How frustration can make us more creative | Tim Harford

Translator: Aznah Arshad Reviewer: Amy K

Late in January 1975,

Hujung Januari tahun 1975,

a 17-year-old German girl called Vera Brandes

seorang gadis Jerman berusia 17 tahun bernama Vera Brandes

walked out onto the stage of the Cologne Opera House.

naik ke pentas di Dewan Opera Cologne.

The auditorium was empty.

Auditorium itu kosong.

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

Ia hanya disinari lampu gelap tanda keluar kecemasan yang malap.

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

Inilah hari yang paling mengujakan dalam hidup Vera.

She was the youngest concert promoter in Germany,

Dia merupakan promoter konsert termuda di Jerman,

and she had persuaded the Cologne Opera House

dan dia telah memujuk Dewan Opera Cologne

to host a late-night concert of jazz

untuk anjur konsert jazz lewat malam

from the American musician, Keith Jarrett.

daripada ahli muzik Amerika, Keith Jarrett.

1,400 people were coming.

1,400 orang akan datang.

And in just a few hours,

Hanya beberapa jam lagi,

Jarrett would walk out on the same stage,

Jarett akan naik pentas yang sama,

he'd sit down at the piano

dia duduk di piano

and without rehearsal or sheet music,

dan tanpa latihan atau nota muzik,

he would begin to play.

dia akan mula bermain.

But right now,

Namun ketika ini,

Vera was introducing Keith to the piano in question,

Vera perkenalkan Keith kepada piano yang dipersoalkan,

and it wasn't going well.

dan ia tidak lancar.

Jarrett looked to the instrument a little warily,

Jarrett lihat instrumen dengan berhati-hati,

played a few notes,

bermain beberapa nada,

walked around it,

berjalan sekelilingnya,

played a few more notes,

bermain beberapa nada lagi,

muttered something to his producer.

berbisik kepada penerbitnya.

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

Kemudian penerbit datang kepada Vera dan cakap...

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

"Jika awak tak dapatkan piano baru, Keith tak boleh main."

There'd been a mistake.

Ada berlaku kesilapan.

The opera house had provided the wrong instrument.

Dewan opera telah sediakan instrumen yang salah.

This one had this harsh, tinny upper register,

Piano ini berlaras nada tinggi, kasar dan gemercing,

because all the felt had worn away.

kerana kain feltnya sudah lusuh.

The black notes were sticking,

Nada hitamnya melekat,

the white notes were out of tune,

nada putihnya sumbang,

the pedals didn't work

pedalnya tak berfungsi

and the piano itself was just too small.

dan piano itu pun terlalu kecil

It wouldn't create the volume

Ia takkan dapat hasilkan bunyi

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

yang memenuhi ruang besar seperti Dewan Opera Cologne.

So Keith Jarrett left.

Lalu Keith Jarrett pergi.

He went and sat outside in his car,

Dia keluar dan duduk di dalam kereta,

leaving Vera Brandes

tinggalkan Vera Brandes

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

untuk dapatkan telefon dan cari piano ganti.

Now she got a piano tuner,

Dia berjaya dapatkan penala piano,

but she couldn't get a new piano.

tetapi gagal dapatkan piano baru.

And so she went outside

Jadi dia keluar

and she stood there in the rain,

dan berdiri dalam hujan,

talking to Keith Jarrett,

beritahu Keith Jarrett,

begging him not to cancel the concert.

merayu jangan batalkan konsert.

And he looked out of his car

Dia melihat di luar keretanya

at this bedraggled, rain-drenched German teenager,

melihat remaja Jerman yang kusut dan kuyup,

took pity on her,

kasihan melihatnya,

and said,

dan cakap,

"Never forget ... only for you."

"Jangan lupa...hanya untuk awak."

And so a few hours later,

Lalu beberapa jam kemudian,

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

Jarrett benar-benar keluar naik pentas dewan opera,

he sat down at the unplayable piano

dia duduk di piano yang tidak boleh dimainkan

and began.

dan mula.

(Music)

(Muzik)

Within moments it became clear that something magical was happening.

Sebentar kemudian jelas kedengaran sesuatu yang ajaib berlaku.

Jarrett was avoiding those upper registers,

Jarrett mengelak nada tinggi,

he was sticking to the middle tones of the keyboard,

dia kekal bermain nada tengah pada kekunci,

which gave the piece a soothing, ambient quality.

yang memberikan irama menyenangkan dan persekitaran berkualiti.

