emailing at the dinner table
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ืื ื™ ืžืชื›ื•ื•ืŸ, ื”ื•ื ื‘ื˜ื•ื— ื ื›ื•ืŸ ืœืฉืœื™ื—ืช ืื™ืžื™ื™ืœื™ื ื‘ื–ืžืŸ ืืจื•ื—ืช ื”ืขืจื‘
00:35
or texting while driving or possibly for live tweeting at TED Talk, as well.
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ืื• ืœืฉืœื™ื—ืช ื”ื•ื“ืขื•ืช ื‘ื ื”ื™ื’ื” , ื•ื’ื ืœืฉื™ื“ื•ืจ ื—ื™ ื‘ื˜ื•ื•ื™ื˜ืจ ื‘ื–ืžืŸ ื”ืจืฆืืช ื˜ื“.
00:41
But I'd like to argue that for an important kind of activity,
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ืื‘ืœ ื”ื˜ืขื ื” ืฉืœื™ ื”ื™ื ืฉืขื‘ื•ืจ ืคืขื™ืœื•ื™ื•ืช ื—ืฉื•ื‘ื•ืช,
00:45
doing two things at once -- or three or even four --
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ืขืฉื™ื™ืช ืฉื ื™ ื“ื‘ืจื™ื ื‘ืžืงื‘ื™ืœ -- ืื• ืฉืœื•ืฉื” ืื• ืืคื™ืœื• ืืจื‘ืขื” --
00:48
is exactly what we should be aiming for.
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ื–ื” ื‘ื“ื™ื•ืง ืžื” ืฉืื ื—ื ื• ืฆืจื™ื›ื™ื ืœืฉืื•ืฃ ืืœื™ื•.
00:51
Look no further than Albert Einstein.
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ืชืกืชื›ืœื• ืœืžืฉืœ ืขืœ ืืœื‘ืจื˜ ืื™ื™ื ืฉื˜ื™ื™ืŸ.
00:54
In 1905, he published four remarkable scientific papers.
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ื‘1905, ื”ื•ื ืคืจืกื ืืจื‘ืขื” ืžืืžืจื™ื ืžื“ืขื™ื™ื.
00:58
One of them was on Brownian motion,
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ืื—ื“ ืžื”ื ื”ื™ื” ืขืœ ืชื ื•ืขื” ื‘ืจืื•ื ื™ืช,
01:00
it provided empirical evidence that atoms exist,
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ื”ื•ื ืกื™ืคืง ืจืื™ื•ืช ืœืงื™ื•ืžื ืฉืœ ื”ืื˜ื•ืžื™ื,
01:04
and it laid out the basic mathematics behind most of financial economics.
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ื•ื–ื” ื‘ื™ืกืก ืืช ื”ืžืชืžื˜ื™ืงื” ืœืจื•ื‘ ื”ื ื•ืฉืื™ื ื‘ื›ืœื›ืœื” ืคื™ื ื ืกื™ืช.
01:08
Another one was on the theory of special relativity.
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ืžืืžืจ ืื—ืจ ื”ื™ื” ืขืœ ืชื•ืจืช ื”ื™ื—ืกื•ืช ื”ืคืจื˜ื™ืช.
01:11
Another one was on the photoelectric effect,
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ื•ืขื•ื“ ืื—ื“ ื”ื™ื” ืขืœ ื”ืืคืงื˜ ื”ืคื•ื˜ื•-ืืœืงื˜ืจื™,
01:13
that's why solar panels work, it's a nice one.
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ืฉื–ื” ื”ืกื™ื‘ื” ืœืžื” ืœื•ื—ื•ืช ืกื•ืœืืจื™ื ืขื•ื‘ื“ื™ื, ืฉื–ื” ื ื—ืžื“.
01:17
Gave him the Nobel prize for that one.
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ื”ืžืืžืจ ื”ื–ื” ื–ื™ื›ื” ืื•ืชื• ื‘ืคืจืก ื ื•ื‘ืœ.
01:19
And the fourth introduced an equation you might have heard of:
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ื•ื”ืจื‘ื™ืขื™ ื”ืฆื™ื’ ืžืฉื•ื•ืื” ืฉื™ื›ื•ืœ ืœื”ื™ื•ืช ืฉืฉืžืขืชื ืขืœื™ื”:
01:22
E equals mc squared.
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E=MC^2.
01:25
So, tell me again how you shouldn't do several things at once.
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ืื– ืชื ืกื• ืœื•ืžืจ ืœื™ ืฉื•ื‘ ืœืžื” ืœื ื›ื“ืื™ ืœืขื‘ื•ื“ ืขืœ ื›ืžื” ื“ื‘ืจื™ื ื‘ืžืงื‘ื™ืœ.
01:28
Now, obviously, working simultaneously
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ื ื›ื•ืŸ, ืžืŸ ื”ืกืชื, ืขื‘ื•ื“ื” ื‘ืžืงื‘ื™ืœ
01:32
on Brownian motion, special relativity and the photoelectric effect --
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ืขืœ ืชื ื•ืขื” ื‘ืจืื•ื ื™ืช, ืชื•ืจืช ื”ื™ื—ืกื•ืช ื”ืคืจื˜ื™ืช, ื•ื”ืืคืงื˜ ื”ืคื•ื˜ื•-ืืœืงื˜ืจื™ --
01:35
it's not exactly the same kind of multitasking
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ื–ื” ืœื ืžืžืฉ ืื•ืชื• ืกื•ื’ ืฉืœ ืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’
01:38
as Snapchatting while you're watching "Westworld."
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ื›ืžื• ืฆื™ืœื•ื ื‘ืกื ืืคืฆ'ืื˜ ื‘ื–ืžืŸ ืฆืคื™ื™ื” ื‘"ื•ื•ืกื˜ื•ื•ืจืœื“".
01:41
Very different.
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ืฉื•ื ื” ืœื’ืžืจื™.
01:42
And Einstein, yeah, well, Einstein's -- he's Einstein,
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ื˜ื•ื‘, ื•ืื™ื ืฉื˜ื™ื™ืŸ -- ื”ื•ื ืื™ื ืฉื˜ื™ื™ืŸ,
01:46
he's one of a kind, he's unique.
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ื”ื•ื ื™ื—ื™ื“ ื‘ืžื™ื ื•, ื”ื•ื ืžื™ื•ื—ื“.
01:48
But the pattern of behavior that Einstein was demonstrating,
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ืื‘ืœ ืฆื•ืจืช ื”ื”ืชื ื”ื’ื•ืช ืฉืื™ื ืฉื˜ื™ื™ืŸ ื”ืฆื™ื’,
01:51
that's not unique at all.
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ืœื ืžื™ื•ื—ื“ืช ื‘ื›ืœืœ.
01:54
It's very common among highly creative people,
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ื”ื™ื ืžืื•ื“ ื ืคื•ืฆื” ื‘ืงืจื‘ ืื ืฉื™ื ื™ืฆื™ืจืชื™ื™ื ื‘ืžื™ื•ื—ื“,
01:57
both artists and scientists,
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ื’ื ื‘ืืžื ื™ื, ื•ื’ื ื‘ืžื“ืขื ื™ื,
02:00
and I'd like to give it a name:
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ื•ืื ื™ ืืจืฆื” ืœืงืจื•ื ืœื–ื” ื‘ืฉื:
02:02
slow-motion multitasking.
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ืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’ ืื™ื˜ื™.
02:06
Slow-motion multitasking feels like a counterintuitive idea.
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ืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’ ืื™ื˜ื™ ืžืจื’ื™ืฉ ื›ืžื• ืกืชื™ืจื” ืคื ื™ืžื™ืช.
02:10
What I'm describing here
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ืžื” ืฉืื ื™ ืžืชืืจ ืคื”
02:12
is having multiple projects on the go at the same time,
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ื–ื” ืœืขื‘ื•ื“ ืขืœ ื›ืžื” ืคืจื•ื™ืงื˜ื™ื ื‘ืžืงื‘ื™ืœ,
02:15
and you move backwards and forwards between topics as the mood takes you,
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ื•ืœืขื‘ื•ืจ ืžืื—ื“ ืœืฉื ื™ ืœืคื™ ืžืฆื‘ ื”ืจื•ื—,
02:20
or as the situation demands.
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ืื• ืœืคื™ ื“ืจื™ืฉื•ืช ื”ืžืฆื‘.
02:22
But the reason it seems counterintuitive
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ืื‘ืœ ื”ืกื™ื‘ื” ืฉื–ื” ื ืจืื” ื›ืžื• ืกืชื™ืจื” ืคื ื™ืžื™ืช
02:24
is because we're used to lapsing into multitasking out of desperation.
