Sarah Lewis: Embrace the near win

295,588 views ใƒป 2014-04-21

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: K Bang ๊ฒ€ํ† : Kwangmin Lee
00:13
I feel so fortunate that my first job
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์ €๋Š” ์ œ ์ฒซ ์ง์žฅ์ด
00:15
was working at the Museum of Modern Art
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ํ˜„๋Œ€ ๋ฏธ์ˆ  ๋ฐ•๋ฌผ๊ด€์—์„œ ํ™”๊ฐ€์ธ ์—˜๋ฆฌ์ž๋ฒ ์Šค ๋จธ๋ ˆ์ด์˜ ์œ ๊ณ ์ž‘์— ๊ด€ํ•œ
00:18
on a retrospective of painter Elizabeth Murray.
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์ผ์ด์—ˆ๋˜ ๊ฒƒ์ด ํ–‰์šด์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
00:21
I learned so much from her.
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์ €๋Š” ๊ทธ๋…€์—๊ฒŒ์„œ ๋งŽ์€ ๊ฒƒ์„ ๋ฐฐ์› ์Šต๋‹ˆ๋‹ค.
00:23
After the curator Robert Storr
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ํ๋ ˆ์ดํ„ฐ์ธ ๋กœ๋ฒ„ํŠธ ์Šคํ† ๊ฐ€
00:25
selected all the paintings
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๊ทธ๋…€์˜ ๋‚จ๊ธด ํ‰์ƒ์˜ ์ž‘ํ’ˆ ์ค‘์—์„œ
00:27
from her lifetime body of work,
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๊ทธ๋ฆผ์„ ์ „๋ถ€ ๊ณ ๋ฅธ ํ›„์—
00:30
I loved looking at the paintings from the 1970s.
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์ €๋Š” ๊ทธ๋…€์˜ 70๋…„๋Œ€ ์ž‘ํ’ˆ์„ ๊ฐ์ƒํ•˜๊ธฐ ์ข‹์•„ํ–ˆ์ง€์š”.
00:33
There were some motifs and elements
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๋ช‡๋ช‡ ๋ชจํ‹ฐ๋ธŒ์™€ ์š”์†Œ๋“ค์€
00:36
that would come up again later in her life.
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๊ทธ๋…€์˜ ์ผ์ƒ ์ค‘์— ๋‹ค์‹œ ๋“ฑ์žฅํ•˜๊ณค ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:39
I remember asking her
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์ €๋Š” ๊ทธ๋…€์—๊ฒŒ ์ž์‹ ์˜ ์ดˆ๊ธฐ ์ž‘ํ’ˆ์— ๋Œ€ํ•ด
00:41
what she thought of those early works.
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์–ด๋–ป๊ฒŒ ์ƒ๊ฐํ•˜๋Š”์ง€ ๋ฌผ์—ˆ๋˜ ๊ธฐ์–ต์ด ์žˆ์–ด์š”.
00:43
If you didn't know they were hers,
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๊ทธ๋ฆผ์ด ๊ทธ๋…€์˜ ์ž‘ํ’ˆ์ธ์ง€ ๋ชจ๋ฅด์‹ ๋‹ค๋ฉด
00:45
you might not have been able to guess.
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์ถ”์ธกํ•˜์‹œ๊ธฐ ์–ด๋ ค์šธ ๊ฒ๋‹ˆ๋‹ค.
00:47
She told me that a few didn't quite meet
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๊ทธ๋…€๋Š” ๋ช‡๋ช‡ ์ž‘ํ’ˆ์ด ์ž์‹ ์ด ๋ฐ”๋ž๋˜
00:50
her own mark for what she wanted them to be.
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๊ธฐ์ค€์— ๋ฏธ์น˜์ง€ ๋ชปํ•œ๋‹ค๊ณ  ์ œ๊ฒŒ ๋งํ•ด ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค.
00:54
One of the works, in fact,
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์‹ค์ œ๋กœ ๊ทธ ์ค‘ ํ•œ ์ž‘ํ’ˆ์ด
00:55
so didn't meet her mark,
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๊ทธ๋…€์˜ ๊ธฐ์ค€์— ๋ฏธ์น˜์ง€ ๋ชปํ•ด์„œ
00:57
she had set it out in the trash in her studio,
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์ž์‹ ์˜ ์ŠคํŠœ๋””์˜ค์— ์žˆ๋Š” ์“ฐ๋ ˆ๊ธฐ ํ†ต์— ๋„ฃ์—ˆ๋Š”๋ฐ
01:00
and her neighbor had taken it
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์ด์›ƒ ์ฃผ๋ฏผ์ด ๊ทธ๋ฆผ์˜ ๊ฐ€์น˜๋ฅผ ๋ณด๊ณ ๋Š”
01:02
because she saw its value.
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๊ทธ๋ฆผ์„ ๊ฐ€์ ธ๊ฐ”์Šต๋‹ˆ๋‹ค.
01:04
In that moment, my view of success
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๊ทธ ์ˆœ๊ฐ„์—, ์„ฑ๊ณต๊ณผ ์ฐฝ์กฐ์„ฑ์— ๋Œ€ํ•œ
01:07
and creativity changed.
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์ €์˜ ์‹œ๊ฐ์ด ๋ฐ”๋€Œ์—ˆ์Šต๋‹ˆ๋‹ค.
01:10
I realized that success is a moment,
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์„ฑ๊ณต์€ ์ˆœ๊ฐ„์ด์ง€๋งŒ
01:13
but what we're always celebrating
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์šฐ๋ฆฌ๊ฐ€ ๊ธฐ๋ฆฌ๋Š” ๊ฒƒ์€
01:15
is creativity and mastery.
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์ฐฝ์กฐ์„ฑ๊ณผ ์™„๋ฒฝํ•จ์ด๋ž€ ๊ฒƒ์„ ์•Œ๊ฒŒ ๋˜์—ˆ๋˜๊ฑฐ์ฃ .
01:19
But this is the thing: What gets us to convert success
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ํ•˜์ง€๋งŒ ์‚ฌ์‹ค์€ ์ด๋ ‡์Šต๋‹ˆ๋‹ค: ๋ฌด์—‡์ด ์šฐ๋ฆฌ์—๊ฒŒ ์„ฑ๊ณต์„
01:22
into mastery?
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์™„๋ฒฝํ•จ์œผ๋กœ ๋ฐ”๊พธ์–ด ์ฃผ๋Š” ๊ฑธ๊นŒ์š”?
01:24
This is a question I've long asked myself.
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์ด๊ฒƒ์ด ์ œ๊ฐ€ ์˜ค๋žœ ๋™์•ˆ ์Šค์Šค๋กœ์—๊ฒŒ ๋˜์ ธ์˜จ ์งˆ๋ฌธ์ž…๋‹ˆ๋‹ค.
01:27
I think it comes when we start to value
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์ €๋Š” ๊ทธ๊ฒƒ์ด ๊ฑฐ์˜ ์„ฑ๊ณตํ•œ ๊ฒƒ์ด๋ผ๋Š” ์„ ๋ฌผ์— ๋Œ€ํ•œ ๊ฐ€์น˜๋ฅผ
01:30
the gift of a near win.
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๋ถ€์—ฌํ•  ๋•Œ ๋น„๋กœ์†Œ ์ผ์–ด๋‚œ๋‹ค๊ณ  ๋ด…๋‹ˆ๋‹ค.
