4 Lessons in Creativity | Julie Burstein | TED Talks

Translator: Joseph Geni Reviewer: Morton Bast

Prevodilac: Biljana Zlatanovic Lektor: Tatjana Jevdjic

On my desk in my office, I keep a small clay pot

Na svom stolu u kancelariji držim malu glinenu posudu

that I made in college. It's raku, which is a kind of pottery

koju sam napravila na koledžu. Radi se o rakuu, vrsti grnčarije

that began in Japan centuries ago as a way of

nastaloj u Japanu pre mnogo vekova

making bowls for the Japanese tea ceremony.

kao način pravljenja činija za obred japanskog čaja.

This one is more than 400 years old.

Ova je stara više od 400 godina.

Each one was pinched or carved out of a ball of clay,

Svaka je oblikovana ili izvajana od komada gline

and it was the imperfections that people cherished.

i ljudi su cenili male nesavršenosti.

Everyday pots like this cup take eight to 10 hours to fire.

Ćupovima kao što je ovaj, treba od 8 do 10 sati da se ispeku.

I just took this out of the kiln last week, and the kiln itself

Ovaj sam izvadila prošle nedelje iz peći, a samoj peći

takes another day or two to cool down, but raku

treba još dan ili dva da se ohladi, dok je raku

is really fast. You do it outside, and you take the kiln

zaista brz. Sve ovo radite napolju i zagrejete peć.

up to temperature. In 15 minutes, it goes to 1,500 degrees,

Za 15 minuta temperatura poraste do 1500 stepeni

and as soon as you see that the glaze has melted inside,

i čim vidite da se glazura istopila iznutra,

you can see that faint sheen, you turn the kiln off,

možete da vidite bledunjavi sjaj i tada isključite peć.

and you reach in with these long metal tongs,

Tada uđete ovim dugačkim, metalnim kleštima,

you grab the pot, and in Japan, this red-hot pot

zgrabite ćup i u Japanu ovaj crveni, vreo ćup

would be immediately immersed in a solution of green tea,

bi odmah bio uronjen u rastvor zelenog čaja

and you can imagine what that steam would smell like.

i možete da zamislite kako bi para mirisala.

But here in the United States, we ramp up the drama

Ali u SAD-u, zakuvamo malo stvar,

a little bit, and we drop our pots into sawdust,

spustimo ćupove u piljevinu,

which catches on fire, and you take a garbage pail,

koja počne da gori, onda uzmete kofu za smeće,

and you put it on top, and smoke starts pouring out.

stavite je na vrh i tada dim počne da izlazi.

I would come home with my clothes reeking of woodsmoke.

Dolazila sam kući sa odećom koja se osećala na paljevinu.

I love raku because it allows me to play with the elements.

Volim raku jer mi dozvoljava da se poigravam sa elementima.

I can shape a pot out of clay and choose a glaze,

Mogu da oblikujem ćup od gline i da odaberem glazuru,

but then I have to let it go to the fire and the smoke,

ali onda moram da ga prepustim vatri i dimu,

and what's wonderful is the surprises that happen,

a najdivnija su iznenađenja,

like this crackle pattern, because it's really stressful

kao što je ova naprsla šara, jer ćupovi trpe mnogo stresa.

on these pots. They go from 1,500 degrees

Temperatura se menja od 1500 stepeni

to room temperature in the space of just a minute.

do sobne temperature za samo jedan minut.

Raku is a wonderful metaphor for the process of creativity.

Raku je divna metafora za proces kreativnosti.

I find in so many things that tension between

Smatram da se tenzija između

what I can control and what I have to let go

onoga što mogu i ne mogu da kontrolišem

happens all the time, whether I'm creating a new radio show

dešava stalno, bilo da pravim novi radio program

or just at home negotiating with my teenage sons.

ili raspravljam kod kuće sa svojim sinovima tinejdžerima.

When I sat down to write a book about creativity,

Kada sam sela da napišem knjigu o kreativnosti,

I realized that the steps were reversed.

shvatila sam da su koraci bili obrnuti.