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ื”ื™ื ื‘ื’ืœืœ ืฉืื ื• ืจื’ื™ืœื™ื ืœืขื‘ื•ืจ ืœืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’ ืžืชื•ืš ื™ื™ืื•ืฉ.
02:29
We're in a hurry, we want to do everything at once.
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ื›ืฉืื ื—ื ื• ืžืžื”ืจื™ื, ืื ื—ื ื• ืจื•ืฆื™ื ืœืขืฉื•ืช ื”ื›ืœ ื‘ื™ื—ื“.
02:32
If we were willing to slow multitasking down,
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ืื ื ื”ื™ื” ืžื•ื›ื ื™ื ืœื”ืื˜ ืืช ื”ืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’,
02:36
we might find that it works quite brilliantly.
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ืื•ืœื™ ื ื’ืœื” ืฉื–ื” ืขื•ื‘ื“ ืžืฆื•ื™ื™ืŸ.
02:41
Sixty years ago, a young psychologist by the name of Bernice Eiduson
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ืœืคื ื™ 60 ืฉื ื™ื, ืคืกื™ื›ื•ืœื•ื’ื™ืช ืฆืขื™ืจื” ื‘ืฉื ื‘ืจื ื™ืก ืื™ื“ื•ืกื•ืŸ
02:46
began a long research project
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ื”ืชื—ื™ืœื” ืžื—ืงืจ
02:48
into the personalities and the working habits
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ืขืœ ื”ืื™ืฉื™ื•ืช ื•ื”ืจื’ืœื™ ื”ืขื‘ื•ื“ื”
02:51
of 40 leading scientists.
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ืฉืœ 40 ืžื“ืขื ื™ื ืžื•ื‘ื™ืœื™ื.
02:54
Einstein was already dead,
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ืื™ื ืฉื˜ื™ื™ืŸ ื›ื‘ืจ ืœื ื”ื™ื” ื‘ื—ื™ื™ื,
02:55
but four of her subjects won Nobel prizes,
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ืื‘ืœ ืืจื‘ืขื” ืžื”ื ื—ืงืจื™ื ื”ื™ื• ื–ื•ื›ื™ ืคืจืก ื ื•ื‘ืœ,
02:58
including Linus Pauling and Richard Feynman.
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ื•ื‘ืชื•ื›ื ื”ื™ื• ืœื™ื ื•ืก ืคืื•ืœื™ื ื’ ื•ืจื™ืฆ'ืืจื“ ืคื™ื™ื ืžืŸ.
03:02
The research went on for decades,
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ื”ืžื—ืงืจ ื ืžืฉืš ืขืฉื•ืจื™ื,
03:04
in fact, it continued even after professor Eiduson herself had died.
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ื”ืืžืช, ืฉื”ื•ื ื ืžืฉืš ื’ื ืœืื—ืจ ืžื•ืชื” ืฉืœ ืคืจื•ืค' ืื™ื“ื•ืกื•ืŸ.
03:08
And one of the questions that it answered
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ื•ืื—ืช ืžื”ืฉืืœื•ืช ืขืœื™ื”ืŸ ื”ืžื—ืงืจ ืขื ื”
03:11
was, "How is it that some scientists are able to go on producing important work
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ื”ื™ืชื”, "ืื™ืš ื™ื™ืชื›ืŸ ืฉื™ืฉ ืžื“ืขื ื™ื ืฉืžืกื•ื’ืœื™ื ืœื”ืžืฉื™ืš ืœื”ืคื™ืง ืขื‘ื•ื“ื•ืช ื—ืฉื•ื‘ื•ืช
03:17
right through their lives?"
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ื‘ืžืฉืš ื›ืœ ื—ื™ื™ื”ื?"
03:19
What is it about these people?
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ืžื” ื™ืฉ ื‘ืื ืฉื™ื ื”ืืœื”?
03:21
Is it their personality, is it their skill set,
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ื”ืื ื–ื” ื”ืื•ืคื™ ืฉืœื”ื, ืื• ื”ื™ื›ื•ืœื•ืช ืฉืœื”ื,
03:25
their daily routines, what?
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ืกื“ืจ ื”ื™ื•ื ืฉืœื”ื, ืžื”?
03:28
Well, a pattern that emerged was clear, and I think to some people surprising.
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ืื– ื”ืชื•ืฆืื” ื”ื™ื™ืชื” ื‘ืจื•ืจื”, ื•ื™ืฉ ืžื™ ืฉื™ื—ืฉื™ื‘ื• ืื•ืชื” ืžืคืชื™ืขื”.
03:34
The top scientists kept changing the subject.
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ื”ืžื“ืขื ื™ื ื”ืžื•ื‘ื™ืœื™ื ื”ืžืฉื™ื›ื• ืœื”ื—ืœื™ืฃ ื ื•ืฉืื™ื.
03:39
They would shift topics repeatedly
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ื”ื ื”ื—ืœื™ืคื• ื ื•ืฉืื™ื ืฉื•ื‘ ื•ืฉื•ื‘
03:42
during their first 100 published research papers.
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ื‘ืžื”ืœืš 100 ื”ืžืืžืจื™ื ื”ืจืืฉื•ื ื™ื ืฉืœื”ื.
03:46
Do you want to guess how often?
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ืจื•ืฆื™ื ืœื ื—ืฉ ื‘ืื™ื–ื• ืชื“ื™ืจื•ืช?
03:48
Three times?
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ืฉืœื•ืฉ ืคืขืžื™ื?
03:50
Five times?
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ื—ืžืฉ ืคืขืžื™ื?
03:52
No. On average, the most enduringly creative scientists
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ืœื. ื‘ืžืžื•ืฆืข, ื”ืžื“ืขื ื™ื ื”ื™ืฆื™ืจืชื™ื™ื ื‘ื™ื•ืชืจ
03:56
switched topics 43 times in their first 100 research papers.
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ื”ื—ืœื™ืคื• ื ื•ืฉืื™ื 43 ืคืขืžื™ื ื‘ืžื”ืœืš 100 ื”ืžืืžืจื™ื ื”ืจืืฉื•ื ื™ื ืฉืœื”ื.
04:03
Seems that the secret to creativity is multitasking
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ื ืจืื” ืฉื”ืกื•ื“ ืœื™ืฆืจืชื™ื•ืช ื”ื•ื ืจื™ื‘ื•ื™ ืžืฉื™ืžื•ืช
04:08
in slow motion.
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ื‘ืื™ื˜ื™ื•ืช.
04:11
Eiduson's research suggests we need to reclaim multitasking
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ื”ืžื—ืงืจ ืฉืœ ืื™ื“ื•ืกื•ืŸ ื”ืฆื™ืข ืฉืื ื• ืฆืจื™ื›ื™ื ืœื—ื–ื•ืจ ืœืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’
04:15
and remind ourselves how powerful it can be.
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ื•ืœื”ื™ื–ื›ืจ ื›ืžื” ืขื•ืฆืžืชื™ ื–ื” ื™ื›ื•ืœ ืœื”ื™ื•ืช.
04:18
And she's not the only person to have found this.
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ื•ื”ื™ื ืœื ื”ืื“ื ื”ื™ื—ื™ื“ ืฉื’ื™ืœื” ื–ืืช.
04:20
Different researchers,
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ื—ื•ืงืจื™ื ืฉื•ื ื™ื,
04:21
using different methods to study different highly creative people
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ืฉื”ืฉืชืžืฉื• ื‘ืฉื™ื˜ื•ืช ืฉื•ื ื•ืช ื›ื“ื™ ืœื—ืงื•ืจ ืื ืฉื™ื ื™ืฆื™ืจืชื™ื™ื
04:25
have found that very often they have multiple projects in progress
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ืžืฆืื• ืฉื–ื” ืžืื•ื“ ื ืคื•ืฅ ืฉื™ืฉ ืœื”ื ื›ืžื” ืคืจื•ื™ืงื˜ื™ื ื‘ืžืงื‘ื™ืœ
04:29
at the same time,
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ื‘ืื•ืชื• ื–ืžืŸ,
04:30
and they're also far more likely than most of us to have serious hobbies.
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ื•ืฉื™ื•ืชืจ ืกื‘ื™ืจ ืฉื™ืฉ ืœื”ื ื™ื•ืชืจ ืชื—ื‘ื™ื‘ื™ื ืจืฆื™ื ื™ื™ื ืžืจื•ื‘ื ื•.
04:35
Slow-motion multitasking among creative people is ubiquitous.