01:33
I started to understand this when I went
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์ €๋Š” ์ด๊ฒƒ์„
01:36
on one cold May day
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5์›”์˜ ์–ด๋Š ์Œ€์Œ€ํ•œ ๋‚ ์—
01:38
to watch a set of varsity archers,
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๋งจํ•˜ํƒ„์˜ ๋ถ์ชฝ ๋์— ์žˆ๋Š”
01:40
all women as fate would have it,
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์ฝœ๋Ÿผ๋น„์•„ ๋Œ€ํ•™๊ต ๋ฒ ์ด์ปค ์ฒด์œก๊ด€์—์„œ
01:42
at the northern tip of Manhattan
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์–‘๊ถ ๋Œ€ํ‘œํŒ€์ด ์ž์‹ ๋“ค์˜ ์šด๋ช…์—
01:45
at Columbia's Baker Athletics Complex.
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๋งˆ์ฃผํ•˜๋Š” ๊ฒƒ์„ ๋ณด๋ฉฐ ์•Œ๊ฒŒ ๋˜์—ˆ์ฃ .
01:48
I wanted to see what's called archer's paradox,
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์ €๋Š” ์†Œ์œ„ ๋งํ•˜๋Š” ๊ถ์‚ฌ์˜ ๋ชจ์ˆœ ์ด๋ผ๋Š” ๊ฒƒ์— ๋Œ€ํ•ด ์•Œ๊ณ ์ž ํ–ˆ์–ด์š”.
01:52
the idea that in order to actually hit your target,
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๊ทธ๊ฒƒ์€ ๊ณผ๋…์„ ๋งžํžˆ๊ธฐ ์œ„ํ•ด์„œ
01:54
you have to aim at something slightly skew from it.
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๊ณผ๋…์—์„œ ์•ฝ๊ฐ„ ๋ฒ—์–ด๋‚œ ์ง€์ ์„ ๊ฒจ๋ƒฅํ•ด์•ผ ํ•œ๋‹ค๋Š” ๊ฒƒ์ด์ง€์š”.
01:59
I stood and watched as the coach
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์ €๋Š” ์ผ์–ด๋‚˜์„œ
02:01
drove up these women in this gray van,
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์ฝ”์น˜๊ฐ€ ์—ฌ์ž ์„ ์ˆ˜๋“ค์„ ํšŒ์ƒ‰ ์Šนํ•ฉ์ฐจ์— ํƒœ์›Œ์™€
02:04
and they exited with this kind of relaxed focus.
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์•ฝ๊ฐ„ ๋Š์Šจํ•œ ๋ถ„์œ„๊ธฐ๋กœ ์ค€๋น„์‹œํ‚ค๋Š” ๊ฒƒ์„ ๋ฐ”๋ผ๋ดค์Šต๋‹ˆ๋‹ค.
02:07
One held a half-eaten ice cream cone in one hand
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ํ•œ ์„ ์ˆ˜๋Š” ๋ฐ˜์ฏค ๋จน๋‹ค๋‚จ์€ ์•„์ด์Šคํฌ๋ฆผ ์ฝ˜์„ ํ•œ์†์— ๋“ค๊ณ 
02:09
and arrows in the left with yellow fletching.
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์™ผ์ชฝ์— ๋…ธ๋ž€ ๊นƒ์„ ๋‹จ ํ™”์‚ด์„ ์˜์•˜์Šต๋‹ˆ๋‹ค.
02:12
And they passed me and smiled,
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๊ทธ๋“ค์€ ์ œ ์˜†์„ ์ง€๋‚˜ ๋ฏธ์†Œ๋ฅผ ์ง€์œผ๋ฉฐ
02:15
but they sized me up as they
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๊ณผ๋…์œผ๋กœ ๊ฐ€๋Š” ์ค‘์—
02:16
made their way to the turf,
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์ €์— ๋Œ€ํ•œ ํ‰๊ฐ€๋ฅผ ํ–ˆ์–ด์š”.
02:18
and spoke to each other not with words
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์„ ์ˆ˜๋“ค์€ ์–ด๋–ป๊ฒŒ ๊ณผ๋…์„ ๋งž์ถœ ๊ฒƒ์ธ์ง€์— ๋Œ€ํ•ด
02:20
but with numbers, degrees, I thought,
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์„œ๋กœ ๋ง์ด ์•„๋‹Œ,
02:23
positions for how they might plan
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์ˆซ์ž์™€ ๊ฐ๋„ ๋“ฑ์„ ํ†ตํ•ด
02:24
to hit their target.
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์ด์•ผ๊ธฐ๋ฅผ ๋‚˜๋ˆ„์—ˆ์–ด์š”.
02:26
I stood behind one archer as her coach
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์ €๋Š” ํ•œ ์„ ์ˆ˜ ๋’ค์— ์„œ ์žˆ์—ˆ๊ณ 
02:29
stood in between us to maybe assess
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์ฝ”์น˜๋Š” ์šฐ๋ฆฌ๋“ค ์‚ฌ์ด์— ์„œ์„œ
02:31
who might need support, and watched her,
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๋ˆ„๊ฐ€ ๋„์›€์ด ํ•„์š”ํ•œ์ง€ ์ƒ๊ฐํ•˜๋ฉฐ ๋ฐ”๋ผ๋ณด๊ณ  ์ž‡์—ˆ์–ด์š”.
02:33
and I didn't understand how even one
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์ €๋Š” ์–ด๋–ป๊ฒŒ ์‚ฌ๋žŒ์ด 10์  ์งœ๋ฆฌ
02:35
was going to hit the ten ring.
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๊ณผ๋…์„ ๋งžํžˆ๋Š”์ง€ ์กฐ์ฐจ ์˜์•„ํ–ˆ์–ด์š”.
02:38
The ten ring from the standard 75-yard distance,
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75์•ผ๋“œ ๊ฑฐ๋ฆฌ์— ์žˆ๋Š” 10์  ์งœ๋ฆฌ ๊ณผ๋…์€
02:41
it looks as small as a matchstick tip
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ํŒ”์„ ๋ป—์–ด ์žก๊ณ  ์žˆ๋Š”
02:44
held out at arm's length.
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์„ฑ๋ƒฅ์˜ ๋ ๋งŒํผ์ด๋‚˜ ์ž‘์•„๋ณด์˜€์–ด์š”.
02:46
And this is while holding 50 pounds of draw weight
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์‹ฌ์ง€์–ด ํ•œ ๋ฐœ์„ ์  ๋•Œ๋งˆ๋‹ค 50ํŒŒ์šด๋“œ์˜ ํž˜์œผ๋กœ
02:49
on each shot.
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์‹œ์œ„๋ฅผ ๋‹น๊ฒจ์•ผ ํ•˜์ฃ .
02:52
She first hit a seven, I remember, and then a nine,
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๊ทธ ์„ ์ˆ˜๋Š” ์ฒ˜์Œ์— 7์ , ๊ทธ ๋‹ค์›€์—” 9์ ์„ ์˜์•˜์–ด์š”.
02:55
and then two tens,
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๊ทธ๋ฆฌ๊ณ ๋Š” 10์ ์„ 2๋ฒˆ ์˜์•˜์ง€์š”.