But also, because the piano was so quiet,

Serta disebabkan bunyi piano sangat perlahan

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

dia perlu tetapkan sela berulang dan berkeroncong pada bes

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

Dia berdiri memusing, menekan kekunci nada,

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

berusaha keras hasil bunyi cukup kuat untuk hadirin barisan belakang dengar.

It's an electrifying performance.

Ia adalah persembahan yang menggemparkan.

It somehow has this peaceful quality,

Ia mempunyai kualiti yang tenang,

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

tetapi pada masa yang sama penuh bertenaga,

it's dynamic.

ia dinamik.

And the audience loved it.

Hadirin menyukainya.

Audiences continue to love it

Hadirin terus menyukainya

because the recording of the Köln Concert

kerana rakaman Konsert Köln

is the best-selling piano album in history

merupakan album piano terlaris dijual dalam sejarah

and the best-selling solo jazz album in history.

dan album solo jazz terlaris dijual dalam sejarah

Keith Jarrett had been handed a mess.

Keith Jarrett telah diberikan sesuatu yang kucar kacir.

He had embraced that mess, and it soared.

Dia hadapi kucar kacir, dan ia memuncak.

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

Ayuh fikir seketika tentang naluri awal Jarrett.

He didn't want to play.

Dia tidak mahu bermain.

Of course,

Tentulah,

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

saya fikir kita pun, dalam situasi yang hampir sama,

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

akan berperasaan yang sama, kita ada naluri yang sama.

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

Kita tidak mahu diminta buat kerja yang baik dengan alat rosak.

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

Kita tidak mahu lalui halangan yang tidak perlu.

But Jarrett's instinct was wrong,

Namun naluri Jarrett salah,

and thank goodness he changed his mind.

dan nasib baik dia ubah fikiran.

And I think our instinct is also wrong.

Saya fikir naluri kita juga salah.

I think we need to gain a bit more appreciation

Saya fikir kita perlu sedikit menghargai

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

kelebihan yang tidak dijangka kerana berhadapan sedikit kucar kacir.

So let me give you some examples

Biar saya berikan beberapa contoh

from cognitive psychology,

dari psikologi kognitif,

from complexity science,

dari sains yang rumit,

from social psychology,

dari psikologi sosial,

and of course, rock 'n' roll.

dan tentulah rock 'n' roll.

So cognitive psychology first.

Mulakan dengan psikologi kognitif.

We've actually known for a while

Kita sudah lama tahu

that certain kinds of difficulty,

yang beberapa jenis kesusahan,

certain kinds of obstacle,

beberapa jenis halangan,

can actually improve our performance.

boleh memperbaiki pencapaian kita.

For example,

Contohnya,

the psychologist Daniel Oppenheimer,

psikologi Daniel Oppenheimer,

a few years ago,

beberapa tahun lalu,

teamed up with high school teachers.

berpasukan dengan guru sekolah menengah.

And he asked them to reformat the handouts

Beliau tanya mereka untuk tukar format edaran

that they were giving to some of their classes.

yang mereka beri kepada sesetengah kelas mereka.

So the regular handout would be formatted in something straightforward,

Edaran biasa akan diformat kepada sesuatu yang jelas,

such as Helvetica or Times New Roman.

seperti Helvetica atau Times New Roman.

But half these classes were getting handouts that were formatted

Sesetengah kelas mendapat edaran yang diformat

in something sort of intense, like Haettenschweiler,

kepada sesuatu yang rapat, seperti Haettenschweiler,

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

atau sesuatu yang melantun-lantun, seperti italik Comic Sans.

Now, these are really ugly fonts,

Bentuk tulisan ini sangat buruk,

and they're difficult fonts to read.

dan sukar dibaca.

But at the end of the semester,

Namun di penghujung semester,

students were given exams,

pelajar diberikan peperiksaan,

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

dan pelajar yang diminta untuk baca tulisan yang lebih sukar,

had actually done better on their exams,

mendapat pencapaian yang lebih baik,

in a variety of subjects.

dalam pelbagai subjek.

And the reason is,

Alasannya adalah,

the difficult font had slowed them down,

tulisan sukar memperlahankan mereka,

forced them to work a bit harder,

buat mereka berusaha lebih kuat,

to think a bit more about what they were reading,

untuk lebih berfikir tentang bahan bacaan mereka,

to interpret it ...

untuk menafsirkannya...

and so they learned more.

dan belajar lebih lagi.

Another example.

Satu lagi contoh.

The psychologist Shelley Carson has been testing Harvard undergraduates

Psikologi Shelley Carson menguji siswazah Harvard

for the quality of their attentional filters.

untuk kualiti tapisan perhatian mereka.