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ืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’ ืื™ื˜ื™ ืžื•ืคื™ืข ื‘ื›ืœ ืžืงื•ื ืืฆืœ ืื ืฉื™ื ื™ืฆื™ืจืชื™ื™ื.
04:40
So, why?
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ืื–, ืœืžื”?
04:43
I think there are three reasons.
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ืœื“ืขืชื™ ื™ืฉ ืฉืœื•ืฉ ืกื™ื‘ื•ืช.
04:44
And the first is the simplest.
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ื•ื”ืจืืฉื•ื ื” ื”ื™ื ื”ื›ื™ ืคืฉื•ื˜ื”.
04:47
Creativity often comes when you take an idea from its original context
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ื™ืฆื™ืจืชื™ื•ืช ื‘ื“ืจืš ื›ืœืœ ื‘ืื” ื›ืฉืื ื• ืžื•ืฆื™ืื™ื ืจืขื™ื•ืŸ ืžื”ื”ืงืฉืจ ื”ืžืงื•ืจื™ ืฉืœื•
04:51
and you move it somewhere else.
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ื•ืžืขื‘ื™ืจื™ื ืื•ืชื• ืœืžืงื•ื ืื—ืจ.
04:53
It's easier to think outside the box
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ื–ื” ืงืœ ื™ื•ืชืจ ืœื—ืฉื•ื‘ ืžื—ื•ืฅ ืœืงื•ืคืกื”
04:54
if you spend your time clambering from one box into another.
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ืื ืืชื” ืžืขื‘ื™ืจ ืืช ื”ื–ืžืŸ ื‘ืœืขื‘ื•ืจ ืžืงื•ืคืกื” ืื—ืช ืœืื—ืจืช.
04:58
For an example of this, consider the original eureka moment.
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ืœื“ื•ื’ืžื”, ืชื—ืฉื‘ื• ืขืœ ื”ืžืงื•ืจ ืœ"ืืื•ืจื™ืงื”"
05:04
Archimedes -- he's wrestling with a difficult problem.
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ืืจื›ื™ืžื“ืก -- ื”ื•ื ืžืชืขืžืช ืขื ื‘ืขื™ื” ืงืฉื”.
05:08
And he realizes, in a flash,
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ื•ืื– ื”ื•ื ืžื‘ื™ืŸ ื‘ื”ื‘ื–ืง,
05:10
he can solve it, using the displacement of water.
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ืฉื”ื•ื ื™ื›ื•ืœ ืœืคืชื•ืจ ืื•ืชื”, ื‘ืขื–ืจืช ื”ืชื–ื•ื–ื” ืฉืœ ื”ืžื™ื.
05:14
And if you believe the story,
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ื•ืื ืืชื ืžืืžื™ื ื™ื ืœืกื™ืคื•ืจ,
05:16
this idea comes to him as he's taking a bath,
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ื”ืจืขื™ื•ืŸ ื”ื–ื” ื”ื’ื™ืข ืืœื™ื•, ื›ืฉื”ื•ื ื”ืชืจื—ืฅ,
05:19
lowering himself in, and he's watching the water level rise and fall.
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ื‘ื–ืžืŸ ืฉื”ื•ื ื”ื›ื ื™ืก ืืช ืขืฆืžื• ืœืžื™ื, ื•ืจืื” ืืช ืจืฃ ื”ืžื™ื ืขื•ืœื” ื•ื™ื•ืจื“.
05:24
And if solving a problem while having a bath isn't multitasking,
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ื•ืื ืœืคืชื•ืจ ื‘ืขื™ื” ื‘ืืžื‘ื˜ื™ื” ื–ื” ืœื ืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’,
05:29
I don't know what is.
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ืื– ืื ื™ ืœื ื™ื•ื“ืข ืžื” ื›ืŸ.
05:32
The second reason that multitasking can work
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ื”ืกื™ื‘ื” ื”ืฉื ื™ื™ื” ืฉืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’ ื™ื›ื•ืœ ืœืขื‘ื•ื“
05:34
is that learning to do one thing well
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ื”ื™ื ืฉืœืœืžื•ื“ ืœืขืฉื•ืช ืžืฉื”ื• ืžืžืฉ ื˜ื•ื‘
05:38
can often help you do something else.
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ื™ื›ื•ืœ ืœืขื–ื•ืจ ื‘ืžืฉื”ื• ืื—ืจ.
05:40
Any athlete can tell you about the benefits of cross-training.
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ื›ืœ ืกืคื•ืจื˜ืื™ ื™ื›ื•ืœ ืœืกืคืจ ืœื›ื ืขืœ ื”ื™ืชืจื•ื ื•ืช ืฉืœ ืื™ืžื•ืŸ ืžื’ื•ื•ืŸ.
05:43
It's possible to cross-train your mind, too.
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ื–ื” ืืคืฉืจื™ ื’ื ืœืขืฉื•ืช ืœืžื•ื— ืื™ืžื•ืŸ ืžื’ื•ื•ืŸ.
05:47
A few years ago, researchers took 18 randomly chosen medical students
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ืœืคื ื™ ื›ืžื” ืฉื ื™ื, ื—ื•ืงืจื™ื ืœืงื—ื• ื‘ืื•ืคืŸ ืืงืจืื™ 18 ืกื˜ื•ื“ื ื˜ื™ื ืœืจืคื•ืื”
05:52
and they enrolled them in a course at the Philadelphia Museum of Art,
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ื•ื”ืขื‘ื™ืจื• ืœื”ื ืงื•ืจืก ื‘ืžื•ื–ื™ืื•ืŸ ืœืื•ืžื ื•ื™ื•ืช ืฉืœ ืคื™ืœื“ืœืคื™ื”,
05:57
where they learned to criticize and analyze works of visual art.
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ืฉื ื”ื ืœืžื“ื• ืœื‘ืงืจ ื•ืœื ืชื— ืขื‘ื•ื“ื•ืช ืืžื ื•ืช ื•ื™ื–ื•ืืœื™ืช.
06:02
And at the end of the course,
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ื•ื‘ืกื•ืฃ ื”ืงื•ืจืก,
06:04
these students were compared with a control group
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ื”ืฉื•ื• ื‘ื™ืŸ ื”ืกื˜ื•ื“ื ื˜ื™ื ื”ืืœื” ืœืงื‘ื•ืฆืช ื‘ื™ืงื•ืจืช
06:07
of their fellow medical students.
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ืฉืžื•ืจื›ื‘ืช ืžืกื˜ื•ื“ื ื˜ื™ื ืฉืœื•ืžื“ื™ื ืื™ืชื.
06:08
And the ones who had taken the art course
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ื•ืืœื” ืฉืœืงื—ื• ืืช ื”ืงื•ืจืก ื‘ืืžื ื•ืช
06:11
had become substantially better at performing tasks
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ื ื”ื™ื• ื˜ื•ื‘ื™ื ื™ื•ืชืจ ื‘ื‘ื™ืฆื•ืข ืžื˜ืœื•ืช
06:15
such as diagnosing diseases of the eye by analyzing photographs.
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ื›ืžื• ืื‘ื—ื•ืŸ ืžื—ืœื•ืช ืขื™ื ื™ื™ื ืขืœ ื™ื“ื™ ื ื™ืชื•ื— ืชืžื•ื ื•ืช.
06:20
They'd become better eye doctors.
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ื”ื ื ื”ื™ื• ืจื•ืคืื™ ืขื™ื ื™ื™ื ื˜ื•ื‘ื™ื ื™ื•ืชืจ.
06:22
So if we want to become better at what we do,
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ืœื›ืŸ, ืื ื ืจืฆื” ืœื”ื™ื•ืช ื˜ื•ื‘ื™ื ื™ื•ืชืจ ื‘ืชื—ื•ื ืฉืœื ื•,
06:25
maybe we should spend some time doing something else,
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ืื•ืœื™ ืื ื• ืฆืจื™ื›ื™ื ืœืขืฉื•ืช ืžืฉื”ื• ืื—ืจ ื‘ื—ืœืง ืžื”ื–ืžืŸ,
06:28
even if the two fields appear to be as completely distinct
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ืืคื™ืœื• ืฉื ื™ ืชื—ื•ืžื™ื ืฉื ืจืื™ื ืœื ืงืฉื•ืจื™ื ื‘ื›ืœืœ
06:32
as ophthalmology and the history of art.
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ื›ืžื• ืจืคื•ืืช ืขื™ื ื™ื™ื ื•ื”ื”ื™ืกื˜ื•ืจื™ื” ืฉืœ ื”ืืžื ื•ืช.