I had to let go at the very beginning, and I had to

Morala sam se odreći nekih stvari na samom početku i morala sam da

immerse myself in the stories of hundreds of artists

se udubim u priče stotina umetnika

and writers and musicians and filmmakers, and as I listened

i pisaca i muzičara i režisera i dok sam slušala

to these stories, I realized that creativity

ove priče, shvatila sam da kreativnost

grows out of everyday experiences

raste iz svakodnevnih iskustava,

more often than you might think, including

češće nego što možete da zamislite, uključujući

letting go.

i prepuštanje.

It was supposed to break, but that's okay. (Laughter) (Laughs)

Trebalo je da se polomi, ali nema veze. (Smeh)

That's part of the letting go, is sometimes it happens

To je deo procesa puštanja, nekada se dogodi,

and sometimes it doesn't, because creativity also grows

a nekada se ne dogodi. Sama kreativnost raste

from the broken places.

iz polomljenih mesta.

The best way to learn about anything

Najbolji način učenja o bilo čemu

is through stories, and so I want to tell you a story

je kroz priče, tako da želim da vam ispričam priču

about work and play and about four aspects of life

o poslu i igri i o četiri aspekta života,

that we need to embrace

koje moramo da prihvatimo

in order for our own creativity to flourish.

da bi naša kreativnost bujala.

The first embrace is something that we think,

Prvo prihvatanje je nešto što mislimo:

"Oh, this is very easy," but it's actually getting harder,

"Ovo je veoma lako", ali zapravo postaje teže,

and that's paying attention to the world around us.

a to je obraćanje pažnje na svet oko nas.

So many artists speak about needing to be open,

Mnogo umetnika govori o tome da je potrebno biti otvoren,

to embrace experience, and that's hard to do when

da se prihvati iskustvo, a to je teško uraditi kada

you have a lighted rectangle in your pocket that

imate u džepu nešto što

takes all of your focus.

vam oduzima svu pažnju.

The filmmaker Mira Nair speaks about growing up

Režiser Mira Nair govori o odrastanju

in a small town in India. Its name is Bhubaneswar,

u malom gradu u Indiji. Zove se Bubanesvar,

and here's a picture of one of the temples in her town.

a evo i slike jednog hrama u njenom gradu.

Mira Nair: In this little town, there were like 2,000 temples.

Mira Nair: U ovom malom gradu, bilo je oko 2 000 hramova.

We played cricket all the time. We kind of grew up

Igrali smo kriket stalno. Odrastali smo donekle

in the rubble. The major thing that inspired me,

na šljunku. Najveća stvar koja me je inspirisala,

that led me on this path, that made me a filmmaker eventually,

koja me je vodila na ovom putu, ono zbog čega sam postala režiser,

was traveling folk theater that would come through the town

bilo je putujuće pozorište, koje je dolazilo u gradić

and I would go off and see these great battles

i ja bih odlazila i gledala te sjajne bitke

of good and evil by two people in a school field

dobra i zla dvoje ljudi na školskom terenu

with no props but with a lot of, you know,

bez rekvizita, ali sa mnogo

passion, and hashish as well, and it was amazing.

strasti i hašiša. BIlo je sjajno.

You know, the folk tales of Mahabharata and Ramayana,

Narodne priče Mahabharata i Ramajana,

the two holy books, the epics that everything comes out of

dve svete knjige, epovi iz kojih sve proizlazi

in India, they say. After seeing that Jatra, the folk theater,

iz Indije, barem tako kažu. Nakon što sam videla Džatru, narodno pozorište,

I knew I wanted to get on, you know, and perform.

znala sam da želim da se popnem na binu i nastupam.

Julie Burstein: Isn't that a wonderful story?

Džuli Burstajn: Zar ovo nije predivna priča?

You can see the sort of break in the everyday.

Možete videti prekid u kolotečini svakodnevice.

