4 Lessons in Creativity | Julie Burstein | TED Talks

Translator: Joseph Geni Reviewer: Morton Bast

譯者: Jiin Wu 審譯者: Audrey Her

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

在我辦公室的桌上,我放了一個小陶壺

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

是我在大學時期做的 這是樂燒,一種製陶術

that began in Japan centuries ago as a way of

在好幾世紀以前源自日本,

making bowls for the Japanese tea ceremony.

日本人用這樣的技術為茶道製作了這些碗

This one is more than 400 years old.

這個壺已經有四百多歲了

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

每一個樂燒都是從一球黏土 捏成或雕刻而成

and it was the imperfections that people cherished.

而成品本身的不完美卻是被人所珍視的

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

每一天,像這樣的杯子 都要花費八到十小時去烘製

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

上個禮拜我才剛把它 從窯裡面拿出來,而這個窯本身

takes another day or two to cool down, but raku

也需要花一兩天來冷卻,不過樂燒呢

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

就很快了,你在窯外製作它,然後將窯升溫

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

在十五分鐘之內 它就會達到攝氏一千五百度

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

當你看到外層的釉已經在窯內熔化

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

可以看得見微亮的光澤時,將窯關掉

and you reach in with these long metal tongs,

用金屬鉗伸入窯裡

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

然後抓住裡面的壺 在日本,這個火熱的容器

would be immediately immersed in a solution of green tea,

會立刻被浸入綠茶中

and you can imagine what that steam would smell like.

你能想像那蒸氣聞起來的味道

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

但在美國,我們更增加一些

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

戲劇效果.我們將我們的壺罐放在著火的

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

鋸木屑中,然後拿一個垃圾桶

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

把壺和燒木屑蓋起來,然後煙霧便開始傾出

I would come home with my clothes reeking of woodsmoke.

我回家時,我的衣服散發出濃烈的木屑味

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

我熱愛樂窟,因為它讓我能玩這些元素

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

我能從一團黏土中塑形出一個壺並能選擇釉料

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

但之後我必須把它放進火和煙中

and what's wonderful is the surprises that happen,

而最棒的是驚喜的事發生了

like this crackle pattern, because it's really stressful

像這個碎裂的花紋,因為這些壺罐

on these pots. They go from 1,500 degrees

承受了很大的壓力,它們在一分鐘之內

to room temperature in the space of just a minute.

經歷了攝氏一千五百度到室溫的溫度變化

Raku is a wonderful metaphor for the process of creativity.

樂燒對於創造的過程而言,是個很棒的比喻

I find in so many things that tension between

我發現在很多事物中

what I can control and what I have to let go

介於什麼是我能控制的 和什麼是我得放手的張力

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

時時都存在,不管在製作一個廣播節目

or just at home negotiating with my teenage sons.

或是在家中和我的青少年兒子們談判時

When I sat down to write a book about creativity,

當我坐下來要寫一本有關創造的書時

I realized that the steps were reversed.

我發現創造的步驟是顛倒的

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

在一開始時我必須要放手,然後我必須要

immerse myself in the stories of hundreds of artists

將我自己沈浸在幾百個藝術家, 作家,

and writers and musicians and filmmakers, and as I listened

音樂家,和影片製作人的故事裡

to these stories, I realized that creativity

當我聆聽這些故事時,我了解到創造力

grows out of everyday experiences

發芽於我們日常生活中的經驗

more often than you might think, including

頻率比你想像的還高,也包括

letting go.

放手的經驗

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

它應該要破掉的,不過沒關係 (笑聲)

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

這也是放手的一部份.有時候它發生了

and sometimes it doesn't, because creativity also grows

有時候它不會,因為創造力也會由

from the broken places.

破碎的地方生出

The best way to learn about anything

學習一切事物最好的方法

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

就是透過故事,所以我想要告訴你們一個故事

about work and play and about four aspects of life

關於工作還有玩樂 還有人生中的四個面向

that we need to embrace

這些是我們需要欣然接受的

in order for our own creativity to flourish.