02:56
and then the next arrow
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๊ทธ ๋‹ค์Œ ํ™”์‚ด์—์„œ๋Š”
02:57
didn't even hit the target.
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ํ‘œ์ ์„ ๋งžํžˆ์ง€๋„ ๋ชปํ–ˆ์–ด์š”.
02:59
And I saw that gave her more tenacity,
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๊ทธ๋Ÿฌ์ž ๊ทธ ์„ ์ˆ˜๋Š” ๋” ๊ณ ์ง‘์Šค๋Ÿฌ์›Œ์ง€๋”๊ตฐ์š”.
03:01
and she went after it again and again.
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๋˜ ์˜๊ณ  ๋˜ ์˜๊ณ  ํ–‡์–ด์š”.
03:04
For three hours this went on.
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3์‹œ๊ฐ„ ๋™์•ˆ ๊ณ„์†๋์ง€์š”.
03:07
At the end of the practice, one of the archers
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์—ฐ์Šต์ด ๋๋‚  ๋•Œ ์ฆˆ์Œ์— ํ•œ ์„ ์ˆ˜๊ฐ€
03:09
was so taxed that she lied out on the ground
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๋„ˆ๋ฌด ์ง€์ณ ๋งˆ์น˜ ๋ถˆ๊ฐ€์‚ฌ๋ฆฌ์ฒ˜๋Ÿผ ๋•…๋ฐ”๋‹ฅ์—
03:12
just star-fished,
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๋“œ๋Ÿฌ๋ˆ„์›Œ
03:14
her head looking up at the sky,
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ํ•˜๋Š˜์„ ์˜ฌ๋ ค๋‹ค ๋ณด๋”๊ตฐ์š”.
03:16
trying to find what T.S. Eliot might call
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T.S ์—˜๋ฆฌ์—‡์ด ์„ธ์ƒ์„ ๋’ค๋ฐ”๊พธ๋Š” ๊ณ ์š”์˜ ์ˆœ๊ฐ„์ด๋ผ๊ณ  ํ–ˆ๋˜ ๊ฒƒ์„
03:19
that still point of the turning world.
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์ฐพ์œผ๋ ค๋Š” ๋“ฏํ•œ ๋ชจ์Šต์ด์—ˆ์ฃ .
03:22
It's so rare in American culture,
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์ด์ œ ๋ฏธ๊ตญ ๋ฌธํ™”์—์„œ๋Š” ๋” ์ด์ƒ
03:25
there's so little that's vocational about it anymore,
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์ด๋Ÿฐ ์ˆ˜์ค€์—์„œ ์ด๋ ‡๊ฒŒ ๋ถ„ํˆฌํ•˜๋Š”
03:28
to look at what doggedness looks like
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๋ชจ์Šต์„ ๋ณผ ์ˆ˜ ์žˆ๋Š”
03:30
with this level of exactitude,
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๊ธฐํšŒ๋Š” ๋งค์šฐ ๋“œ๋ฌผ์ง€์š”.
03:32
what it means to align your body posture
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๋ชฉํ‘œ๋ฌผ์— ๋ช…์ค‘์‹œํ‚ค๊ธฐ ์œ„ํ•ด
03:35
for three hours in order to hit a target,
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์ž์‹ ์˜ ๋ชธ์„ 3์‹œ๊ฐ„์ด๋‚˜ ํ˜น์‚ฌํ•˜๋ฉฐ
03:38
pursuing a kind of excellence in obscurity.
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๋ถˆํ™•์‹คํ•จ ์†์—์„œ๋„ ์ตœ์„ ์„ ๋‹คํ•˜๋Š” ๋ชจ์Šต ๋ง์ด์—์š”.
03:42
But I stayed because I realized I was witnessing
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์ €๋Š” ์„ฑ๊ณต๊ณผ ์™„์„ฑ์˜ ์ฐจ์ด๋ฅผ ๋ณด๊ณ  ์žˆ๋‹ค๋Š”, ๋ณด๊ธฐ ํž˜๋“  ๊ด‘๊ฒฝ์„
03:44
what's so rare to glimpse,
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์ฆ์–ธํ•˜๋Š” ๊ธฐํšŒ์˜€๊ธฐ ๋•Œ๋ฌธ์—
03:47
that difference between success and mastery.
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์ž๋ฆฌ๋ฅผ ์ง€์ผฐ์Šต๋‹ˆ๋‹ค.
03:50
So success is hitting that ten ring,
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์„ฑ๊ณต์ด๋ž€ 10์  ์งœ๋ฆฌ ๊ณผ๋…์„ ๋ช…์ค‘์‹œํ‚ค๋Š” ๊ฒƒ์ด์—ˆ์ง€๋งŒ
03:53
but mastery is knowing that it means nothing
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์™„์„ฑ์ด๋ž€ ๋ฐ”๋กœ ๊ทธ๊ฒƒ์„ ๋ฐ˜๋ณตํ•ด์„œ ํ•ด๋‚ผ ์ˆ˜ ์—†์œผ๋ฉด
03:55
if you can't do it again and again.
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์ด๋ฃจ์–ด ๋‚ผ ์ˆ˜ ์—†๋Š” ์—†๋Š” ๊ฒƒ์ด์ฃ .
03:59
Mastery is not just the same as excellence, though.
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์™„์„ฑ์ด๋ž€ ๊ทธ์ € ์™„๋ฒฝ์ด๋ผ๋Š” ์˜๋ฏธ๋งŒ์€ ์•„๋‹™๋‹ˆ๋‹ค.
04:02
It's not the same as success,
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๊ทธ์ € ์„ฑ๊ณต์„ ๋œปํ•˜๋Š” ๊ฒƒ๋„ ์•„๋‹ˆ์—์š”.
04:04
which I see as an event,
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์ €๋Š” ์„ฑ๊ณต์ด๋ž€ ๊ฒƒ์„ ํ•œ ๋ฒˆ์˜ ์ด๋ฒคํŠธ๋ผ๊ณ  ๋ด…๋‹ˆ๋‹ค.
04:07
a moment in time,
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ํ•œ ์ˆœ๊ฐ„์ธ๊ฑฐ์ฃ .
04:08
and a label that the world confers upon you.
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๊ทธ๋ฆฌ๊ณ  ์„ธ์ƒ์ด ๋ถ™์—ฌ์ฃผ๋Š” ํ‘œ์‹์ผ ๋ฟ ์ž…๋‹ˆ๋‹ค.
04:11
Mastery is not a commitment to a goal
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ํ•˜์ง€๋งŒ ์™„์„ฑ์ด๋ž€ ๋ชฉํ‘œ๋ฅผ ํ–ฅํ•˜๋Š” ๊ฒƒ์ผ ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ
04:15
but to a constant pursuit.
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๋ชฉํ‘œ๋ฅผ ํ–ฅํ•œ ๋Š์ž„์—†๋Š” ์ถ”๊ตฌ๋ฅผ ์˜๋ฏธํ•ฉ๋‹ˆ๋‹ค.
04:17
What gets us to do this,
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์ด๊ฒƒ์ด ์šฐ๋ฆฌ์—๊ฒŒ ์ฃผ๋Š” ์˜๋ฏธ,
04:19
what get us to forward thrust more
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์ฆ‰ ์šฐ๋ฆฌ๊ฐ€ ๋” ์•ž์œผ๋กœ ๋‚˜์•„๊ฐˆ ์ˆ˜ ์žˆ๋„๋ก ํ•˜๋Š” ๊ฒƒ์€
04:22
is to value the near win.