There they are in the school fields, but it's good and evil,

Na poljima su u školi, ali u isto vreme je dobro i zlo

and passion and hashish. And Mira Nair was a young girl

i strast i hašiš. Mira Nair je bila mlada devojka

with thousands of other people watching this performance,

sa hiljadama drugih ljudi koji gledaju ovaj nastup,

but she was ready. She was ready to open up

ali ona je bila spremna. Bila je spremna da se otvori

to what it sparked in her, and it led her,

za varnice u njoj i to ju je vodilo,

as she said, down this path to become

kao sto je i ona rekla, ovim putem da postane

an award-winning filmmaker.

nagrađeni režiser.

So being open for that experience that might change you

Prva stvar koju treba da prihvatimo je da treba da budemo otvoreni

is the first thing we need to embrace.

za to iskustvo koje bi moglo da nas promeni.

Artists also speak about how some of their most powerful work

Umetnici takođe govore o tome kako neki od njihovih najsnažnijih radova

comes out of the parts of life that are most difficult.

proizlaze iz delova života koji su bili najteži.

The novelist Richard Ford speaks about

Romanopisac Ričard Ford govori o

a childhood challenge that continues to be something

izazovu iz detinjstva sa kojim se uporno

he wrestles with today. He's severely dyslexic.

bori čak i sada. Ima ozbiljnu disleksiju.

Richard Ford: I was slow to learn to read, went all the way

Ričard Ford: Sporo sam učio da čitam, prošao sam kroz

through school not really reading more than the minimum,

celo školovanje minimalno čitajući

and still to this day can't read silently

Čak ni danas ne mogu da čitam u sebi

much faster than I can read aloud,

mnogo brže nego što čitam naglas,

but there were a lot of benefits to being dyslexic for me

ali postojalo je mnogo pogodnosti za mene sa disleksijom

because when I finally did reconcile myself to how slow

jer kada sam se konačno pomirio sa tim koliko ću sporo

I was going to have to do it, then I think I came very slowly

morati da čitam, počeo sam da

into an appreciation of all of those qualities of language

cenim sve one vrline jezika

and of sentences that are not just the cognitive

i rečenica koje nisu samo kognitivni

aspects of language: the syncopations, the sounds of words,

aspekti jezika: sinkopacija, zvuci reči,

what words look like, where paragraphs break,

kako reči izgledaju, de se pasusi završavaju,

where lines break. I mean, I wasn't so badly dyslexic that

gde se redovi završavaju. Nisam bio toliko dislektičan

I was disabled from reading. I just had to do it

da nisam mogao uopšte da čitam. Samo sam morao da čitam

really slowly, and as I did, lingering on those sentences

veoma sporo. I dok sam otezao sa rečenicama,

as I had to linger, I fell heir to language's other qualities,

počeo sam ceniti ostale kvalitete jezika,

which I think has helped me write sentences.

što mi je pomoglo da pišem rečenice.

JB: It's so powerful. Richard Ford, who's won the Pulitzer Prize,

DžB: Ovo je toliko snažno. Ričard Ford, koji je osvojio Pulicerovu nagradu,

says that dyslexia helped him write sentences.

kaže da mu je disleksija pomogla da piše rečenice.

He had to embrace this challenge, and I use that word

Morao je da prihvati ovaj izazov i namerno koristim ovu reč.

intentionally. He didn't have to overcome dyslexia.

Nije morao da pobedi disleksiju.

He had to learn from it. He had to learn to hear the music

Morao je da od nje uči. Morao je da uči da čuje muziku

in language.

u jeziku.

Artists also speak about how pushing up against

Umetnici takođe govore kako im prevazilaženje

the limits of what they can do, sometimes pushing

sopstvenih mogućnosti, ponekad izvan

into what they can't do, helps them focus

svojih granica, pomaže da se usredsrede

on finding their own voice.

na pronalazak sopstvenog glasa.

The sculptor Richard Serra talks about how,

Skulptor Ričard Sera govori o tome kako je,

as a young artist, he thought he was a painter,

kao mladi umetnik, mislio da je slikar.

and he lived in Florence after graduate school.

