英国人，爵士，国际知名的创新、创造力与人力资源专家。他是一名激情的演讲家，广受欢迎，善于以诙谐、激情与机智的方式传递深奥的知识，他告诉全世界的受众，在全球经济的新形势下，商业、教育与组织的需求如何变化。下面是小编为大家收集关于TED演讲：学校扼杀了学生的创造性，欢迎借鉴参考。
中英对照演讲稿
Good morning. How areyou?It's been great, hasn't it? I've been blown away by the whole thing. Infact, I'm leaving.There have been three themes running through the conferencewhich are relevant to what I want to talk about.
早上好. 还好吗?很好吧,对不对? 我已经飘飘然了! 我要飘走了.(笑声) 这次会议有三个主题这三个主题贯穿会议始终,并且和我要谈的内容有关。
One is the extraordinaryevidence of human creativity in all of the presentations that we've had and inall of the people here. Just the variety of it and the range of it.
其中之一就是人类创造力的伟大例证 这些例证已经体现在之前的演讲当中以及在座各位的身上. 从这些例证中我们看到了创新的多样化 和多领域.
The secondis that it's put us in a place where we have no idea what's going to happen, interms of the future. No idea how this may play out.
第二点-- 这些创新也让我们意识到我们不知道未来会发生什么 完全不知道 未来会如何
I have an interest ineducation. Actually, what I find is everybody has an interest in education.Don't you? I find this very interesting. If you're at a dinner party, and yousay you work in education -- Actually, you're not often at dinner parties,frankly.
我对教育感兴趣，事实上，我发现每个人都对教育感兴趣难道不是吗? 我发现这很有趣 如果你参加一个晚宴,你说 你在教育部门工作坦白的讲，如果你在教育部门工作，事实上你不会经常参加晚宴,
If you work in education,you're not asked.And you're never askedback, curiously. That's strange to me. But if you are, and you say to somebody,you know, they say, "What do you do?"
所以你不会被问及你是做哪行的。你永远不会被问到，很奇怪。 但是如果你被问及， 他们问:"你从事什么行业?"
and you say you work ineducation, you can see the blood run from their face. They're like, "Oh myGod," you know, "Why me?""My one night outall week."But if you ask abouttheir education, they pin you to the wall.
你说你在教育部门工作 你会发现他们涨红了脸,那意思好像是 “我的天啊，”“为什么让我碰上?整整一周我才出来一次” 但如果你要他们谈谈他们的受教育经历， 他们会把你“钉到墙上”.
Because it's one of those thingsthat goes deep with people, am I right? Like religion, and money and otherthings. So I have a big interest in education, and I think we all do. We have ahuge vested interest in it, partly because it's education that's meant to takeus into this future that we can't grasp.
因为这些事情都涉及 个人的隐私,对吗?比如宗教信仰,薪水等 我对教育特别感兴趣,我认为我们都是如此。我们对此有巨大的既得利益，部分因为教育旨在，将我们带入我们无法掌握的未来。
If you think of it, children startingschool this year will be retiring in 2065. Nobody has a clue, despite all theexpertise that's been on parade for the past four days, what the world willlook like in five years' time.
大家想想,今年入学的小孩 2065将退休. 没人知道会怎样--虽然过去四天会议进程里都是关于这方面的专业讨论-- 但我们还是无法预知这个世界 五年后的样子。
And yet we're meant to be educating them for it.So the unpredictability, I think, is extraordinary.And the third part ofthis is that we've all agreed, nonetheless, on the really extraordinarycapacities that children have -- their capacities for innovation.
这就是为何我们要让这些孩子接受教育。我认为正是未来的不确定性决定其非同寻常。第三点就是我们都认同一个观点-- 这些孩子的特别之处正是他们的创新能力。
I mean,Sirena last night was a marvel, wasn't she? Just seeing what she could do. Andshe's exceptional, but I think she's not, so to speak, exceptional in the wholeof childhood. What you have there is a person of extraordinary dedication who found a talent.
我觉得昨晚Sirena的表现令人惊奇， 对吗? 她很出色，但是我认为她在孩提时代时没显得与众不同。现在的教育提倡的是一个有奉献精神的老师能发现一个天才学生。
And my contention is, all kids have tremendous talents. And wesquander them, pretty ruthlessly.
So I want to talk abouteducation and I want to talk about creativity. My contention is that creativitynow is as important in education as literacy, and we should treat it with thesame status.