為了要讓我們的創造力能夠成長茁壯

The first embrace is something that we think,

第一個要擁抱的就是我們常認為

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

“噢,這非常容易”但實事上這件事卻越來越難

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

那就是：注意我們身邊的世界

So many artists speak about needing to be open,

所以許多藝術家談到保持開放的必要

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

去擁抱經驗,這是很難的

you have a lighted rectangle in your pocket that

當你有一個發光的長方形物體在你的口袋

takes all of your focus.

它將你的專注都奪走了

The filmmaker Mira Nair speaks about growing up

製片家米拉奈勒發表了有關成長的演說

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

在印度一個叫做布班那史瓦爾的小鎮

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

而這是她的小鎮中其中一座廟的照片

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

米拉奈勒:在這個小鎮中,大概有兩千座廟宇

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

我們老是在玩蟋蟀,我們算是在瓦礫堆中

in the rubble. The major thing that inspired me,

長大的,主要激發我

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

走上這條路,最後成為一個製片家的

was traveling folk theater that would come through the town

是會到我們鎮上的移動劇團

and I would go off and see these great battles

我會到操場去看

of good and evil by two people in a school field

正義與邪惡兩方之間的大戰

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

沒有道具,只有,你知道的

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

熱情,和印度大麻花,這是非常驚人的

You know, the folk tales of Mahabharata and Ramayana,

你知道, 民間傳說摩訶波羅多和羅摩耶那史詩

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

這兩本聖書、史詩, 在印度是一切的出處

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

在看過移動劇團加塔亞後

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

我就知道我想要上台去,你知道的,去表演

Julie Burstein: Isn't that a wonderful story?

講者：這不是個很棒的故事嗎？

You can see the sort of break in the everyday.

在日常生活中你就能看見這樣子的機會

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

他們就在校園操場上 但是具備了正義與邪惡兩方

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

還有熱情和印度大麻花 米拉奈爾是個年輕女孩

with thousands of other people watching this performance,

和上千名觀眾一起看表演

but she was ready. She was ready to open up

但她準備好了。準備好向在她心裡閃耀之處

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

敞開她自己。她說，這帶領她

as she said, down this path to become

通往得獎製片者的

an award-winning filmmaker.

道路上

So being open for that experience that might change you

對於有可能改變你的經驗保持開放的心胸

is the first thing we need to embrace.

是第一件我們需要欣然接受的事

Artists also speak about how some of their most powerful work

藝術家也常說到他們最有力的作品

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

是如何產生於生命中最困難的時刻

The novelist Richard Ford speaks about

小說家理查・福特談到

a childhood challenge that continues to be something

一個童年的挑戰延續成為某件

he wrestles with today. He's severely dyslexic.

他至今仍舊努力解決的事。 他有嚴重的閱讀障礙

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

理查・福特：我學習閱讀得很慢，在

through school not really reading more than the minimum,

全部求學期間，我的閱讀只是在最低程度

and still to this day can't read silently

而至今我默讀也不會

much faster than I can read aloud,

比大聲朗讀時快很多

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

但是閱讀障礙對我而言有很多好處

because when I finally did reconcile myself to how slow

因為當我終於接受我閱讀會是多麼地慢時

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

我慢慢地開始

into an appreciation of all of those qualities of language

欣賞語言中的特質

and of sentences that are not just the cognitive

還有不只是語言中認知層面的句子

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

的句子。其中的切分音、單字的音

what words look like, where paragraphs break,

這些字的樣子、段落是在哪裡分隔

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

詩句是在那裡切斷。 我的意思是，我的閱讀障礙

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

並沒有嚴重到我不能閱讀。我只是需要

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

讀地很慢。當我如此這樣做，我徘徊在

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

我需要徘徊的句子之中時， 我成為語言裡其他本質的繼承人

which I think has helped me write sentences.

我想這幫助了我寫每一個句子

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

講者：多麼強而有力。 理查・福特，普利茲獎的得主

says that dyslexia helped him write sentences.