What do I mean by that?

Apa maksud saya tentang itu?

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

Apa maksud saya, bayangkan anda dalam restoran,

you're having a conversation,

anda sedang berbual,

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

ada pelbagai jenis perbualan sedang diutarakan dalam restoran,

you want to filter them out,

anda mahu tapiskannya,

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

awak mahu fokus perkara penting bagi anda.

Can you do that?

Bolehkah anda lakukannya?

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

Jika boleh, anda ada penapis perhatian yang baik dan kuat.

But some people really struggle with that.

Namun sesetengah orang sukar lakukannya.

Some of Carson's undergraduate subjects struggled with that.

Sesetengah pelajar subjek Carson sukar melakukannya.

They had weak filters, they had porous filters --

Mereka mempunyai tapisan lemah, tapisan yang lolos --

let a lot of external information in.

membiarkan banyak maklumat luar masuk.

And so what that meant is they were constantly being interrupted

Perkara yang dimaksudkan adalah mereka sentiasa diganggu

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

oleh pandangan dan bunyi dunia sekeliling mereka.

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

Jika ada televisyen yang dibuka semasa mereka menulis karangan,

they couldn't screen it out.

mereka tak boleh padamkannya.

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

Anda mungkin fikir ia adalah kekurangan...

but no.

tetapi tidak.

When Carson looked at what these students had achieved,

Apabila Carson melihat pencapaian pelajar-pelajar ini,

the ones with the weak filters

pelajar yang mempunyai tapisan lemah

were vastly more likely

lebih cenderung

to have some real creative milestone in their lives,

dapat tanda aras yang kreatif dalam kehidupan mereka,

to have published their first novel,

yang menerbitkan novel pertama mereka,

to have released their first album.

yang lancarkan album pertamanya.

These distractions were actually grists to their creative mill.

Gangguan ini sebenarnya penggiling kepada kilang kreatif mereka.

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

Mereka dapat berfikir di luar kotak kerana otak mereka penuh dengan lubang.

Let's talk about complexity science.

Jom cakap tentang sains yang rumit.

So how do you solve a really complex --

Bagaimana anda selesaikan masalah --

the world's full of complicated problems --

dunia penuh masalah rumit --

how do you solve a really complicated problem?

bagaimana selesai masalah amat rumit?

Contohnya, anda cuba membuat enjin jet.

For example, you try to make a jet engine.

There are lots and lots of different variables,

Ada terlalu banyak pembolehubah yang berbeza,

the operating temperature, the materials,

suhu kendalian, bahan,

all the different dimensions, the shape.

semua dimensi yang berbeza, bentuk.

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

Anda tidak boleh selesaikan semua masalah serentak,

it's too hard.

ia terlalu sukar.

So what do you do?

Apa yang anda lakukan?

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

Antara yang anda boleh buat ialah selesaikan satu demi satu.

So you have some kind of prototype

Anda ada prototaip

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

anda pulas, anda uji dan anda perbaiki.

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

Anda pulas, anda uji, anda perbaiki.

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

Saranan perolehan yang kecil akhirnya memberikan enjin jet yang baik.

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

Ia telah dilaksanakan secara meluas di dunia.

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

Contohnya, anda dengar tentangnya dalam berbasikal berprestasi tinggi,

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

pereka web akan bercakap cara mengoptimumkan laman web,

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

mereka mencari hasil langkah demi langkah.

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

Ia satu cara baik untuk selesaikan masalah rumit.

But you know what would make it a better way?

Namun anda tahu cara membuatkannya lebih baik?

A dash of mess.

Sedikit kucar kacir.

You add randomness,

Anda tambah secara rawak,

early on in the process,

di awal proses,

you make crazy moves,

anda buat gerak yang gila,

you try stupid things that shouldn't work,

anda cuba perkara bodoh yang tidak berkesan,

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

dan ia akan buat tugas selesai masalah lebih baik.

And the reason for that is

Ia disebabkan

the trouble with the step-by-step process,

masalah dengan proses langkah demi langkah,

the marginal gains,

perolehan yang kecil,

is they can walk you gradually down a dead end.

adalah ia boleh membawa anda hingga ke jalan mati.

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

Jika anda mula dengan rawak, ia kurang terjadi,

and your problem-solving becomes more robust.

serta penyelasaian masalah menjadi lebih kukuh.

Let's talk about social psychology.

Bercakap tentang psikologi sosial.