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๊ฑฐ์˜ ์ด๋ฃจ์–ด๋‚ด๋Š” ์ผ์— ๊ฐ€์น˜๋ฅผ ๋‘๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:26
How many times have we designated something
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๋งŒ๋“  ์‚ฌ๋žŒ์—๊ฒŒ๋Š” ์–ด๋ ค์›€๊ณผ ๊ฒฐํ•จ์œผ๋กœ ์ธํ•ด
04:28
a classic, a masterpiece even,
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๋Œ€์ฑ…์—†๋Š” ๋ฏธ์™„์œผ๋กœ ๋น„์ณ์ง€๋Š”๋ฐ๋„
04:31
while its creator considers it hopelessly unfinished,
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์šฐ๋ฆฌ๋Š” ๊ณ ์ „ ํ˜น์€ ์™„๋ฒฝํ•จ์ด๋ผ๊ณ 
04:34
riddled with difficulties and flaws,
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๋งํ–ˆ๋˜ ์ ์ด
04:36
in other words, a near win?
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์–ผ๋งˆ๋‚˜ ๋งŽ์Šต๋‹ˆ๊นŒ?
04:39
Elizabeth Murray surprised me
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์ €๋Š” ์—˜๋ฆฌ์ž๋ฒ ์Šค ๋จธ๋ ˆ์ด๊ฐ€ ์ž์‹ ์˜ ์ดˆ๊ธฐ ์ž‘ํ’ˆ์— ๋Œ€ํ•ด
04:41
with her admission about her earlier paintings.
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์ธ์ •ํ•˜๋Š” ๊ฒƒ์„ ๋ณด๊ณ  ๊ต‰์žฅํžˆ ๋†€๋ž์Šต๋‹ˆ๋‹ค.
04:45
Painter Paul Cรฉzanne so often thought his works were incomplete
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ํด ์Ž„์ž”๋Š๋Š” ์ข…์ข… ์ž์‹ ์˜ ์ž‘ํ’ˆ์ด ๋„ˆ๋ฌด ๋ฏธ์™„์— ๊ฐ€๊นŒ์›Œ์„œ
04:48
that he would deliberately leave them aside
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๋‚˜์ค‘์— ๋‹ค์‹œ ์ž‘์—…ํ•˜๊ฒ ๋‹ค๋Š” ์ƒ๊ฐ์„ ๊ฐ–๊ณ  ์˜์‹์ ์œผ๋กœ
04:50
with the intention of picking them back up again,
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์ž‘ํ’ˆ์„ ๋’ค์ผ ์œผ๋กœ ์น˜์›Œ๋‘๊ณค ํ–ˆ๋‹ต๋‹ˆ๋‹ค.
04:53
but at the end of his life,
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๊ทธ๋ž˜์„œ ๋ง๋…„์— ๊ฐ€์„œ๋Š”
04:54
the result was that he had only signed
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์ž์‹ ์˜ ๊ทธ๋ฆผ ์ค‘์— 10% ์ •๋„์—๋งŒ
04:56
10 percent of his paintings.
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์„œ๋ช…์„ ๋‚จ๊ฒผ์ง€์š”.
04:59
His favorite novel was "The [Unknown] Masterpiece" by Honorรฉ de Balzac,
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๊ทธ๊ฐ€ ๊ฐ€์žฅ ์ข‹์•„ํ–ˆ๋˜ ์†Œ์„ค์€ ์˜ค๋…ธ๋ ˆ๋“œ ๋ฐœ์žํฌ์˜ "[๋ฏธ์ง€์˜] ์™„์„ฑ์ž‘"
05:03
and he felt the protagonist was the painter himself.
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์ด์—ˆ๋Š”๋ฐ, ์ž์‹ ์ด ๊ทธ ์ฃผ์ธ๊ณต์ด๋ผ๊ณ  ๋Š๊ผˆ์Šต๋‹ˆ๋‹ค.
05:09
Franz Kafka saw incompletion
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ํ”„๋ž€์ธ  ์นดํ”„์นด๋Š” ๋‹ค๋ฅธ ์ด๋“ค์ด ์นญ์ฐฌํ•ด ๋งˆ์ง€ ์•Š๋˜ ๊ฒƒ์„
05:11
when others would find only works to praise,
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๋ฏธ์™„์„ฑ์œผ๋กœ ์ƒ๊ฐํ–ˆ๋˜ ํƒ“์—
05:14
so much so that he wanted all of his diaries,
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์ž๊ธฐ๊ฐ€ ์ฃฝ์œผ๋ฉด ์ž์‹ ์˜ ๋ชจ๋“  ์ผ๊ธฐ์™€ ์›๊ณ ,
05:17
manuscripts, letters and even sketches
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ํŽธ์ง€, ์‹ฌ์ง€์–ด๋Š” ์Šค์ผ€์น˜๊นŒ์ง€
05:19
burned upon his death.
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๋ชจ๋‘ ๋ถˆํƒœ์›Œ ๋‹ฌ๋ผ๊ณ  ํ–ˆ์ฃ .
05:21
His friend refused to honor the request,
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๊ทธ์˜ ์นœ๊ตฌ๊ฐ€ ๊ทธ๋Ÿฐ ์š”์ฒญ์„ ๊ฑฐ์ ˆํ•œ ๋•๋ถ„์—
05:24
and because of that, we now have all the works
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์šฐ๋ฆฌ๋Š” ๊ทธ์˜ ๋ชจ๋“  ์ž‘ํ’ˆ์„
05:25
we now do by Kafka:
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๋ณผ ์ˆ˜ ์žˆ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
05:27
"America," "The Trial" and "The Castle,"
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"๋ฏธ๊ตญ", "์‹ฌํŒ, "์„ฑ(ๅŸŽ)" ๋“ฑ์˜ ์ž‘ํ’ˆ๋“ค์€ ๋ฏธ์™„์„ฑ์˜ ๋„๊ฐ€
05:31
a work so incomplete it even stops mid-sentence.
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๋งค์šฐ ๊ฐ•ํ•ด์„œ ์‹ฌ์ง€์–ด ๋ฌธ์žฅ์˜ ์ค‘๊ฐ„์—์„œ ๋์ด ๋‚˜๊ธฐ๋„ ํ•˜์ฃ .
05:34
The pursuit of mastery, in other words,
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๋‹ค์‹œ ๋งํ•ด, ์™„์„ฑ์„ ํ–ฅํ•œ ์ถ”๊ตฌ๋Š”
05:37
is an ever-onward almost.
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๋Š์ž„์—†์ด ๋‹ค๊ฐ€๊ฐ€๋Š” ๋ฏธ์™„์ž…๋‹ˆ๋‹ค.