Živeo je u Firenci nakon studija.

While he was there, he traveled to Madrid,

Dok je bio tamo, otputovao je u Madrid,

where he went to the Prado to see this picture

gde je otišao u Prado da vidi ovu sliku

by the Spanish painter Diego Velázquez.

španskog slikara Diega Velaskeza.

It's from 1656, and it's called "Las Meninas,"

Slika je iz 1656. i zove se "Las Meninas".

and it's the picture of a little princess

Radi se o slici male princeze

and her ladies-in-waiting, and if you look over

i njenih dvorskih dama i ako pogledate preko

that little blonde princess's shoulder, you'll see a mirror,

ramena te male, plave princeze, videćete ogledalo

and reflected in it are her parents, the King and Queen

i u njemu su odrazi njenih roditelja, kralja i kraljice

of Spain, who would be standing where you might stand

Španije, koji možda stoje gde vi stojite

to look at the picture.

da gledate u sliku.

As he often did, Velázquez put himself in this painting too.

Kao što je obično činio, Velaskez je i sebe stavio u sliku.

He's standing on the left with his paintbrush in one hand

Stoji sa leve strane sa četkicom u jednoj ruci

and his palette in the other.

i paletom u drugoj.

Richard Serra: I was standing there looking at it,

Ričard Sara: Stajao sam tamo i gledao u nju,

and I realized that Velázquez was looking at me,

kada sam shvatio da Velaskez gleda u mene

and I thought, "Oh. I'm the subject of the painting."

i tada sam pomislio: "Ja sam subjekat slike."

And I thought, "I'm not going to be able to do that painting."

Pomislio sam: "Neću moći da naslikam tu sliku."

I was to the point where I was using a stopwatch

Došlo je do toga da sam koristio štopericu,

and painting squares out of randomness,

slikao nasumično kvadrate

and I wasn't getting anywhere. So I went back and dumped

i nisam ništa postizao. Vratio sam se i bacio sam

all my paintings in the Arno, and I thought, I'm going to just start playing around.

sve svoje slike u Arno i došao na ideju da jednostavno počnem da se igram.

JB: Richard Serra says that so nonchalantly, you might

DžB: Ričard Sara kaže to tako nonšalantno, možda ste

have missed it. He went and saw this painting by a guy

propustili nešto. Otišao je da vidi ovu sliku čoveka,

who'd been dead for 300 years, and realized,

koji je mrtav već 300 godina i shvatio:

"I can't do that," and so Richard Serra went back

"Ne mogu ja ovo", tako da se Ričard Sera vratio

to his studio in Florence, picked up all of his work

u svoj studio u Firenci, pokupio sav svoj rad

up to that point, and threw it in a river.

do tog trenutka i sve bacio u reku.

Richard Serra let go of painting at that moment,

Ričard Sera je u tom trenutku odustao od slikarstva,

but he didn't let go of art. He moved to New York City,

ali nije odustao od umetnosti. Preselio se u Njujork,

and he put together a list of verbs

gde je sastavio listu glagola

— to roll, to crease, to fold —

- prevrtati, nabrati, saviti -

more than a hundred of them, and as he said,

više od stotinu glagola i kako je rekao,

he just started playing around. He did these things

počeo je da se igra sa njima. Radio je ovo

to all kinds of material. He would take a huge sheet of lead

svim materijalima. Uzeo bi ogromnu tablu olova

and roll it up and unroll it. He would do the same thing

i uvio bi ga i odvio. Isto bi uradio

to rubber, and when he got to the direction "to lift,"

sa gumom i kada je došao do uputstva "podići",

he created this, which is in the Museum of Modern Art.

napravio je ovo, što se nalazi u Muzeju moderne umetnosti.