So the psychologist Katherine Phillips, with some colleagues,

Ahli psikologi Katherine Phillips bersama rakan sekerjanya,

recently gave murder mystery problems to some students,

baru-baru ini beri masalah misteri pembunuhan kepada beberapa pelajar,

and these students were collected in groups of four

dan pelajar ini terdiri daripada empat orang sekumpulan

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

dan mereka diberikan dosir berserta maklumat tentang satu jenayah --

alibis and evidence, witness statements and three suspects.

alibi dan bukti, penyataan saksi serta tiga orang disyaki.

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

Kumpulan pelajar berempat diminta untuk mendedahkan pelakunya,

who committed the crime.

yang melakukan jenayah.

And there were two treatments in this experiment.

Ada dua perlakuan dalam eksperimen ini.

In some cases these were four friends,

Sesetengah adalah empat orang rakan,

they all knew each other well.

mereka saling mengenali.

In other cases,

Sesetengah yang lain,

three friends and a stranger.

tiga kawan dan seorang orang asing.

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

Anda boleh teka ayat saya.

Obviously I'm going to say

Sudah tentu saya akan cakap

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

kumpulan bersama orang asing selesaikan masalah lebih efektif,

which is true, they did.

benar, mereka efektif.

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

Sebenarnya mereka selesai masalah dengan sangat efektif.

So the groups of four friends,

Jadi kumpulan yang empat rakan,

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

mereka hanya ada peluang 50-50 menjawab dengan betul.

Which is actually not that great --

Bukanlah hebat sangat --

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

soalan pelbagai pilihan, tiga jawapan? 50-50 tidak bagus.

(Laughter)

(Ketawa)

The three friends and the stranger,

Tiga rakan dan seorang asing,

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

walaupun orang asing tidak ada maklumat tambahan,

even though it was just a case

walaupun ia hanya satu kes

of how that changed the conversation to accommodate that awkwardness,

bagaimana ia mengubah perbualan untuk sesuaikan kejanggalan,

the three friends and the stranger,

tiga rakan dan orang asing,

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

mereka ada 75 peratus peluang menemui jawapan betul.

That's quite a big leap in performance.

Ia satu pencapaian yang besar.

But I think what's really interesting

Namun paling menarik

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

adalah bukan sekadar tiga rakan dan seorang asing lebih baik,

but how they felt about it.

namun perasaan mereka.

So when Katherine Phillips interviewed the groups of four friends,

Apabila Katherine Phillips temuramah kumpulan rakan berempat,

they had a nice time,

mereka berseronok,

they also thought they'd done a good job.

mereka juga fikir mereka lakukan tugas yang baik.

They were complacent.

Mereka selesa.

When she spoke to the three friends and the stranger,

Apabila beliau temuduga tiga rakan dan seorang asing,

they had not had a nice time --

mereka tidak berseronok --

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

ia sebenarnya agak sukar, agak janggal...

and they were full of doubt.

dan mereka penuh ragu-ragu.

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

Mereka tak fikir buat tugas dengan baik sedangkan sebaliknya.

And I think that really exemplifies

Ia benar-benar menunjukkan

the challenge that we're dealing with here.

cabaran yang kita hadapi di sini.

Because, yeah --

Kerana, ya --

the ugly font,

tulisan yang hodoh,

the awkward stranger,

orang asing yang janggal,

the random move ...

tindakan rawak...

these disruptions help us solve problems,

gangguan ini membantu kita selesaikan masalah,

they help us become more creative.

ia bantu kita jadi lebih kreatif.

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

Namun kita tak rasa ia membantu kita.

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

Kita rasa ia menyusahkan kita...

and so we resist.

lalu kita menentangnya.

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

Sebab itu contoh terakhir sangat penting.

So I want to talk about somebody

Jadi saya mahu cerita tentang seseorang

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

dari latar belakang dunia rock 'n' roll.

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

Anda mungkin mengenalinya, beliau seorang ahli TED.

His name is Brian Eno.

Namanya Brian Eno.

He is an ambient composer -- rather brilliant.

Beliau seorang komposer ambien -- seorang yang hebat juga.

He's also a kind of catalyst

Dia juga seorang pencetus

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

kepada beberapa album rock 'n' roll yang hebat sejak 40 tahun lalu.

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

Dia bekerjasama dengan David Bowie untuk lagu "Heroes,",

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

bersama U2 untuk "Achtung Baby" dan "The Joshua Tree,"

he's worked with DEVO,

dia berkerjasama dengan DEVO,

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

bekerja dengan Coldplay, bekerja dengan semua orang.