06:36
And if you'd like an example of this,
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ืื ืืชื ืจื•ืฆื™ื ืขื•ื“ ื“ื•ื’ืžื” ืœื›ืš,
06:39
should we go for a less intimidating example than Einstein? OK.
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ืืชื ืจื•ืฆื™ื ื“ื•ื’ืžื” ืคื—ื•ืช ืžืจืชื™ืขื” ืžืื™ื ืฉื˜ื™ื™ืŸ? ื‘ืกื“ืจ.
06:42
Michael Crichton, creator of "Jurassic Park" and "E.R."
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ืžื™ื™ืงืœ ืงืจื™ื™ื˜ื•ืŸ, ื”ื™ื•ืฆืจ ืฉืœ "ืคืืจืง ื”ื™ื•ืจื”" ื•"E.R".
06:46
So in the 1970s, he originally trained as a doctor,
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ื‘ืฉื ื•ืช ื”ืฉื‘ืขื™ื ื”ื•ื ืกื™ื™ื ืืช ืœื™ืžื•ื“ื™ ื”ืจืคื•ืื”,
06:50
but then he wrote novels
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ืื‘ืœ ืื– ื”ื•ื ื›ืชื‘ ืจื•ืžื ื™ื
06:52
and he directed the original "Westworld" movie.
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ื•ื”ื•ื ื‘ื™ื™ื ืืช ื”ืกืจื˜ "ื•ื•ืกื˜ื•ื•ืจืœื“" ื”ืžืงื•ืจื™.
06:56
But also, and this is less well-known,
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ืื‘ืœ ื‘ื ื•ืกืฃ, ื•ื–ื” ืคื—ื•ืช ื™ื“ื•ืข,
06:58
he also wrote nonfiction books,
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ื”ื•ื ื’ื ื›ืชื‘ ืกืคืจื™ ืขื™ื•ืŸ,
07:00
about art, about medicine, about computer programming.
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ืขืœ ืืžื ื•ืช, ืจืคื•ืื”, ื•ืชื›ื ื•ืช.
07:04
So in 1995, he enjoyed the fruits of all this variety
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ื•ืื–, ื‘ืฉื ืช 1995 ื”ื•ื ื ื”ื ื” ืžืคื™ืจื•ืช ื›ืœ ื”ืžื’ื•ื•ืŸ ื”ื–ื”
07:09
by penning the world's most commercially successful book.
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ื›ืืฉืจ ื›ืชื‘ ืืช ื”ืกืคืจ ื”ื›ื™ ืžื•ืฆืœื— ืžืกื—ืจื™ืช.
07:14
And the world's most commercially successful TV series.
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ื•ืืช ืกื“ืจืช ื”ื˜ืœื•ื•ื™ื–ื™ื” ื”ื›ื™ ืžื•ืฆืœื—ืช ืžืกื—ืจื™ืช.
07:19
And the world's most commercially successful movie.
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ื•ืืช ื”ืกืจื˜ ื”ื›ื™ ืžื•ืฆืœื— ืžืกื—ืจื™ืช.
07:24
In 1996, he did it all over again.
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ื•ื‘ืฉื ืช 1996, ื”ื•ื ืขืฉื” ื–ืืช ืฉื•ื‘.
07:29
There's a third reason
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ื™ืฉ ืกื™ื‘ื” ืฉืœื™ืฉื™ืช
07:30
why slow-motion multitasking can help us solve problems.
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ืœืžื” ืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’ ืื™ื˜ื™ ื™ื›ื•ืœ ืœืขื–ื•ืจ ืœื ื• ืœืคืชื•ืจ ื‘ืขื™ื•ืช.
07:35
It can provide assistance when we're stuck.
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ื–ื” ื™ื›ื•ืœ ืœืกื™ื™ืข ืœื ื• ื›ืฉืื ื—ื ื• ื ืชืงืขื™ื.
07:38
This can't happen in an instant.
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ื–ื” ืœื ื™ื›ื•ืœ ืœืงืจื•ืช ื‘ืจื’ืข ืื—ื“.
07:41
So, imagine that feeling of working on a crossword puzzle
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ืชื“ืžื™ื™ื ื• ืืช ื”ื”ืจื’ืฉื” ืฉืœ ืคืชื™ืจืช ืชืฉื‘ืฅ
07:44
and you can't figure out the answer,
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ื›ืฉืืชื ืœื ืžืฆืœื™ื—ื™ื ืœืขืœื•ืช ืขืœ ื”ืชืฉื•ื‘ื”,
07:46
and the reason you can't is because the wrong answer is stuck in your head.
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ื•ื”ืกื™ื‘ื” ืฉืืชื ืœื ืžืฆืœื™ื—ื™ื ื”ื™ื ืฉื”ืชืฉื•ื‘ื” ื”ืฉื’ื•ื™ื” ืชืงื•ืขื” ืœื›ื ื‘ืจืืฉ.
07:50
It's very easy -- just go and do something else.
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ื”ืคืชืจื•ืŸ ืœื–ื” ืงืœ -- ืœื›ื• ืœืขืฉื•ืช ืžืฉื”ื• ืื—ืจ.
07:53
You know, switch topics, switch context,
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ืืชื ื™ื•ื“ืขื™ื, ืชื—ืœื™ืคื• ื ื•ืฉื, ืชื—ืœื™ืคื• ื”ืงืฉืจ,
07:56
you'll forget the wrong answer
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ืืชื ืชืฉื›ื—ื• ืืช ื”ืชืฉื•ื‘ื” ื”ืฉื’ื•ื™ื”
07:57
and that gives the right answer space to pop into the front of your mind.
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ื•ื–ื” ื™ืคื ื” ืžืงื•ื ืœืชืฉื•ื‘ื” ื”ื ื›ื•ื ื” ืœื”ื•ืคื™ืข.
08:02
But on the slower timescale that interests me,
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ืื‘ืœ ื‘ืกื“ืจ ื’ื•ื“ืœ ืื™ื˜ื™ ื™ื•ืชืจ ืฉืœ ื–ืžืŸ ืฉืžืขื ื™ื™ืŸ ืื•ืชื™,
08:05
being stuck is a much more serious thing.
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ืœื”ื™ืชืงืข ื–ื” ื‘ืขื™ื” ื”ืจื‘ื” ื™ื•ืชืจ ื’ื“ื•ืœื”.
08:08
You get turned down for funding.
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ืืชื ืžืงื‘ืœื™ื ืกื™ืจื•ื‘ ืœืžื™ืžื•ืŸ.
08:11
Your cell cultures won't grow, your rockets keep crashing.
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ืชืจื‘ื™ืช ื”ืชืื™ื ืฉืœื›ื ืœื ื’ื“ืœื”, ื”ื˜ื™ืœื™ื ืฉืœื›ื ืžืžืฉื™ื›ื™ื ืœื”ืชืจืกืง.
08:16
Nobody wants to publish you fantasy novel about a school for wizards.
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ืืฃ ืื—ื“ ืœื ืจื•ืฆื” ืœืคืจืกื ืืช ืกืคืจ ื”ืคื ื˜ื–ื™ื” ืฉืœื›ื ืขืœ ื‘ื™ืช ืกืคืจ ืœืงื•ืกืžื™ื.
08:21
Or maybe you just can't find the solution to the problem that you're working on.
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ืื• ืฉืคืฉื•ื˜ ืืชื ืœื ืžืฆืœื™ื—ื™ื ืœืคืชื•ืจ ื‘ืขื™ื” ืฉืืชื ืขื•ื‘ื“ื™ื ืขืœื™ื”.
08:25
And being stuck like that means stasis, stress,
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ื•ืœื”ื™ื•ืช ืชืงื•ืข ื›ื›ื”, ื’ื•ืจื ืœืงืคืื•ืŸ, ืœื—ืฅ,
08:30
possibly even depression.
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ื•ืื•ืœื™ ืืคื™ืœื• ื“ื™ื›ืื•ืŸ.
08:33
But if you have another exciting, challenging project to work on,
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ืื‘ืœ ืื ื™ืฉ ืœื›ื ืคืจื•ื™ืงื˜ ืžืจื’ืฉ ืื—ืจ ืœืขื‘ื•ื“ ืขืœื™ื•,
08:38
being stuck on one is just an opportunity to do something else.
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ืœื”ื™ืชืงืข ื–ื• ืจืง ื”ื–ื“ืžื ื•ืช ืœืขืฉื•ืช ืžืฉื”ื• ืื—ืจ.
08:42
We could all get stuck sometimes, even Albert Einstein.