Richard Serra had to let go of painting

Ričard Sera je morao da odustane od slikarstva

in order to embark on this playful exploration

da bi se ukrcao na ovo veselo istraživanje,

that led him to the work that he's known for today:

koje ga je dovelo do dela po kome je danas poznat:

huge curves of steel that require our time and motion

ogrome krive čelika, koje zahtevaju naše vreme i kretanje

to experience. In sculpture,

da bi se iskusile. Ričard Sera

Richard Serra is able to do what he couldn't do in painting.

je u stanju da uradi sa skulpturom ono što nije mogao u slikarstvu.

He makes us the subject of his art.

On nas čini subjektima svoje umetnosti.

So experience and challenge

Iskustvo i izazov

and limitations are all things we need to embrace

i ograničenja su sve što treba da prihvatimo

for creativity to flourish.

da bi naša kreativnost procvetala.

There's a fourth embrace, and it's the hardest.

Postoji četvrta stvar koju treba da prihvatimo i najteža je.

It's the embrace of loss,

Prihvatanje gubitka,

the oldest and most constant of human experiences.

najstarije i najpostojanije ljudsko iskustvo.

In order to create, we have to stand in that space

Da bismo stvarali, moramo da stojimo u tom prostoru

between what we see in the world and what we hope for,

između onoga što vidimo u svetu i onoga čemu se nadamo

looking squarely at rejection, at heartbreak,

i da jasno posmatramo odbijanje, slamanje srca,

at war, at death.

rat, smrt.

That's a tough space to stand in.

Vrlo je teško stajati u tom prostoru.

The educator Parker Palmer calls it "the tragic gap,"

Nastavnik Parker Palmer to naziva "tragičnom provalijom",

tragic not because it's sad but because it's inevitable,

tragičnom ne zato što je tužna, već zato što je neizbežna,

and my friend Dick Nodel likes to say,

a moj prijatelj Dik Nodel voli da kaže:

"You can hold that tension like a violin string

"Možeš da održavaš tu tenziju kao žicu violine

and make something beautiful."

i da napraviš nešto prelepo."

That tension resonates in the work of the photographer

Ta tenzija rezonira u radu fotografa

Joel Meyerowitz, who at the beginning of his career was

Džoela Majerovica, koji je na početku svoje karijere

known for his street photography, for capturing a moment

bio poznat po uličnoj fotografiji, po hvatanju trenutka

on the street, and also for his beautiful photographs

na ulici, a isto tako i po prelepim fotografijama

of landscapes -- of Tuscany, of Cape Cod,

pejzaža - Toskane, Kejp Koda,

of light.

svetlosti.

Joel is a New Yorker, and his studio for many years

Džoel je Njujorčanin i njegov studio se godinama nalazio

was in Chelsea, with a straight view downtown

u Čelsiju, sa pogledom pravo na centar grada,

to the World Trade Center, and he photographed

na Svetski trgovinski centar i fotografisao je

those buildings in every sort of light.

te zgrade pod svakim mogućim svetlom.

You know where this story goes.

Znate u kom se pravcu ova priča kreće.

On 9/11, Joel wasn't in New York. He was out of town,

9.11. Džoel nije bio u Njujorku. Bio je van grada,

but he raced back to the city, and raced down to the site

ali je požurio nazad u grad i požurio je do lokacije

of the destruction.

uništenja.

Joel Meyerowitz: And like all the other passersby,

Džoel Mejerovic: Kao i ostali prolaznici,

I stood outside the chain link fence on Chambers

stajao sam izvan ograde od lanaca na uglu ulica Čejmbers

and Greenwich, and all I could see was the smoke

i Grinič i mogao sam da vidim samo dim

and a little bit of rubble, and I raised my camera

i malo šljunka. Podigao sam kameru

to take a peek, just to see if there was something to see,

da provirim, samo da vidim da li je bilo ičega,

and some cop, a lady cop, hit me on my shoulder,

kada me je neka policajka udarila po ramenu

and said, "Hey, no pictures!"

i rekla: "Hej! Nema fotografisanja!"

And it was such a blow that it woke me up,

Bio je to tako jak udarac, da me je probudio,

in the way that it was meant to be, I guess.

pretpostavljam da je bilo suđeno da se to tako desi.