05:41
"Lord, grant that I desire
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"์‹ ์ด์‹œ์—ฌ, ์ œ๊ฐ€ ์ด๋ฃฐ ์ˆ˜ ์žˆ๋Š” ๊ฒƒ๋ณด๋‹ค
05:43
more than I can accomplish,"
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๋” ๋งŽ์ด ๋ฐ”๋ผ๊ฒŒ ํ•˜์†Œ์„œ"๋ผ๊ณ 
05:46
Michelangelo implored,
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๋ฏธ์ผˆ๋ž€์ ค๋กœ๋Š” ์• ์›ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:47
as if to that Old Testament God on the Sistine Chapel,
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์‹œ์Šคํ‹ด ์„ฑ๋‹น์— ์žˆ๋Š” ๊ตฌ์•ฝ ์†์˜ ์‹ ์—๊ฒŒ
05:51
and he himself was that Adam
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์ž๊ธฐ ์ž์‹ ์€
05:52
with his finger outstretched
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์†๊ฐ€๋ฝ์„ ๋ป—์—ˆ์ง€๋งŒ
05:54
and not quite touching that God's hand.
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์‹ ์˜ ์†์„ ์žก์ง€๋Š” ๋ชปํ•œ ์•„๋‹ด๊ณผ๋„ ๊ฐ™์•˜์Šต๋‹ˆ๋‹ค.
05:59
Mastery is in the reaching, not the arriving.
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์™„์„ฑ์ด๋ž€ ์ถ”๊ตฌํ•˜๋Š” ๊ฒƒ์ด์ง€ ๊ทธ์— ๋„๋‹ฌํ•œ ์‹œ์ ์ด ์•„๋‹ˆ์—์š”.
06:03
It's in constantly wanting to close that gap
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๊ทธ๊ฒƒ์€ ๋งˆ์น˜ ํ˜„์žฌ ์กด์žฌํ•˜๋Š” ์ž์‹ ๊ณผ ์ž์‹ ์ด ๋˜๊ณ ์žํ•˜๋Š” ์ž์‹  ์‚ฌ์ด์˜
06:06
between where you are and where you want to be.
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๊ฒฉ์ฐจ๋ฅผ ๋Š์ด์—†์ด ์ฑ„์šฐ๊ณ ์ž ํ•˜๋Š” ๋ฐ”๋žŒ ์•ˆ์— ๋†“์ธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
06:11
Mastery is about sacrificing for your craft
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์™„์„ฑ์ด๋ž€ ์ž์‹ ์˜ ์ตœ๊ณ ๋ฅผ ์œ„ํ•ด ํฌ์ƒํ•˜๋Š” ๊ฒƒ์ด์ง€
06:14
and not for the sake of crafting your career.
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์ž์‹ ์˜ ๊ฒฝ๋ ฅ์„ ๋งŒ๋“ค๊ธฐ ์œ„ํ•œ ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.
06:18
How many inventors and untold entrepreneurs
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์–ผ๋งˆ๋‚˜ ๋งŽ์€ ๋ฐœ๋ช…๊ฐ€์™€ ์‚ฌ์—…๊ฐ€๋“ค์ด ์ด๋Ÿฐ ์‚ถ์„
06:21
live out this phenomenon?
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์‚ด์•„๋ƒˆ๋˜๊ฐ€์š”?
06:24
We see it even in the life
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์šฐ๋ฆฌ๋Š” ์ด๋Ÿฐ ๊ฒƒ์„
06:25
of the indomitable Arctic explorer Ben Saunders,
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๋ถˆ๊ตด์˜ ๋ถ๊ทน ํƒํ—˜๊ฐ€์ธ ๋ฒค ์†๋”์Šค์˜ ์‚ถ์—์„œ๋„ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
06:28
who tells me that his triumphs
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๊ทธ๋Š” ์ €์—๊ฒŒ
06:30
are not merely the result
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์ž์‹ ์˜ ์—…์ ์€ ๋‹จ์ง€
06:32
of a grand achievement,
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๋Œ€๋‹จํ•œ ์„ฑ์ทจ์˜ ๊ฒฐ๊ณผ์ผ ๋ฟ ์•„๋‹ˆ๋ผ
06:34
but of the propulsion of a lineage of near wins.
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์™„์„ฑ์— ๋‹ค๊ฐ€๊ฐ€๋Š” ํ˜ˆํ†ต์ด ์ง€๋‹Œ ์ถ”์ง„๋ ฅ์˜ ๊ฒฐ๊ณผ๋ผ๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
06:39
We thrive when we stay at our own leading edge.
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์šฐ๋ฆฌ๋Š” ์ตœ์ „์„ ์— ์žˆ์„ ๋•Œ ๋ถ™ํˆฌ์˜ ๋…ธ๋ ฅ์„ ๊ธฐ์šธ์ž…๋‹ˆ๋‹ค.
06:42
It's a wisdom understood by Duke Ellington,
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๊ทธ๊ฒƒ์€ ํŠœํฌ ์—˜๋งํ„ด์ด ๋ฐœ๊ตดํ•ด๋‚ธ ์ง€ํ˜œ์ž…๋‹ˆ๋‹ค.
06:45
who said that his favorite song out of his repertoire
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๊ทธ๋Š” ์ž์‹ ์ด ์•„๋Š” ๊ณก ์ค‘์— ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ๊ฒƒ์€
06:48
was always the next one,
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๋ฐ”๋กœ ๋‹ค์Œ ๊ณก์ด์—ˆ๋‹ค๊ณ  ํ–ˆ์ฃ .
06:50
always the one he had yet to compose.
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์—ฌ์ „ํžˆ ๋” ๋‚˜์˜ฌ ๊ณก์ด ์žˆ๋‹ค๋Š” ์˜๋ฏธ์ž…๋‹ˆ๋‹ค.
06:54
Part of the reason that the near win
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๊ฑฐ์˜ ๋‹ค๊ฐ€์„  ๊ฒƒ์ด
06:56
is inbuilt to mastery
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์™„์„ฑ์— ๋‚ด์žฌ๋˜์–ด ์žˆ๋Š” ์ด์œ ๋Š”
06:58
is because the greater our proficiency,
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์šฐ๋ฆฌ๊ฐ€ ๋” ์›ํ™œํ•ด ์งˆ์ˆ˜๋ก
07:00
the more clearly we might see
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์šฐ๋ฆฌ๊ฐ€ ํ•ด๋ƒˆ๋‹ค๊ณ  ์ƒ๊ฐํ•œ ๋ชจ๋“  ๊ฒƒ์„
07:03
that we don't know all that we thought we did.
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์•„์ง ์ดํ•ดํ•˜๊ณ  ์žˆ์ง€ ๋ชปํ•˜๋‹ค๋Š” ์ ์„ ๋” ๋ช…ํ™•ํ•˜๊ฒŒ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
07:06
It's called the Dunningโ€“Kruger effect.
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์ด๋Ÿฐ ๊ฒƒ์„ ๋”๋‹-ํฌ๋ฃจ๊ฑฐ ํšจ๊ณผ๋ผ๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
07:08
The Paris Review got it out of James Baldwin
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"ํŒŒ๋ฆฌ ๋ฆฌ๋ทฐ"์ง€๊ฐ€ ์ œ์ž„์Šค ๋ณผ๋“œ์œˆ์—๊ฒŒ ์ด๋ ‡๊ฒŒ ๋ฌผ์—ˆ์„ ๋•Œ
07:11
when they asked him,
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์•Œ์•„๋‚ธ ์‚ฌ์‹ค์ž…๋‹ˆ๋‹ค.
07:12
"What do you think increases with knowledge?"
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"์ง€์‹๊ณผ ํ•จ๊ป˜ ์ฆ์ง„๋˜๋Š” ๊ฒƒ์ด ๋ฌด์—‡์ด๋ผ๊ณ  ์ƒ๊ฐํ•˜์‹ญ๋‹ˆ๊นŒ?"