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ื›ื•ืœื ื• ื™ื›ื•ืœื™ื ืœื”ื™ืชืงืข ืœืคืขืžื™ื, ืืคื™ืœื• ืืœื‘ืจื˜ ืื™ื ืฉื˜ื™ื™ืŸ.
08:46
Ten years after the original, miraculous year that I described,
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ืขืฉื•ืจ ืื—ืจื™ ื”ืฉื ื” ื”ืžื•ืคืœืื” ืฉืชื™ืืจืชื™,
08:51
Einstein was putting together the pieces of his theory of general relativity,
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ืื™ื ืฉื˜ื™ื™ืŸ ื”ืจื›ื™ื‘ ืืช ื”ื—ืœืงื™ื ืฉืœ ืชื•ืจืช ื”ื™ื—ืกื•ืช ื”ื›ืœืœื™ืช,
08:56
his greatest achievement.
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ื”ื”ื™ืฉื’ ื”ื’ื“ื•ืœ ื‘ื™ื•ืชืจ ืฉืœื•.
08:58
And he was exhausted.
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ื•ื”ื•ื ื”ื™ื” ืžื•ืชืฉ.
09:01
And so he turned to an easier problem.
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ืื– ื”ื•ื ืขื‘ืจ ืœืคืชืจื•ืŸ ืฉืœ ื‘ืขื™ื•ืช ืงืœื•ืช ื™ื•ืชืจ.
09:03
He proposed the stimulated emission of radiation.
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ื”ื•ื ื”ืฆื™ืข ืืช ื”ืคืœื™ื˜ื” ื”ืžืื•ืœืฆืช ืฉืœ ืงืจื™ื ื”.
09:07
Which, as you may know, is the S in laser.
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ืฉื–ื”, ื›ืžื• ืฉืืชื ื™ื•ื“ืขื™ื, ื”"ื–ืจ" ื‘ืœื™ื™ื–ืจ.
09:12
So he's laying down the theoretical foundation for the laser beam,
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ืื– ื”ื•ื ื”ื ื™ื— ืืช ื”ื™ืกื•ื“ื•ืช ื”ืชื™ืื•ืจื˜ื™ื™ื ืœืงืจื ื™ ืœื™ื™ื–ืจ,
09:16
and then, while he's doing that,
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ื•ื‘ื–ืžืŸ ืฉืขืฉื” ื–ืืช,
09:18
he moves back to general relativity, and he's refreshed.
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ื”ื•ื ื—ื–ืจ ืœืชื•ืจืช ื”ื™ื—ืกื•ืช ื”ื›ืœืœื™ืช, ื•ื”ื•ื ื”ื™ื” ืจืขื ืŸ.
09:21
He sees what the theory implies --
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ื”ื•ื ืจืื” ืžื” ื”ืชื™ืื•ืจื™ื” ืื•ืžืจืช --
09:25
that the universe isn't static.
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ืฉื”ื™ืงื•ื ืœื ืกื˜ื˜ื™.
09:28
It's expanding.
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ืืœื ืžืชืจื—ื‘.
09:30
It's an idea so staggering,
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ื–ื” ืจืขื™ื•ืŸ ื›ืœ ื›ืš ืžื˜ืœื˜ืœ,
09:32
Einstein can't bring himself to believe it for years.
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ืฉืื™ื ืฉื˜ื™ื™ืŸ ืœื ื”ืฆืœื™ื— ืœื”ืืžื™ืŸ ื‘ื• ืœืžืฉืš ืฉื ื™ื.
09:37
Look, if you get stuck
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ืชืจืื•, ืื ืืชื ื ืชืงืขื™ื
09:40
and you get the ball rolling on laser beams,
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ื•ืืชื ืžืžืฉื™ื›ื™ื ืœืฉื—ืง ืขื ืงืจื ื™ ืœื™ื™ื–ืจ,
09:45
you're in pretty good shape.
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ืื– ืืชื ื‘ืžืฆื‘ ื˜ื•ื‘.
09:47
(Laughter)
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(ืฆื—ื•ืง)
09:49
So, that's the case for slow-motion multitasking.
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ืื– ืืœื” ื”ื™ืชืจื•ื ื•ืช ืฉืœ ืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’ ืื™ื˜ื™.
09:52
And I'm not promising that it's going to turn you into Einstein.
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ื•ืื ื™ ืœื ืžื‘ื˜ื™ื— ืฉื–ื” ื™ื”ืคื•ืš ืืชื›ื ืœืื™ื ืฉื˜ื™ื™ืŸ.
09:55
I'm not even promising it's going to turn you into Michael Crichton.
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ืื ื™ ืืคื™ืœื• ืœื ืžื‘ื˜ื™ื— ืฉื–ื” ื™ื”ืคื•ืš ืืชื›ื ืœืžื™ื™ืงืœ ืงืจื™ื™ื˜ื•ืŸ.
09:58
But it is a powerful way to organize our creative lives.
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ืื‘ืœ ื–ื” ื›ืœื™ ืขื•ืฆืžืชื™ ืœืืจื’ืŸ ืืช ื”ื—ื™ื™ื ื”ื™ืฆื™ืจืชื™ื™ื ืฉืœื ื•.
10:03
But there's a problem.
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ืื‘ืœ ื™ืฉ ื‘ืขื™ื”.
10:06
How do we stop all of these projects becoming completely overwhelming?
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ืื™ืš ื ื™ืชืŸ ืœืžื ื•ืข ืžื›ืœ ื”ืคืจื•ื™ืงื˜ื™ื ื”ืืœื” ืœื”ื›ืจื™ืข ืื•ืชื ื•?
10:12
How do we keep all these ideas straight in our minds?
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ืื™ืš ื ืฉืžื•ืจ ืขืœ ื”ืจืขื™ื•ื ื•ืช ื”ืืœื” ืžืกื•ื“ืจื™ื ื‘ืจืืฉ ืฉืœื ื•?
10:16
Well, here's a simple solution, a practical solution
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ืื– ื”ื ื” ืคืชืจื•ืŸ ืคืฉื•ื˜ ื•ืคืจืงื˜ื™
10:20
from the great American choreographer, Twyla Tharp.
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ืฉื ื•ืชื ืช ื”ื›ื•ืจื™ืื•ื’ืจืคื™ืช ื”ืืžืจื™ืงืื™ืช ื”ื’ื“ื•ืœื”, ื˜ื•ื•ื™ืœื” ืชืืจืค.
10:24
Over the last few decades,
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ื‘ืขืฉื•ืจื™ื ื”ืื—ืจื•ื ื™ื,
10:26
she's blurred boundaries, mixed genres, won prizes,
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ื”ื™ื ื˜ืฉื˜ืฉื” ืืช ื”ื’ื‘ื•ืœื•ืช, ืขืจื‘ื‘ื” ื–'ืื ืจื™ื, ื–ื›ืชื” ื‘ืคืจืกื™ื,
10:30
danced to the music of everybody, from Philip Glass to Billy Joel.
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ื•ืจืงื“ื” ืœืฆืœื™ืœื™ ื›ื•ืœื, ื”ื—ืœ ืžืคื™ืœื™ืค ื’ืœืืก ื•ื›ืœื” ื‘ื‘ื™ืœื™ ื’'ื•ืืœ.
10:35
She's written three books.
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ื”ื™ื ื›ืชื‘ื” ืฉืœื•ืฉื” ืกืคืจื™ื.
10:37
I mean, she's a slow-motion multitasker, of course she is.
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ื›ืœื•ืžืจ, ืื™ืŸ ืกืคืง ืฉื”ื™ื ืžื•ืœื˜ื™-ื˜ืกืงืจื™ืช ืื™ื˜ื™ืช.
10:41
She says, "You have to be all things.
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ื”ื™ื ืื•ืžืจืช, "ืืชื ืฆืจื™ื›ื™ื ืœื”ื™ื•ืช ื›ืœ ื“ื‘ืจ.
10:45
Why exclude?
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ืœืžื” ืœืคืกื•ืœ?
10:47
You have to be everything."
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ืืชื ืฆืจื™ื›ื™ื ืœื”ื™ื•ืช ื”ื›ืœ."
10:51
And Tharp's method
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ื•ื”ืฉื™ื˜ื” ืฉืœ ืชืืจืค
10:53
for preventing all of these different projects from becoming overwhelming
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ืœืžื ื™ืขืช ื›ืจื™ืขื” ืชื—ืช ื”ืขื•ืžืก ืฉืœ ื›ืœ ื”ืคืจื•ื™ืงื˜ื™ื
10:58
is a simple one.
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ื”ื•ื ืžืื•ื“ ืคืฉื•ื˜.