And when I asked her why no pictures, she said,

Kada sam je pitao zašto nema fotografisanja, rekla je:

"It's a crime scene. No photographs allowed."

"Ovo je mesto zločina. Fotografisanje nije dozvoljeno."

And I asked her, "What would happen if I was a member

Tada sam je pitao: "Šta bi se desilo da sam član

of the press?" And she told me,

novinara?" Rekla mi je:

"Oh, look back there," and back a block was the press corps

"Pogledaj tamo", iza se nalazila grupa novinara,

tied up in a little penned-in area,

zatvorena u malom ograničenom prostoru

and I said, "Well, when do they go in?"

i rekao sam: "Kada oni ulaze?",

and she said, "Probably never."

odgovorila je: "Verovatno nikada."

And as I walked away from that, I had this crystallization,

Dok sam se udaljavao, jasno sam shvatio,

probably from the blow, because it was an insult in a way.

verovatno od udarca jer to je na neki način bila uvreda.

I thought, "Oh, if there's no pictures,

Pomislio sam: "Ako nema fotografisanja,

then there'll be no record. We need a record."

onda neće biti ni zabeleške. Potrebna nam je zabeleška."

And I thought, "I'm gonna make that record.

Pomislio sam: "Ja ću to zabeležiti.

I'll find a way to get in, because I don't want to

Naći ću način da uđem jer ne želim da

see this history disappear."

vidim kako istorija nestaje."

JB: He did. He pulled in every favor he could,

DžB: To je i uradio. Potegao je sve veze koje je mogao

and got a pass into the World Trade Center site,

i nabavio propusnicu za lokaciju Svetskog trgovinskog centra,

where he photographed for nine months almost every day.

gde je devet meseci fotografisao skoro svaki dan.

Looking at these photographs today brings back

Dok gledam ove fotografije danas, vraća mi se

the smell of smoke that lingered on my clothes

miris dima koji je bio svuda po mojoj odeći

when I went home to my family at night.

kada sam uveče odlazila kući porodici.

My office was just a few blocks away.

Moja kancelarija je bila samo nekoliko ulica udaljena.

But some of these photographs are beautiful,

Međutim, neke od ovih fotografija su prelepe

and we wondered, was it difficult for Joel Meyerowitz

i zapitali smo se, da li je bilo teško Džoelu Mejerovicu

to make such beauty out of such devastation?

da napravi takvu lepotu od takvog razaranja?

JM: Well, you know, ugly, I mean, powerful

DžM: Znate, ružno, mislim, moćno

and tragic and horrific and everything, but

i tragično i strašno i sve, ali je

it was also as, in nature, an enormous event

u isto vreme, kao u prirodi, ogroman događaj

that was transformed after the fact into this residue,

koji je pretvoren nakon tog čina u ovaj ostatak.

and like many other ruins

Kao i mnoge druge ruševine

— you go to the ruins of the Colosseum or the ruins of a cathedral someplace —

- odete do ruševina Koloseuma ili do ruševina neke katedrale -

and they take on a new meaning when you watch the weather.

i one dobiju novo značenje kada posmatrate vreme.

I mean, there were afternoons I was down there,

Bilo je poslepodneva kada sam bio tamo

and the light goes pink and there's a mist in the air

i kada bi svetlo postalo roze, kada bi bilo magle u vazduhu

and you're standing in the rubble, and I found myself

i stajao bih na šutu i tada sam shvatao da

recognizing both the inherent beauty of nature

prepoznajem urođenu lepotu prirode

and the fact that nature, as time,

i činjenicu da priroda, kao i vreme,

is erasing this wound.

briše ovu ranu.

Time is unstoppable, and it transforms the event.

Vreme se ne može zaustaviti i ono transformiše događaj.

It gets further and further away from the day,

Dok dan prolazi,

and light and seasons temper it in some way,

svetlost i godišnja doba smiruju sve ovo na neki način.

and it's not that I'm a romantic. I'm really a realist.

Nije da sam romantičar, zapravo sam vrlo realističan.