07:15
and he said, "You learn how little you know."
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๊ทธ๋Ÿฌ๋ฉด์„œ ์ด๋ ‡๊ฒŒ ๋งํ–ˆ์ฃ "์–ผ๋งˆ๋‚˜ ๋ชจ๋ฅด๋Š”๊ฒŒ ๋งŽ์€์ง€ ์•Œ๊ฒŒ ๋ฉ๋‹ˆ๋‹ค."
07:20
Success motivates us, but a near win
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์„ฑ๊ณต์€ ์šฐ๋ฆฌ์—๊ฒŒ ๋™๊ธฐ๋ฅผ ๋ถ€์—ฌํ•˜์ง€๋งŒ
07:22
can propel us in an ongoing quest.
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์ ˆ๋ฐ˜์— ๊ฐ€๊นŒ์šด ์™„์„ฑ์€ ๊ณ„์†๋˜๋Š” ํƒํ—˜์„ ๊ฐ€๋Šฅํ•˜๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
07:25
One of the most vivid examples of this comes
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์ด๋Ÿฐ ์˜ˆ๋“ค ๊ฐ€์šด๋ฐ ๊ฐ€์žฅ ํ™•์‹คํ•œ ๊ฒƒ์€
07:27
when we look at the difference
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๊ฒฝ๊ธฐ๋ฅผ ๋งˆ์นœ ํ›„ ์˜ฌ๋ฆผํ”ฝ ์€๋ฉ”๋‹ฌ๋ฆฌ์ŠคํŠธ์™€
07:29
between Olympic silver medalists
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๋™๋ฉ”๋‹ฌ๋ฆฌ์ŠคํŠธ์˜ ์ฐจ์ด๋ฅผ ๋ณด๋ฉด
07:31
and bronze medalists after a competition.
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๋ถ„๋ช…ํ•˜๊ฒŒ ๋‚˜ํƒ€๋‚ฉ๋‹ˆ๋‹ค.
07:34
Thomas Gilovich and his team from Cornell
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์ฝ”๋„ฌ๋Œ€ํ•™ ์†Œ์†์˜ ํ† ๋งˆ์Šค ํ‚ฌ๋กœ๋น„์น˜์™€ ๊ทธ์˜ ์—ฐ๊ตฌํŒ€์€
07:36
studied this difference and found
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์ด๋Ÿฌํ•œ ์ฐจ์ด๋ฅผ ์—ฐ๊ตฌํ•ด์„œ
07:39
that the frustration silver medalists feel
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์€๋ฉ”๋‹ฌ๋ฆฌ์ŠคํŠธ๊ฐ€ ๊ฐ–๋Š” ์ขŒ์ ˆ๊ฐ์€
07:41
compared to bronze, who are typically a bit
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4๋“ฑ์„ ํ•˜๊ณ  ๋ฉ”๋‹ฌ์„ ๋ชป๋ฐ›์€ ๊ฒƒ์€ ์•„๋‹ˆ๋ผ๋Š”
07:43
more happy to have just not received fourth place
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์•ˆ๋„๊ฐ์œผ๋กœ ์กฐ๊ธˆ ๋” ํ–‰๋ณตํ•œ ๋™๋ฉ”๋‹ฌ๋ฆฌ์ŠคํŠธ์—
07:46
and not medaled at all,
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๋น„ํ•ด์„œ
07:47
gives silver medalists a focus
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๊ทธ ๋‹ค์Œ ๋Œ€ํšŒ์— ๋” ์ง‘์ค‘ํ•  ์ˆ˜ ์žˆ๊ฒŒ
07:49
on follow-up competition.
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ํ•œ๋‹ค๋Š”๊ตฐ์š”.
07:52
We see it even in the gambling industry
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์ด๋Ÿฐ ํ˜„์ƒ์€ ์‹ฌ์ง€์–ด ๋„๋ฐ• ์‚ฐ์—…์—์„œ๋„ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
07:54
that once picked up on this phenomenon
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์ ˆ๋ฐ˜์˜ ์™„์„ฑ์— ๋Œ€ํ•œ ์ด๋Ÿฐ ํ˜„์ƒ์„ ์ดํ•ดํ•œ
07:56
of the near win
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๋„๋ฐ• ์‚ฐ์—…๊ณ„๋Š”
07:57
and created these scratch-off tickets
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ํ‰๊ท ์ ์ธ ์ ˆ๋ฐ˜์˜ ์™„์„ฑ์„ ๋Šฅ๊ฐ€ํ•˜๋Š”
08:00
that had a higher than average rate of near wins
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๊ธ๋Š” ๋ณต๊ถŒ์„ ๋งŒ๋“ค์–ด๋ƒˆ๊ณ 
08:03
and so compelled people to buy more tickets
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์ด๊ฒƒ์œผ๋กœ ์ธํ•ด ์‚ฌ๋žŒ๋“ค์ด ๋” ๋งŽ์€ ๋ณต๊ถŒ์„ ๊ตฌ์ž…ํ•˜๊ฒŒ ๋งŒ๋“ค์—ˆ์ฃ .
08:06
that they were called heart-stoppers,
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๊ทธ๋ž˜์„œ ์ด ๋ณต๊ถŒ์€ ์‹ฌ์žฅ๋งˆ๋น„ ๋ณต๊ถŒ ์ด๋ผ๊ณ  ๋ถ€๋ฅด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
08:08
and were set on a gambling industry set of abuses
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1970๋…„ ๋Œ€ ์˜๊ตญ์˜ ๋„๋ฐ• ์‚ฐ์—…์—์„œ
08:11
in Britain in the 1970s.
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๊ณผ๋„ํ•˜๊ฒŒ ๋‚˜ํƒ€๋‚ฌ์—ˆ์ฃ .
08:14
The reason the near win has a propulsion
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์™„์„ฑ์— ๊ฐ€๊นŒ์šด ๊ฒƒ์ด ๋™๊ธฐ ๋ถ€์—ฌ๋ฅผ ํ•˜๋Š” ์ด์œ ๋Š”
08:16
is because it changes our view of the landscape
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์ „์ฒด์— ๋Œ€ํ•œ ๊ด€์ ์„ ๋ฐ”๊พธ๊ณ 
08:19
and puts our goals, which we tend to put
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๋ณดํ†ต ๋ฉ€์ฐŒ๊ฐ์น˜ ๋‘๊ณคํ•˜๋Š” ๋ชฉํ‘œ๋ฅผ
08:22
at a distance, into more proximate vicinity
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์ž์‹ ์ด ์ฒ˜ํ•ด์žˆ๋Š” ์ƒํ™ฉ์— ๊ฐ€๊น๊ฒŒ
08:25
to where we stand.
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๋งŒ๋“ค์–ด์ฃผ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
08:26
If I ask you to envision what a great day looks like next week,
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์ œ๊ฐ€ ์—ฌ๋Ÿฌ๋ถ„๊ป˜ ๋‹ค์Œ ์ค‘์— ๊ฐ€์žฅ ์ข‹์€ ๋‚ ์„ ๋– ์˜ฌ๋ ค๋ณด์‹œ๋ผ๊ณ  ํ•˜๋ฉด
08:30
you might describe it in more general terms.