說閱讀障礙幫助了他寫作

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

他必須欣然接受這個挑戰， 而我是故意用「欣然接受」這個字。

intentionally. He didn't have to overcome dyslexia.

他不必克服閱讀障礙

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

他需要從中學習。他需要學著去

in language.

聽語言中的音樂。

Artists also speak about how pushing up against

藝術家也談到逼自己超越

the limits of what they can do, sometimes pushing

自己的極限，有時是如何將他們推入

into what they can't do, helps them focus

自己以前做不到的事，幫助他們專注於

on finding their own voice.

找到他們自己的聲音

The sculptor Richard Serra talks about how,

雕刻家理查席拉說道

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

身為一個年輕藝術家，他認為他是一個畫家

and he lived in Florence after graduate school.

他住在佛羅倫斯在他畢業以後

While he was there, he traveled to Madrid,

當他在那裡時，他旅行到馬德里

where he went to the Prado to see this picture

在那裡他去了普拉多美術館去看

by the Spanish painter Diego Velázquez.

西班牙畫家維拉斯奎茲的畫作

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

它作於1656年，它的名字是《宮女》

and it's the picture of a little princess

它是一幅一個小公主

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

和她的侍女的畫作。若你仔細看

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

那個金髮小公主的肩膀後面，你會看到一面鏡子

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

反射於其中的是她的父母，西班牙的

of Spain, who would be standing where you might stand

國王和皇后，他們於理應該就站在你看畫時

to look at the picture.

所站的地方

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

如同他常常做的，維拉斯奎茲將他自己放在畫中

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

他正站在畫中的左邊，一隻手裡拿著他的筆刷

and his palette in the other.

另一隻手拿著他的調色盤

Richard Serra: I was standing there looking at it,

理查席拉：我站在那看著這幅畫

and I realized that Velázquez was looking at me,

然後我了解到維拉斯奎茲正在看著我

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

我想到：噢，我就是這幅畫中的主題

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

然後我繼續想到：我永遠不可能畫出這樣的畫

I was to the point where I was using a stopwatch

在當時我使用秒錶

and painting squares out of randomness,

隨意地畫些方塊

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

沒有任何的進步。所以 我回到義大利並在亞諾河畔

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

丟掉我所有的畫作。 然後我想：我要開始輕鬆地玩耍

JB: Richard Serra says that so nonchalantly, you might

講者：理查席拉說得如此不在乎，

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

你們可能沒有領會到。 他看到一幅畫，出自於一個

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

已經死了三百多年的人，然後領悟到

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

“我做不到”。所以理查席拉回到

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

他在佛羅倫斯的工作室，拿起他到當時為止

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

所有的畫作，然後將它們丟進河裡。

Richard Serra let go of painting at that moment,

理查席拉在那一刻放開了繪畫這件事

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

但他並沒有放棄藝術。他搬到紐約

and he put together a list of verbs

然後他組合了一串動詞

— to roll, to crease, to fold —

－捲，弄皺，折疊－

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

超過一百種動作，然後他說

he just started playing around. He did these things

他開始輕鬆地玩耍了。他重複這件事

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

在不同的材質上。他會拿一大張的鉛紙

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

捲它再展開它。他會做同樣的事

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

於橡膠上，然後當他玩到"舉“這個方法

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

他創造出這個作品，現在在現代藝術博物館中。

Richard Serra had to let go of painting

理查席拉必須放棄繪畫

in order to embark on this playful exploration

才能開始從事這個好玩的探索

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

引導他創造出今天他為人知曉的作品

huge curves of steel that require our time and motion

鋼鐵的巨大弧線 那些需要我們用時間和動作

to experience. In sculpture,

去經驗的。在雕刻中

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

理查席拉能做那些 他在繪畫中不能做到的事

He makes us the subject of his art.

他讓我們成為他作品中的主題

So experience and challenge

所以經驗和挑戰

and limitations are all things we need to embrace

和極限全是我們需要欣然接受

for creativity to flourish.

讓創造力繁榮

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

這是第四個欣然接受，而這也是最難的

It's the embrace of loss,

要欣然接受失去

the oldest and most constant of human experiences.