The reality is, there's the Woolworth Building

Realnost je da je Vulvort zgrada

in a veil of smoke from the site, but it's now like a scrim

u velu dima sa ruševina, samo što je sada kao vrisak

across a theater, and it's turning pink,

koji se razleže preko pozorišta i pretvara se u roze,

you know, and down below there are hoses spraying,

niže dole gumena creva prskaju,

and the lights have come on for the evening, and the water

noćna svetla su se pojavila i voda

is turning acid green because the sodium lamps are on,

postaje zelena jer su se upalile sodijumske lampe.

and I'm thinking, "My God, who could dream this up?"

Tada sam pomislio: "O moj bože! Ko je mogao ovo i da zamisli?"

But the fact is, I'm there, it looks like that,

Međutim, činjenica je da sam tamo,

you have to take a picture.

izgleda tako da morate da slikate.

JB: You have to take a picture. That sense of urgency,

DžB: Morate da slikate. Osećaj nužde,

of the need to get to work, is so powerful in Joel's story.

potrebe da počnete da radite, toliko je moćna u Džoelovoj priči.

When I saw Joel Meyerowitz recently, I told him how much

Kada sam nedavno videla Džoela Mejerovica, rekla sam mu koliko

I admired his passionate obstinacy, his determination

se divim njegovoj strasnoj upornosti, njegovoj odlučnosti

to push through all the bureaucratic red tape to get to work,

da se suprotstavi birokratskim procedurama da bi radio,

and he laughed, and he said, "I'm stubborn,

a on se nasmejao i rekao: "Tvrdoglav sam,

but I think what's more important

ali mislim da je moj strastveni optimizam

is my passionate optimism."

važniji."

The first time I told these stories, a man in the audience

Prvi put kada sam ispričala ove priče, jedan čovek iz publike

raised his hand and said, "All these artists talk about

je podigao ruku i rekao: "Svi ovi umetnici govore

their work, not their art, which has got me thinking about

o svom poslu, ne o svojoj umetnosti, što me je navelo da razmišljam

my work and where the creativity is there,

o mom poslu i gde je kreativnost u tome,

and I'm not an artist." He's right. We all wrestle

a nisam umetnik." U pravu je. Svi se borimo

with experience and challenge, limits and loss.

sa iskustvom i izazovima, ograničenjima i gubicima.

Creativity is essential to all of us,

Kreativnost je ključna za sve nas,

whether we're scientists or teachers,

bilo da smo naučnici ili profesori,

parents or entrepreneurs.

roditelji ili preduzetnici.

I want to leave you with another

Želim da vas ostavim sa još jednom

image of a Japanese tea bowl. This one

slikom japanske činije za čaj.

is at the Freer Gallery in Washington, D.C.

Ova je u Frir Galeriji u Vašingtonu.

It's more than a hundred years old and you can still see

Stara je više od sto godina i dalje možete da vidite

the fingermarks where the potter pinched it.

utisnute otiske prstiju grnčara.

But as you can also see, this one did break

Ali isto tako možete da vidite da je naprsla

at some point in its hundred years.

u nekom trenutku u toku tih sto godina.

But the person who put it back together,

Osoba koja ju je ponovo sastavila,

instead of hiding the cracks,

umesto da je sakrila naprsline,

decided to emphasize them, using gold lacquer to repair it.

odlučila je da ih naglasi koristeći zlatni lak da je popravi.

This bowl is more beautiful now, having been broken,

Ova činija, nakon što je bila polomljena, sada je lepša

than it was when it was first made,

nego što je bila kada je bila napravljena

and we can look at those cracks, because

i možemo da gledamo te naprsline jer one

they tell the story that we all live,

pričaju priču koju svi proživljavamo,

of the cycle of creation and destruction,

priču ciklusa stvaranja i rušenja,

of control and letting go, of picking up the pieces

kontrolisanja i prepuštanja, skupljanja delova

and making something new.

i pravljenja nečeg novog.

Thank you. (Applause)

Hvala vam. (Aplauz)