10:59
She gives each project a big cardboard box,
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ื”ื™ื ืžืงืฆื” ืœื›ืœ ืคืจื•ื™ืงื˜ ืงื•ืคืกืช ืงืจื˜ื•ืŸ ื’ื“ื•ืœื”,
11:01
writes the name of the project on the side of the box.
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ื•ืจื•ืฉืžืช ืืช ืฉื ื”ืคืจื•ื™ืงื˜ ืขืœ ื›ืœ ืงื•ืคืกื”.
11:04
And into it, she tosses DVDs and books, magazine cuttings,
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ื•ืœืฉื ื”ื™ื ืžื›ื ื™ืกื” ื“ื™.ื•ื™.ื“ื™, ืกืคืจื™ื ื•ื’ื–ื™ืจื™ ืขื™ืชื•ื ื™ื,
11:09
theater programs, physical objects,
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ืชื•ื›ื ื™ื•ืช ืฉืœ ื”ืฆื’ื•ืช, ื—ืคืฆื™ื ืคื™ื–ื™ื™ื,
11:11
really anything that's provided a source of creative inspiration.
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ื•ื›ืœ ื“ื‘ืจ ืฉืžืขื ื™ืง ื”ืฉืจืื”.
11:16
And she writes,
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ื•ื›ืš ื”ื™ื ื›ื•ืชื‘ืช,
11:17
"The box means I never have to worry about forgetting.
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"ืขื ื”ืงื•ืคืกื” ืื ื™ ืœื ืฆืจื™ื›ื” ืœื“ืื•ื’ ืฉืื ื™ ืืฉื›ื—.
11:22
One of the biggest fears for a creative person
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ืื—ื“ ื”ืคื—ื“ื™ื ื”ื›ื™ ื’ื“ื•ืœื™ื ืฉืœ ืื“ื ื™ืฆื™ืจืชื™
11:25
is that some brilliant idea will get lost
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ื”ื•ื ืฉืจืขื™ื•ืŸ ื˜ื•ื‘ ื™ืœืš ืœืื™ื‘ื•ื“
11:28
because you didn't write it down and put it in a safe place.
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ื‘ื’ืœืœ ืฉื”ื•ื ืœื ืจืฉื ืื•ืชื• ื•ืฉื ืื•ืชื• ื‘ืžืงื•ื ื‘ื˜ื•ื—.
11:32
I don't worry about that.
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ืื ื™ ืœื ื“ื•ืื’ืช ืœื’ื‘ื™ ื–ื”.
11:34
Because I know where to find it.
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ืžื›ื™ื•ื•ืŸ ืฉืื ื™ ื™ื•ื“ืขืช ืื™ืคื” ืœืžืฆื•ื ืืช ื–ื”.
11:38
It's all in the box."
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ื”ื›ืœ ื‘ืชื•ืš ื”ืงื•ืคืกื”."
11:41
You can manage many ideas like this,
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ืืคืฉืจ ืœื ื”ืœ ื”ืžื•ืŸ ืจืขื™ื•ื ื•ืช ื›ืš,
11:43
either in physical boxes or in their digital equivalents.
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ื‘ื™ืŸ ืื ื‘ืงื•ืคืกืื•ืช ืคื™ื–ื™ื•ืช, ืื• ื‘ืžืงื‘ื™ืœื•ืช ื”ื“ื™ื’ื™ื˜ืœื™ื•ืช.
11:48
So, I would like to urge you
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ืœื›ืŸ, ืื ื™ ืจื•ืฆื” ืœื”ืื™ืฅ ื‘ื›ื
11:50
to embrace the art of slow-motion multitasking.
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ืœืงื‘ืœ ืืช ื”ืืžื ื•ืช ืฉืœ ื”ืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’ ื”ืื™ื˜ื™.
11:54
Not because you're in a hurry,
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ืœื ื‘ื’ืœืœ ืฉืืชื ืžืžื”ืจื™ื,
11:56
but because you're in no hurry at all.
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ืืœื ื‘ื’ืœืœ ืฉืืชื ื‘ื›ืœืœ ืœื ืžืžื”ืจื™ื.
12:01
And I want to give you one final example,
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ื•ืื ื™ ืจื•ืฆื” ืœืชืช ืœื›ื ืขื•ื“ ื“ื•ื’ืžื” ืื—ืจื•ื ื”,
12:04
my favorite example.
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ื”ื“ื•ื’ืžื” ื”ืื”ื•ื‘ื” ืขืœื™.
12:06
Charles Darwin.
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ืฆ'ืืจืœืก ื“ืจื•ื•ื™ืŸ.
12:08
A man whose slow-burning multitasking is so staggering,
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ืื“ื ืฉื™ื›ื•ืœืช ื”ืžื•ืœื˜ื™-ื˜ืกืงื™ื ื’ ื”ืื™ื˜ื™ ืฉืœื• ื›ืœ ื›ืš ืžื“ื”ื™ืžื”,
12:12
I need a diagram to explain it all to you.
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ืฉืื ื™ ืฆืจื™ืš ืชืจืฉื™ื ื›ื“ื™ ืœื”ืกื‘ื™ืจ ืœื›ื ืื•ืชื”.
12:16
We know what Darwin was doing at different times,
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ืื ื—ื ื• ื™ื•ื“ืขื™ื ืžื” ื“ืจื•ื•ื™ืŸ ืขืฉื” ื‘ื ืงื•ื“ื•ืช ื–ืžืŸ ืฉื•ื ื•ืช,
12:18
because the creativity researchers Howard Gruber and Sara Davis
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ื‘ื–ื›ื•ืช ื—ื•ืงืจื™ ื”ื™ืฆื™ืจืชื™ื•ืช ื”ื•ื•ืืจื“ ื’ืจื•ื‘ืจ ื•ืฉืจื” ื“ืื•ื•ื™ืก
12:22
have analyzed his diaries and his notebooks.
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ืฉื ื™ืชื—ื• ืืช ื”ื™ื•ืžื ื™ื ื•ื”ืžื—ื‘ืจื•ืช ืฉืœื•.
12:25
So, when he left school, age of 18,
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ืื–, ื›ืฉื”ื•ื ืกื™ื™ื ืืช ื‘ื™ืช ื”ืกืคืจ, ื‘ื’ื™ืœ 18,
12:27
he was initially interested in two fields,
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ื”ื•ื ื”ืชืขื ื™ื™ืŸ ื‘ืฉื ื™ ืชื—ื•ืžื™ื,
12:30
zoology and geology.
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ื–ืื•ืœื•ื’ื™ื” ื•ื’ืื•ืœื•ื’ื™ื”.
12:33
Pretty soon, he signed up to be the onboard naturalist on the "Beagle."
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ื™ื—ืกื™ืช ืžื”ืจ, ื”ื•ื ื ืจืฉื ืœื”ื™ื•ืช ื—ื•ืงืจ ื˜ื‘ืข ืขืœ ืกื™ืคื•ืŸ ื”"ื‘ื™ื’ืœ".
12:38
This is the ship that eventually took five years
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ื–ื• ื”ืกืคื™ื ื” ืฉืœืงื— ืœื” ื—ืžืฉ ืฉื ื™ื
12:40
to sail all the way around the southern oceans of the Earth,
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ืœื”ืคืœื™ื’ ืžืกื‘ื™ื‘ ืœืื•ืงื™ื™ื ื•ืกื™ื ื”ื“ืจื•ืžื™ื™ื ืฉืœ ื›ื“ื•ืจ ื”ืืจืฅ,
12:44
stopping at the Galรกpagos, passing through the Indian ocean.
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ืœืขืฆื•ืจ ื‘ื’ืœืคืื’ื•ืก, ื•ืœืขื‘ื•ืจ ื“ืจืš ื”ืื•ืงื™ื™ื ื•ืก ื”ื”ื•ื“ื™.
12:47
While he was on the "Beagle," he began researching coral reefs.
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ื›ืฉื”ื™ื” ืขืœ ื”"ื‘ื™ื’ืœ", ื”ื•ื ื”ืชื—ื™ืœ ืœื—ืงื•ืจ ืฉื•ื ื™ื•ืช ืืœืžื•ื’ื™ื.
12:50
This is a great synergy between his two interests
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ื–ื” ืฉื™ืœื•ื‘ ื˜ื•ื‘ ื‘ื™ืŸ ืฉื ื™ ืชื—ื•ืžื™ ื”ืขื ื™ื™ืŸ ืฉืœื•
12:53
in zoology and geology,
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ื‘ื–ืื•ืœื•ื’ื™ื” ื•ื’ื™ืื•ืœื•ื’ื™ื”,
12:55
and it starts to get him thinking about slow processes.