這個最古老也是最亙古不變的人類經驗

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

為了要創造，我們需要站在

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

我們看到的和我們希望的世界的中間

looking squarely at rejection, at heartbreak,

直視拒絕，直視心碎

at war, at death.

直視戰爭，直視死亡。

That's a tough space to stand in.

這是個令人難以立足的空間

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

教育家帕爾默稱它為“悲劇的裂口”

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

悲劇並不是因為悲傷 而是因為這是無可避免的

and my friend Dick Nodel likes to say,

我的朋友迪克諾度喜歡這麼說

"You can hold that tension like a violin string

“你可以抓住像小提琴弦上的張力

and make something beautiful."

而創造美麗的事物”

That tension resonates in the work of the photographer

這緊繃的張力也在攝影師的作品中共鳴

Joel Meyerowitz, who at the beginning of his career was

喬爾邁耶羅維茨的作品裡。 他在職業生涯的一開始

known for his street photography, for capturing a moment

出名於他的街頭攝影，捕獲街上

on the street, and also for his beautiful photographs

的瞬間。他也知名於美麗的風景

of landscapes -- of Tuscany, of Cape Cod,

攝影－塔斯卡尼、鱈魚岬、

of light.

光影。

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

喬是個紐約人，而他的工作室很多年來

was in Chelsea, with a straight view downtown

都位於卻爾西，有著能一路看見商業區

to the World Trade Center, and he photographed

到世界貿易中心的視野。他拍攝

those buildings in every sort of light.

這些建築物於各種不同的光影下

You know where this story goes.

你們知道這個故事怎麼發展的了

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

911那天，喬不在紐約市，他出城了

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

但他飛快回到城裡，一路狂奔到

of the destruction.

遭破壞的地點

Joel Meyerowitz: And like all the other passersby,

喬爾邁耶羅維茨：就像所有的路人一樣

I stood outside the chain link fence on Chambers

我站在菱形粗鋼絲網牆外，在議院

and Greenwich, and all I could see was the smoke

和格林威治街交叉口。所有我能看到的只有煙

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

和一點點的瓦礫堆。我拿起我的相機

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

想多看到一點，只是想看看是否有什麼能看見的

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

然後有個警察，一個女警，打了一下我的肩膀

and said, "Hey, no pictures!"

然後說：嘿，不准拍照！

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

而這是把我叫醒的一擊

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

我猜我是註定要如此被喚醒

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

然後當我問她為什麼不能拍照時，她說

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

“這是一個犯罪現場，沒有任何的照片是允許的”

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

我接著問：“如果我是一個記者，

of the press?" And she told me,

那情況會是如何？” 然後她告訴我

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

“噢，看看你後面” 而後面正是一大批的記者

tied up in a little penned-in area,

被限制於一個囚禁式的區域

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

然後我說：“好吧，他們什麼時候能進去？”

and she said, "Probably never."

她說：“可能永遠不能”

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

當我離開時，我想清楚具體看見一件事

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

有可能是因為那一擊，因為那是一種侮辱

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

我想：噢，如果沒有照片

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

就沒有記錄。我們需要一個記錄

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

然後我想到：我必須做那個記錄

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

我會找到一個進去的方法，因為我不想

see this history disappear."

看見這個歷史消失

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

講者：他做到了。他找到了他能找來的所有幫助

and got a pass into the World Trade Center site,

然後拿到一個進入世貿中心的通行證

where he photographed for nine months almost every day.

在那裡他拍了九個月的照片，幾乎每一天都拍。

Looking at these photographs today brings back

看著這些照片讓我想起

the smell of smoke that lingered on my clothes

徘徊在我衣物上的煙味

when I went home to my family at night.

當我在傍晚回家時

My office was just a few blocks away.

我的辦公室離世貿中心只有只個街區遠

But some of these photographs are beautiful,

但其中有些照片很漂亮

and we wondered, was it difficult for Joel Meyerowitz

而我們想知道，對喬爾邁耶羅維茨這困難嗎

to make such beauty out of such devastation?