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

Apa yang dia lakukan untuk buat kumpulan rock ini lebih baik?

Well, he makes a mess.

Dia buat kacau bilau.

He disrupts their creative processes.

Dia ganggu proses kreatif mereka.

It's his role to be the awkward stranger.

Peranannya menjadi orang asing yang janggal.

It's his role to tell them

Peranannya untuk beritahu

that they have to play the unplayable piano.

mereka perlu main piano yang rosak.

And one of the ways in which he creates this disruption

Salah satu cara dia wujudkan gangguan ini

is through this remarkable deck of cards --

adalah dengan set kad yang hebat ini --

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

Saya ada kad yang ditandangani -- terima kasih, Brian.

They're called The Oblique Strategies,

Mereka gelar Strategi Miring,

he developed them with a friend of his.

dia cipta bersama seorang rakannya.

And when they're stuck in the studio,

Ketika mereka buntu dalam studio,

Brian Eno will reach for one of the cards.

Brian Eno akan capai salah satu kad.

He'll draw one at random,

Dia akan ambil secara rawak,

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

dan dia buat kumpulan tersebut ikut arahan pada kad.

So this one ...

Kad yang ini...

"Change instrument roles."

"Ubah peranan instrumen."

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

Ya, semua orang tukar instrumen -- Pemain dram ke piano--

Brilliant, brilliant idea.

Idea yang sangat, sangat bijak.

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

"Lihat dengan teliti perincian paling memalukan. Kuatkannya."

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

"Lakukan tindakan mengejut, merosakkan dan luar jangkaan. Gabungkan."

These cards are disruptive.

Kad ini memporak peranda.

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

Sekarang, ia buktikan nilainya dari satu album ke satu album.

The musicians hate them.

Ahli muzik bencikannya.

(Laughter)

(Ketawa)

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

Phil Collins bermain dram dalam album Brian Eno terdahulu.

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

Dia rasa kesal dan mula baling tin bir ke hujung studio.

Carlos Alomar, great rock guitarist,

Carlos Alomar, pemain gitar rock yang hebat,

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

bekerjasama dengan Eno untuk album "Lodger" David Bowie,

and at one point he turns to Brian and says,

dan pada satu ketika dia pusing kepada Brian dan cakap,

"Brian, this experiment is stupid."

"Brian, eksperimen ini bodoh."

But the thing is it was a pretty good album,

Tetapi album itu agak bagus,

but also,

malah,

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

35 tahun kemudian, Carlos Alomar kini gunakan Strategi Miring.

And he tells his students to use The Oblique Strategies

Dia beritahu pelajarnya untuk guna Strategi Miring

because he's realized something.

kerana dia sedar sesuatu.

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

Hanya kerana anda tidak suka, tidak bermaksud ia tidak membantu.

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

Strategi ini bukanlah satu set dekad pada mulanya,

they were just a list --

ia hanya satu senarai --

list on the recording studio wall.

ditulis pada dinding studio rakaman.

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

Satu senarai semak perkara yang boleh dicuba jika buntu.

The list didn't work.

Senarai itu tak berkesan.

Know why?

Nak tahu kenapa?

Not messy enough.

Tidak cukup serabut.

Your eye would go down the list

Mata anda akan mengikut senarai

and it would settle on whatever was the least disruptive,

dan pilih yang paling kurang porak peranda,

the least troublesome,

paling tidak leceh,

which of course misses the point entirely.

dan tentulah hilang tujuan sebenar.

And what Brian Eno came to realize was,

Perkara yang Brian Eno sedar adalah,

yes, we need to run the stupid experiments,

ya, kita perlu jalankan eksperimen bodoh,

we need to deal with the awkward strangers,

kita perlu hadapi orang asing yang janggal,

we need to try to read the ugly fonts.

kita perlu cuba baca tulisan hodoh.

These things help us.

Perkara ini membantu kita.

They help us solve problems,

Bantu kita selesai masalah,

they help us be more creative.

bantu kita lebih kreatif.

But also ...

Juga...

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

kita memang perlukan sedikit pujukan jika kita mahu menerimanya.

So however we do it ...

Apapun cara kita buat...

whether it's sheer willpower,

samada dengan tekad sendiri,

whether it's the flip of a card

samada dengan selakan kad

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

atau lawatan serba salah dari seorang remaja Jerman,

all of us, from time to time,

kita semua, dari semasa ke semasa,

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

perlu duduk dan cuba mainkan piano yang tidak boleh dimainkan.

Thank you.

Terima kasih.

(Applause)

(Tepukan)