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ื•ื–ื” ื’ืจื ืœื• ืœื—ืฉื•ื‘ ืขืœ ืชื”ืœื™ื›ื™ื ืื™ื˜ื™ื™ื.
13:00
But when he gets back from the voyage,
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ืื‘ืœ ื›ืฉื”ื•ื ื—ื–ืจ ืžื”ืžืกืข,
13:03
his interests start to expand even further: psychology, botany;
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ืชื—ื•ืžื™ ื”ืขื ื™ื™ืŸ ืฉืœื• ื”ืชืจื—ื‘ื• ื’ื ืœืคืกื™ื›ื•ืœื•ื’ื™ื” ื•ื‘ื•ื˜ื ื™ืงื”.
13:08
for the rest of his life,
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ื•ื‘ืžืฉืš ืฉืืจ ื—ื™ื™ื•,
13:09
he's moving backwards and forwards between these different fields.
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ื”ื•ื ืขื‘ืจ ื‘ื™ืŸ ืชื—ื•ืžื™ื ืืœื”.
13:13
He never quite abandons any of them.
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ื•ืืฃ ืคืขื ืœื ื–ื ื— ืืฃ ืื—ื“ ืžื”ื.
13:16
In 1837, he begins work on two very interesting projects.
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ื‘1873, ื”ืชื—ื™ืœ ืœืขื‘ื•ื“ ืขืœ ืฉื ื™ ืคืจื•ื™ืงื˜ื™ื ืžืขื ื™ื™ื ื™ื.
13:20
One of them: earthworms.
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ืื—ื“ ืžื”ื: ืชื•ืœืขื™ื.
13:22
The other, a little notebook which he titles
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ื•ื”ืฉื ื™, ืžื—ื‘ืจืช ืงื˜ื ื” ืขื ื”ื›ื•ืชืจืช
13:26
"The transmutation of species."
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"ืฉื™ื ื•ื™ ื”ืžื™ื ื™ื".
13:29
Then, Darwin starts studying my field, economics.
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ืื—ืจื™ ื–ื”, ื“ืจื•ื•ื™ืŸ ื”ื—ืœ ืœืœืžื•ื“ ืืช ื”ืชื—ื•ื ืฉืœื™, ื›ืœื›ืœื”.
13:35
He reads a book by the economist Thomas Malthus.
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ื”ื•ื ืงืจื ืกืคืจ ืฉื ื›ืชื‘ ืขืœ ื™ื“ื™ ื”ื›ืœื›ืœืŸ ืชื•ืžืืก ืžืœืชื•ืก .
13:40
And he has his eureka moment.
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ื•ืื– ื”ื™ื” ืจื’ืข ื”"ืืื•ืจื™ืงื”" ืฉืœื•.
13:42
In a flash, he realizes how species could emerge and evolve slowly,
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ื‘ืจื’ืข ืื—ื“, ื”ื•ื ื”ื‘ื™ืŸ ืื™ืš ืžื™ื ื™ื ื™ื›ื•ืœื™ื ืœืฆื•ืฅ, ื•ืœื”ืชืคืชื— ืœืื˜,
13:48
through this process of the survival of the fittest.
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ื‘ืชื”ืœื™ืš ืฉืœ "ื”ื—ื–ืง ืฉื•ืจื“".
13:51
It all comes to him, he writes it all down,
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ื”ื›ืœ ื‘ื ืืœื™ื•, ื•ื”ื•ื ื›ื•ืชื‘ ืืช ื”ื›ืœ,
13:53
every single important element of the theory of evolution,
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ื›ืœ ื—ืœืง ื—ืฉื•ื‘ ื‘ืชื™ืื•ืจื™ื” ืฉืœ ื”ืื‘ื•ืœื•ืฆื™ื”,
13:57
in that notebook.
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ื ืžืฆื ื‘ืžื—ื‘ืจืช ื”ื–ื•.
13:58
But then, a new project.
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ืื‘ืœ ืื–, ืคืจื•ื™ืงื˜ ื—ื“ืฉ.
14:02
His son William is born.
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ื”ื‘ืŸ ืฉืœื•, ื•ื•ื™ืœื™ืื ื ื•ืœื“.
14:05
Well, there's a natural experiment right there,
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ื™ืฉ ืคื” ื ื™ืกื•ื™ ื˜ื‘ืขื™,
14:07
you get to observe the development of a human infant.
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ืคื” ื–ื•ื›ื™ื ืœื—ื–ื•ืช ื‘ื”ืชืคืชื—ื•ืช, ืฉืœ ืชื™ื ื•ืง ืœืื“ื.
14:10
So immediately, Darwin starts making notes.
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ืื– ื“ืจื•ื•ื™ืŸ ืžืชื—ื™ืœ ืœืจืฉื•ื ื”ืขืจื•ืช.
14:13
Now, of course, he's still working on the theory of evolution
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ืžืŸ ื”ืกืชื, ื”ื•ื ืขื“ื™ื™ืŸ ืขื•ื‘ื“ ืขืœ ื”ืชื™ืื•ืจื™ื” ืฉืœ ื”ืื‘ื•ืœื•ืฆื™ื”
14:16
and the development of the human infant.
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ื•ืขืœ ื”ืชืคืชื—ื•ืช ื”ืื“ื.
14:19
But during all of this,
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ืื‘ืœ ื‘ืชื•ืš ื›ืš ื–ื”,
14:20
he realizes he doesn't really know enough about taxonomy.
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ื”ื•ื ืžื‘ื™ืŸ ืฉื”ื•ื ืœื ื™ื•ื“ืข ืžืกืคื™ืง ืœื’ื‘ื™ ืชื•ืจืช ื”ืžื™ื•ืŸ.
14:24
So he starts studying that.
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ืื– ื”ื•ื ืžืชื—ื™ืœ ืœืœืžื•ื“ ืืช ื–ื”.
14:26
And in the end, he spends eight years becoming the world's leading expert
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ื•ื‘ืกื•ืฃ, ื”ื•ื ืžื‘ืœื” ืฉืžื•ื ื” ืฉื ื™ื ื‘ืœื”ืคื•ืš ืœืžื•ืžื—ื” ืขื•ืœืžื™
14:32
on barnacles.
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ื‘ื‘ืœื•ื˜ื™-ื™ื.
14:35
Then, "Natural Selection."
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ื•ืื–, "ื”ื‘ืจื™ืจื” ื”ื˜ื‘ืขื™ืช".
14:37
A book that he's to continue working on for his entire life, he never finishes it.
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ืกืคืจ ืฉื”ื•ื ืžืžืฉื™ืš ืœืขื‘ื•ื“ ืขืœื™ื• ื‘ืžืฉืš ื›ืœ ื—ื™ื™ื• ื•ืœื ืžืกืคื™ืง ืœืกื™ื™ื.
14:42
"Origin of Species" is finally published
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"ืžืงื•ืจ ื”ืžื™ื ื™ื" ืกื•ืคืกื•ืฃ ืžืชืคืจืกื
14:45
20 years after Darwin set out all the basic elements.
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20 ืฉื ื™ื ืื—ืจื™ ืฉื“ืจื•ื•ื™ืŸ ืžื ื™ื— ืืช ื›ืœ ื”ื—ืœืงื™ื ื”ื‘ืกื™ืกื™ื™ื.
14:49
Then, the "Descent of Man," controversial book.
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ื•ืื–, "ืžื•ืฆื ื”ืื“ื", ืกืคืจ ืฉื ื•ื™ ื‘ืžื—ืœื•ืงืช.
14:52
And then, the book about the development of the human infant.
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ื•ืœืื—ืจ ืžื›ืŸ, ืกืคืจ ื‘ื ื•ื’ืข ืœื”ืชืคืชื—ื•ืช ืฉืœ ืชื™ื ื•ืงื•ืช.
14:56
The one that was inspired when he could see his son, William,
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ื”ืื—ื“ ืฉื”ืชื—ื™ืœ ื›ืฉืืฉืจ ืจืื” ืืช ื”ื‘ืŸ ืฉืœื•, ื•ื•ื™ืœื™ืื,
15:00
crawling on the sitting room floor in front of him.
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ื–ื•ื—ืœ ืขืœ ื”ืจืฆืคื” ืžืœืคื ื™ื•.
15:03
When the book was published, William was 37 years old.
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ื›ืฉื”ืกืคืจ ืคื•ืจืกื, ื•ื•ื™ืœื™ืื ื”ื™ื” ื‘ืŸ 37.