從廢墟殘骸中創造這樣的美？

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

喬：你知道，醜陋，我是說，強而有力的

and tragic and horrific and everything, but

還有悲劇的和可怕的和一切

it was also as, in nature, an enormous event

但它也是，在自然中，一個重大的事件

that was transformed after the fact into this residue,

在殘餘中轉化

and like many other ruins

就像其他很多遺跡

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

－你會去古羅馬大型競技場或大教堂的遺跡－

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

當你看著它們的處境時它們呈現新的意義

I mean, there were afternoons I was down there,

我的意思是，有幾個下午我在那裡時

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

光線變成粉紅色的，空氣中有薄霧

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

你站在廢墟中，然後我發現自己

recognizing both the inherent beauty of nature

認出了大自然的內在美

and the fact that nature, as time,

而自然，以時間方式呈現，

is erasing this wound.

正在抹去這個傷痕的事實

Time is unstoppable, and it transforms the event.

時間的流逝是不可擋的，而它改變了這個事件

It gets further and further away from the day,

它離那天越來越遠

and light and seasons temper it in some way,

光和季節以某種方式調和它

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

這不是因為我很浪漫。我真的是個現實主義者

The reality is, there's the Woolworth Building

現實是，威爾伍斯大樓

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

在這個場景煙霧的薄紗中 但它現在看起來像一塊窗簾布

across a theater, and it's turning pink,

蓋過劇院，而它現在正在轉成粉紅色

you know, and down below there are hoses spraying,

你知道，下面有在噴灑的水管

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

路燈因傍晚而亮起，而水

is turning acid green because the sodium lamps are on,

轉為酸綠，因為納燈開了

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

我想著：我的天啊，誰能料想到此景？

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

但事實上，我就在那裡，它看起來像

you have to take a picture.

你必須要照張相

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

講者：你必須要照張相。那種憂患意識

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

需要開始工作的需求，在喬的故事裡很強大

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

我最近看見喬爾邁耶羅維茨時，我告訴他我有多麼

I admired his passionate obstinacy, his determination

欽佩他熱情的頑強，他的決心

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

要克服所有官僚的繁文縟節去工作

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

然後他笑著說：「我很固執

but I think what's more important

但我想更重要的

is my passionate optimism."

是我熱情的樂觀主義。」

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

我第一次說這個故事時，觀眾席裡有一個男人

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

舉手並說道：『這些藝術家談他們的作品

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

而非他們的藝術品，這讓我開始思考關於

my work and where the creativity is there,

我的工作，和其中的創造力在哪裡

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

而我不是一個藝術家。』他是對的，我們都和

with experience and challenge, limits and loss.

經驗和挑戰搏鬥，還有極限和失去

Creativity is essential to all of us,

創造力是對我們每個人來說都是不可缺的

whether we're scientists or teachers,

不論我們是科學家或老師

parents or entrepreneurs.

父母或企業家

I want to leave you with another

我想要留下另一個

image of a Japanese tea bowl. This one

日本茶壺的印象給你們。這一個

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

在弗利爾美術館，位在華盛頓特區

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

它已經超過一千歲了而你們仍舊能看到

the fingermarks where the potter pinched it.

陶藝家捏它時的指痕i

But as you can also see, this one did break

但你們也能看到，它的確破裂

at some point in its hundred years.

在幾百年中的某個時刻

But the person who put it back together,

但把它拼湊回來的那個人

instead of hiding the cracks,

卻沒有遮掩住裂痕

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

反而決定要強調它們，使用金漆去修復它

This bowl is more beautiful now, having been broken,

這個碗現在更美麗了，比起它最初被造的時候

than it was when it was first made,

更為破裂

and we can look at those cracks, because

我們現在能看著這些裂痕，因為

they tell the story that we all live,

他們訴說了我們都經歷過的故事

of the cycle of creation and destruction,

創造和破壞的循環

of control and letting go, of picking up the pieces

控制和放手，撿起碎片

and making something new.

然後創造出新的東西

Thank you. (Applause)

謝謝（掌聲）