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ํ›จ์”ฌ ์ผ๋ฐ˜์ ์ธ ๋‹จ์–ด๋กœ ๋ฌ˜์‚ฌํ•˜์‹œ๊ฒ ์ง€์š”.
08:33
But if I ask you to describe a great day at TED tomorrow,
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ํ•˜์ง€๋งŒ TED์—์„œ์˜ ๋‚ด์ผ์— ๋Œ€ํ•ด ๊ทธ๋ ‡๊ฒŒ ํ•ด๋ณด์‹œ๋ผ๊ณ  ํ•˜๋ฉด
08:37
you might describe it with granular, practical clarity.
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๋ณด๋‹ค ์ž์ž˜ํ•˜๊ณ  ์‹ค์งˆ์ ์œผ๋กœ ๋ฌ˜์‚ฌํ•˜์‹ค ๊ฑฐ์—์š”.
08:40
And this is what a near win does.
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๋ฐ”๋กœ ์ด๊ฒƒ์ด ์™„์„ฑ์— ๊ฐ€๊นŒ์šด ๊ฒƒ์ด ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:42
It gets us to focus on what, right now,
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๊ทธ๊ฒƒ์€ ๋ฐ”๋กœ ์ง€๊ธˆ
08:45
we plan to do to address that mountain in our sights.
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์šฐ๋ฆฌ๊ฐ€ ๋ณด๋Š” ์ € ์‚ฐ์„ ์ •๋ณตํ•˜๊ธฐ ์œ„ํ•ด ๋ฌด์—‡์„ ํ•  ๊ฒƒ์ธ์ง€ ๊ณ„ํšํ•˜๊ฒŒ ํ•ด์ฃผ์ฃ .
08:49
It's Jackie Joyner-Kersee, who in 1984
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1984๋…„ ์˜ฌ๋ฆผํ”ฝ์—์„œ 7์ข… ๊ฒฝ๊ธฐ์˜
08:53
missed taking the gold in the heptathlon
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์šฐ์Šน์„ 1/3์ดˆ ์ฐจ์ด๋กœ ๋†“์นœ
08:55
by one third of a second,
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์žฌํ‚ค ์กฐ์ด๋„ˆ-์ปค์‹œ์™€ ๊ทธ ๋‚จํŽธ์€
08:57
and her husband predicted that would give her
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๋‹ค์Œ ๋Œ€ํšŒ์— ํ•„์š”ํ•œ ๊ฐ•์ธํ•จ์„
08:59
the tenacity she needed in follow-up competition.
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์–ป๊ฒŒ ๋˜์—ˆ์„ ๊ฑฐ๋ผ๊ณ  ์˜ˆ์ƒํ–ˆ์Šต๋‹ˆ๋‹ค.
09:03
In 1988, she won the gold in the heptathlon
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1988๋…„์— ๊ทธ๋…€๋Š” 7์ข… ๊ฒฝ๊ธฐ์—์„œ ๊ธˆ๋ฉ”๋‹ฌ์„ ๋•„๊ณ 
09:06
and set a record of 7,291 points,
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7,291์ ์ด๋ผ๋Š” ๊ธฐ๋ก์„ ์„ธ์› ์Šต๋‹ˆ๋‹ค.
09:10
a score that no athlete has come very close to since.
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๊ทธ ๊ธฐ๋ก์€ ์ดํ›„์— ์•„๋ฌด๋„ ๋ฒ”์ ‘ํ•˜์ง€ ๋ชปํ•˜๋Š” ๊ธฐ๋ก์ด์—์š”.
09:15
We thrive not when we've done it all,
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์–ด๋–ค ๊ฒƒ์ด๋“  ๊ทธ๊ฑธ ํ•ด๋ƒˆ์„ ๋•Œ๊ฐ€ ์•„๋‹ˆ๋ผ
09:18
but when we still have more to do.
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ํ• ๊ฒŒ ์—ฌ์ „ํžˆ ๋‚จ์•„์žˆ์„ ๋•Œ ๋ถ„๋ฐœํ•ฉ๋‹ˆ๋‹ค.
09:21
I stand here thinking and wondering
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์˜ค๋Š˜ ์—ฌ๊ธฐ์„œ ์ €๋Š”
09:24
about all the different ways
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์ด ๊ฐ•์—ฐ์žฅ์—์„œ ์™„์„ฑ์— ๊ฐ€๊นŒ์šด ๊ฒƒ์„
09:25
that we might even manufacture a near win
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์ด๋ฃจ์–ด ๋‚ผ ์ˆ˜ ์žˆ๋Š” ์—ฌ๋Ÿฌ๊ฐ€์ง€ ๋ฐฉ์•ˆ, ์ฆ‰
09:28
in this room,
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์—ฌ๋Ÿฌ๋ถ„์€ ์ธ์ƒ์—์„œ
09:29
how your lives might play this out,
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09:31
because I think on some gut level we do know this.
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์™œ๋ƒํ•˜๋ฉด ์ €๋Š” ์ง„์ •์œผ๋กœ ์šฐ๋ฆฌ๊ฐ€ ์ด๋Ÿฐ ๊ฒƒ์„ ์•Œ๊ณ  ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•˜๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
09:36
We know that we thrive when we stay
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์šฐ๋ฆฌ๋Š” ์ž์‹ ์ด ์ตœ๊ณ  ์ •์ ์— ์žˆ์„ ๋•Œ
09:37
at our own leading edge,
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๋ถ„ํˆฌํ•œ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ๊ณ  ์žˆ์–ด์š”.
09:39
and it's why the deliberate incomplete
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ์ด ๋ฐ”๋กœ ์˜๋„์ ์ธ ๋ฏธ์™„์„ฑ์ด
09:41
is inbuilt into creation myths.
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์ฐฝ์กฐ์˜ ์ˆ˜์ˆ˜๊ป˜๋ผ์— ์ˆจ์–ด์žˆ๋Š” ์ด์œ ์ž…๋‹ˆ๋‹ค.
09:44
In Navajo culture, some craftsmen and women
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๋‚˜๋ฐ”ํ˜ธ ๋ฌธํ™”์—๋Š” ์ผ๋ถ€ ์žฅ์ธ๋“ค๊ณผ ์—ฌ์ž๋“ค์ด
09:46
would deliberately put an imperfection
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์ง๋ฌผ์ด๋‚˜ ๋„์˜ˆ์—
09:49
in textiles and ceramics.
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์˜๋„์ ์œผ๋กœ ๋ฏธ์™„์„ฑ์ธ ๋ถ€๋ถ„์„ ๋‚จ๊ฒจ๋‘๊ณค ํ•ฉ๋‹ˆ๋‹ค.
09:51
It's what's called a spirit line,
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์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ์„ ์ •์‹ ์˜ ์„ ์ด๋ผ๊ณ  ํ•˜๋Š”๋ฐ์š”.
09:53
a deliberate flaw in the pattern
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๋ฌธ์–‘์— ์˜๋„์ ์ธ ๊ฒฐํ•จ์„ ๋‚จ๊ฒจ
09:55
to give the weaver or maker a way out,
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์ง์กฐํ•˜๋Š” ์‚ฌ๋žŒ์ด๋‚˜ ์ƒ์‚ฐ์ž๊ฐ€ ๊ทธ๊ฒƒ์„ ํ”ผํ•˜๋Š” ๋ฐฉ๋ฒ•์„ ์ฐพ์•„๋‚ด๋„๋ก ํ•˜์ฃ .