15:08
And all this time,
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ื•ื‘ื›ืœ ื”ื–ืžืŸ ื”ื–ื”,
15:10
Darwin's working on earthworms.
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ื“ืจื•ื•ื™ืŸ ืขื‘ื“ ืขืœ ืชื•ืœืขื™ื.
15:13
He fills his billiard room with earthworms in pots, with glass covers.
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ื”ื•ื ืžื™ืœื ืืช ื—ื“ืจ ื”ื‘ื™ืœื™ืืจื“ ืฉืœื• ื‘ืฆื ืฆื ื•ืช ืขื ืชื•ืœืขื™ื.
15:19
He shines lights on them, to see if they'll respond.
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ื”ื•ื ื”ืื™ืจ ืขืœื™ื”ื, ื›ื“ื™ ืœืจืื•ืช ื”ืื ื”ื ื™ื’ื™ื‘ื•.
15:22
He holds a hot poker next to them, to see if they move away.
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ื•ื”ื•ื ืงื™ืจื‘ ืืœื™ื”ื ืžื•ื˜ ื—ื, ื›ื“ื™ ืœื‘ื“ื•ืง ื”ืื ื”ื ื™ืชืจื—ืงื•.
15:25
He chews tobacco and --
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ื”ื•ื ืœืขืก ื˜ื‘ืง ื• --
15:27
(Blows)
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(ื ื•ืฉืฃ)
15:28
He blows on the earthworms to see if they have a sense of smell.
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ื”ื•ื ื ื•ืฉืฃ ืขืœ ื”ืชื•ืœืขื™ื ื›ื“ื™ ืœืจืื•ืช ื”ืื ื™ืฉ ืœื”ื ื—ื•ืฉ ืจื™ื—.
15:31
He even plays the bassoon at the earthworms.
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ื”ื•ื ืืคื™ืœื• ื ื™ื’ืŸ ืœืชื•ืœืขื™ื ื‘ื‘ืกื•ืŸ.
15:36
I like to think of this great man
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ืื ื™ ืื•ื”ื‘ ืœื—ืฉื•ื‘ ืขืœ ื”ืื™ืฉ ื”ืžื“ื”ื™ื ื”ื–ื”
15:38
when he's tired, he's stressed,
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ื›ืฉื”ื•ื ืขื™ื™ืฃ, ื›ืฉื”ื•ื ืœื—ื•ืฅ,
15:41
he's anxious about the reception of his book "The Descent of Man."
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ื”ื•ื ืคื•ื—ื“ ืขืœ ื”ืงื‘ืœื” ืฉืœ ื”ืกืคืจ ืฉืœื• "ืžื•ืฆื ื”ืื“ื".
15:45
You or I might log into Facebook or turn on the television.
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ืืชื ืื• ืื ื™ ื”ื™ื™ื ื• ื ื›ื ืกื™ื ืœืคื™ื™ืกื‘ื•ืง ืื• ืจื•ืื™ื ื˜ืœื•ื•ื™ื–ื™ื”.
15:50
Darwin would go into the billiard room to relax
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ื“ืจื•ื•ื™ืŸ ื”ื™ื” ื”ื•ืœืš ืœื—ื“ืจ ื”ื‘ื™ืœื™ืืจื“ ื›ื“ื™ ืœื”ื™ืจื’ืข
15:54
by studying the earthworms intensely.
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ื‘ื›ืš ืฉื”ื•ื ืœื•ืžื“ ืชื•ืœืขื™ื ื‘ื—ืจื™ืฆื•ืช.
15:58
And that's why it's appropriate that one of his last great works
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ื•ื–ื” ืœืžื” ื–ื” ืจืื•ื™ ืฉืื—ืช ืžืขื‘ื•ื“ื•ืชื™ื• ื”ืื—ืจื•ื ื•ืช
16:02
is the "Formation of Vegetable Mould Through The Action of Worms."
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ื”ื™ื "ื”ื™ื•ื•ืฆืจื•ืช ืขื•ื‘ืฉ ื”ื™ืจืง ื‘ืืžืฆืขื•ืช ื”ืคืขื•ืœื” ืฉืœ ืชื•ืœืขื™ื"
16:07
(Laughter)
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(ืฆื—ื•ืง)
16:09
He worked upon that book for 44 years.
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ื”ื•ื ืขื‘ื“ ืขืœ ื”ืกืคืจ ื”ื–ื” 44 ืฉื ื™ื.
16:16
We don't live in the 19th century anymore.
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ืื ื—ื ื• ื›ื‘ืจ ืœื ื—ื™ื™ื ื‘ืžืื” ื”19.
16:18
I don't think any of us could sit
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ืื ื™ ืœื ื—ื•ืฉื‘ ืฉืžื™ืฉื”ื• ืžืื™ืชื ื• ื™ื›ื•ืœ ืœืฉื‘ืช
16:21
on our creative or scientific projects for 44 years.
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ืขืœ ืคืจื•ื™ืงื˜ ืžื“ืขื™ ืื• ืื—ืจ ื‘ืžืฉืš 44 ืฉื ื™ื.
16:26
But we do have something to learn from the great slow-motion multitaskers.
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ืื‘ืœ ื™ืฉ ืœื ื• ืžื” ืœืœืžื•ื“ ืžื”ืžื•ืœื˜ื™-ื˜ืกืงืจื™ื ื”ืื™ื˜ื™ื™ื ื”ืžื“ื”ื™ืžื™ื.
16:30
From Einstein and Darwin to Michael Crichton and Twyla Tharp.
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ื”ื—ืœ ื‘ืื™ื ืฉื˜ื™ื™ืŸ ื•ื›ืœื” ื‘ื“ืจื•ื•ื™ืŸ, ืœืžื™ื™ืงืœ ืงืจื™ื™ื˜ื•ืŸ ื•ื˜ื•ื•ื™ืœื” ืชืืจืค.
16:37
The modern world seems to present us with a choice.
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ื”ืขื•ืœื ื”ืžื•ื“ืจื ื™ ื™ื›ื•ืœ ืœื”ื™ืจืื•ืช ื›ืžืฆื™ืข ืœื ื• ื‘ื—ื™ืจื”.
16:40
If we're not going to fast-twitch from browser window to browser window,
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ืื ืื ื• ืœื ื”ื•ืœื›ื™ื ืœืขื‘ื•ืจ ื‘ืžื”ื™ืจื•ืช ืžื—ืœื•ืŸ ืœื—ืœื•ืŸ ื‘ื“ืคื“ืคืŸ,
16:44
we have to live like a hermit,
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ื ืฆื˜ืจืš ืœื—ื™ื•ืช ื›ืžื• ื ื–ื™ืจื™ื,
16:46
focus on one thing to the exclusion of everything else.
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ืจื™ื›ื•ื– ื‘ื“ื‘ืจ ืื—ื“ ืขื“ ืœื”ืจื—ืงื” ืฉืœ ื›ืœ ื“ื‘ืจ ืื—ืจ.
16:50
I think that's a false dilemma.
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ืœื“ืขืชื™ ื–ื” ื“ื™ืœืžื” ืฉืงืจื™ืช.
16:53
We can make multitasking work for us,
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ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœื’ืจื•ื ืœืจื™ื‘ื•ื™ ืžืฉื™ืžื•ืช ืœืขื‘ื•ื“ ื‘ืฉื‘ื™ืœื ื•,
16:55
unleashing our natural creativity.
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ื•ืœืฉื—ืจืจ ืืช ื”ื™ืฆื™ืจืชื™ื•ืช ื”ื˜ื‘ืขื™ืช ืฉืœื ื•.
16:59
We just need to slow it down.
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ืื ื—ื ื• ืจืง ืฆืจื™ื›ื™ื ืœื”ืื˜ ืืช ื–ื”.
17:02
So ...
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ืื–...
17:04
Make a list of your projects.
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ืชื›ื™ื ื• ืจืฉื™ืžื” ืฉืœ ื”ืคืจื•ื™ืงื˜ื™ื ืฉืœื›ื.
17:07
Put down your phone.
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ืชื ื™ื—ื• ืืช ื”ื˜ืœืคื•ืŸ ืฉืœื›ื.
17:09
Pick up a couple of cardboard boxes.
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ืชื™ืงื—ื• ืงื•ืคืกืื•ืช ืงืจื˜ื•ืŸ.
17:12
And get to work.
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ื•ืชืชื—ื™ืœื• ืœืขื‘ื•ื“.
17:15
Thank you very much.
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ืชื•ื“ื” ืจื‘ื”.
17:16
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
ื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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