09:58
but also a reason to continue making work.
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๊ฒŒ๋‹ค๊ฐ€ ๊ณ„์†ํ•ด์„œ ์ž‘ํ’ˆ์„ ๋งŒ๋“ค๊ฒŒ ํ•˜๋Š” ์ด์œ ๊ฐ€ ๋˜๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
10:03
Masters are not experts because they take
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๋‹ฌ์ธ๋“ค์€ ๊ฐœ๋…์ ์œผ๋กœ ๊ทธ ๋ถ„์•ผ์˜
10:05
a subject to its conceptual end.
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๋์„ ๋ณด์ด๊ฒŒ ํ•ด์„œ๊ฐ€ ์•„๋‹ˆ๋ผ
10:08
They're masters because they realize
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๊ทธ ๋์ด ์—†๋‹ค๋Š” ๊ฒƒ์„ ์•Œ๊ฒŒ ๋•Œ๋ฌธ์—
10:09
that there isn't one.
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๊ทธ๋ ‡๊ฒŒ ๋˜๋Š” ๊ฒƒ์ด์ง€์š”.
10:12
Now it occurred to me, as I thought about this,
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์ด๋Ÿฐ ์ƒ๊ฐํ•˜๋‹ค๊ฐ€ ์ผ์–ด๋‚œ ์ผ์ธ๋ฐ์š”.
10:15
why the archery coach
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์—ฐ์Šต ๋ง๋ฏธ์— ์–‘๊ถ ์ฝ”์น˜๊ฐ€
10:17
told me at the end of that practice,
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์„ ์ˆ˜์™€ ์•„์ฃผ ๊ฐ€๊นŒ์šด ๊ฑฐ๋ฆฌ์—์„œ
10:19
out of earshot of his archers,
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์ œ๊ฒŒ ์ด๋ ‡๊ฒŒ ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
10:21
that he and his colleagues never feel
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์ฝ”์น˜์ง„์ด ๊ทธ ํŒ€์„ ์œ„ํ•ด์„œ
10:23
they can do enough for their team,
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์ถฉ๋ถ„ํžˆ ๋„์›€์„ ์ฃผ์—ˆ๊ฑฐ๋‚˜
10:25
never feel there are enough visualization techniques
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์„ ์ˆ˜๋“ค์ด ๊ณ„์†๋˜๋Š” ๋ฏธ์™„์„ฑ์„ ๊ทน๋ณตํ•  ์ˆ˜ ์žˆ๋Š” ์‹œ๊ฐ์  ๊ธฐ์ˆ ์ด๋‚˜
10:28
and posture drills to help them overcome
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์—ฐ์Šต ์ž์„ธ๋ฅผ ์ œ๊ณตํ–ˆ๋‹ค๊ณ  ์ƒ๊ฐํ•˜์ง€
10:31
those constant near wins.
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์•Š๋Š”๋‹ค๋Š” ๊ฒƒ์ด์—ˆ์–ด์š”.
10:33
It didn't sound like a complaint, exactly,
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๊ทธ๊ฑด ๊ผญ ๋ถˆ๋งŒ๋งŒ์€ ์•„๋‹ˆ์—ˆ์Šต๋‹ˆ๋‹ค.
10:36
but just a way to let me know,
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๊ทธ์ € ์ œ๊ฒŒ ์ผ์ข…์˜
10:38
a kind of tender admission,
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๋ถ€๋“œ๋Ÿฌ์šด ์ธ์ •์„ ์˜๋ฏธํ•œ ๊ฒƒ์ด์ฃ .
10:40
to remind me that he knew he was giving himself over
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์ฝ”์น˜๋Š” ์–ธ์ œ๋‚˜ ๋” ๋งŽ์€ ๋…ธ๋ ฅ์ด ํ•„์š”ํ•œ
10:43
to a voracious, unfinished path
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๋ฏธ์™„์˜ ๊ธธ๋กœ ์ž์‹ ์„ ๋ฐ€์–ด๋ถ™์ด๊ณ  ์žˆ๋‹ค๋Š” ์ ์„
10:46
that always required more.
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์ œ๊ฒŒ ์ƒ๊ธฐ์‹œ์ผœ ์ค€ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
10:49
We build out of the unfinished idea,
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์šฐ๋ฆฌ๋Š” ๋ฏธ์™„์˜ ์•„์ด๋””์–ด์—์„œ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
10:52
even if that idea is our former self.
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๋น„๋ก ๊ทธ๋Ÿฐ ์•„์ด๋””์–ด๊ฐ€ ์ด์ „์˜ ์ž์‹ ์ด์—ˆ๋‹ค ํ• ์ง€๋ผ๋„์š”.
10:57
This is the dynamic of mastery.
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์ด๊ฒƒ์ด ๋ฐ”๋กœ ์™„์„ฑ์˜ ์—ญ๋™์„ฑ์ž…๋‹ˆ๋‹ค.
11:00
Coming close to what you thought you wanted
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์ž์‹ ์ด ์›ํ•œ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๋˜ ๊ฒƒ์— ๊ฐ€๊นŒ์›Œ์ง€๋Š” ๊ฒƒ์€
11:03
can help you attain more than you ever dreamed
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์ž์‹ ์ด ์ด๋ฃจ๊ฒ ๋‹ค๊ณ  ๊ฟˆ๊พธ์–ด์™”๋˜ ๊ฒƒ๋ณด๋‹ค ๋” ๋งŽ์€ ๊ฒƒ์„
11:06
you could.
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์ด๋ฃฐ ์ˆ˜ ์žˆ๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
11:07
It's what I have to imagine Elizabeth Murray
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์ด๊ฒƒ์ด ๋ฐ”๋กœ ์ž์‹ ์˜ ์ดˆ๊ธฐ ์ž‘ํ’ˆ์„ ๋ฐ”๋ผ๋ณด๋ฉฐ
11:10
was thinking when I saw her smiling
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๋ฏธ์†Œ์ง“๋˜
11:12
at those early paintings one day
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์—˜๋ฆฌ์ž๋ฒ ์Šค ๋จธ๋ ˆ์ด๊ฐ€ ์ƒ๊ฐํ–ˆ๋˜ ์ ์ด๋ผ๊ณ 
11:14
in the galleries.
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์ €๋Š” ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
11:17
Even if we created utopias, I believe
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์‹ฌ์ง€์–ด ์œ ํ† ํ”ผ์•„๋ฅผ ๋งŒ๋“ค์—ˆ๋‹ค ํ•ด๋„
11:20
we would still have the incomplete.
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๋ฏธ์™„์„ฑ์€ ์žˆ์„ ๊ฑฐ์—์š”.
11:23
Completion is a goal,
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์™„์„ฑ์ด ๋ชฉํ‘œ์ด๊ธด ํ•˜์ง€๋งŒ
11:25
but we hope it is never the end.
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์šฐ๋ฆฌ๋Š” ๊ฒฐ์ฝ” ๊ทธ๊ฒƒ์ด ๋๋‚˜๊ธฐ๋ฅผ ๋ฐ”๋ผ์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
11:29
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
11:32
(Applause)
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(๋ฐ•์ˆ˜)

Original video on YouTube.com
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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