但我认为,所有孩子都是伟大的天才。 而我们却无情地扼杀了他们的才能。 所以我想谈谈教育和 创造力。我认为创造力和文化知识在教育中占同样比重， 所以这两方面我们应同等对待。
Thank you.That was it, by the way.Thank you very much.So, 15 minutes left.Well, I was born... no.I heard a great storyrecently -- I love telling it -- of a little girl who was in a drawing lesson.
谢谢。而且， 非常感谢。还剩15分钟。我出生于--说错了.最近我听到一个很不错的故事--我很愿意讲讲这个故事-- 说的是一个小女孩正在上绘画课。
She was six, and she was at the back, drawing, and the teacher said this girlhardly ever paid attention, and in this drawing lesson, she did. The teacherwas fascinated. She went over to her, and she said, "What are youdrawing?"
小女孩只有六岁她坐在教室的后排，正在画画， 而她的老师评价她几乎从不 注意听讲，但在绘画课上她却听得很认真。老师饶有兴趣地走过去 问她：“你在画什么?”
And the girl said, "I'm drawing a picture of God." Andthe teacher said, "But nobody knows what God looks like." And thegirl said, "They will, in a minute."
她说：“我画的是上帝。” 老师说：“可是没人知道上帝长什么样。” 这时小女孩说：“他们马上就能知道上帝的样子了。”
When my son was four inEngland -- Actually, he was four everywhere, to be honest.If we're being strictabout it, wherever he went, he was four that year. He was in the Nativity play.Do you remember the story?
我儿子四岁时在英国-- 实际上他那会儿在哪都四岁.严格地说他四岁那年在哪个国家记不清了，只记得他四岁那年 去演舞台剧《基督诞生》 你们记得那部剧的情节吗?
No, it was big, it was abig story. Mel Gibson did the sequel, you may have seen it."Nativity II."But James got the part of Joseph, which we were thrilled about. We consideredthis to be one of the lead parts.
应该记不得，情节太长。 故事太长。梅尔.吉布森演过那部剧的续集。 你们也许看过，叫《基督诞生II》。我儿子James在那部舞台剧里演Joseph, 我们为此很兴奋。 我们以为那是个主要角色。
We had the place crammed full of agents inT-shirts: "James Robinson IS Joseph!"He didn't have tospeak, but you know the bit where the three kings come in? They come in bearinggifts, gold, frankincense and myrrh. This really happened.
我们给观众们发了T恤： 上面印着“James Robinson 扮演 Joseph"他的角色不一定有台词，剧情是 三个国王拿着礼物走进来 他们分别拿着黄金，乳香精油，没药精油。演出开始了。
We were sitting there and I think they just went out of sequence, because we talked to thelittle boy afterward and we said, "You OK with that?" And he said,"Yeah, why? Was that wrong?" They just switched. The three boys camein, four-year-olds with tea towels on their heads,
我们坐在观众席上 我认为他们应该按顺序出场， 演出结束后我们对James说： “你们刚才演的对吗?”他说：“对啊，怎么了，哪错了吗?”其实他们把剧情改了。 他们是这么演的：三个小演员出场， 四岁的小家伙们头上戴着擦杯子用的毛巾,
and they put these boxes down, and the first boy said, "I bring you gold." And the second boysaid, "I bring you myrrh." And the third boy said, "Frank sentthis."
他们放下手上拿的盒子 第一个孩子说：“我带来了黄金。” 第二个孩子说：“我带来了没药精油。”第三个孩子说：“Frank带来了这个”
What these things have incommon is that kids will take a chance. If they don't know, they'll have a go.Am I right? They're not frightened of being wrong. I don't mean to say that being wrong is the same thing as being creative.
以上例子的共同点就是孩子们愿意冒险。 对于未知的事物，他们愿意去尝试。 难道不是吗?即使尝试的结果是错误的，他们也不惧怕。当然，我并不认为错误的尝试等同于创新。
What we do know is, if you'renot prepared to be wrong, you'll never come up with anything original -- ifyou're not prepared to be wrong. And by the time they get to be adults, mostkids have lost that capacity.
但我们都知道 如果你不打算做错误的尝试 你永远不会创造出新东西。 如果你不想让孩子们做错误的尝试，等他们长大了，多数孩子就会丧失创新的能力。
They have become frightened of being wrong. Andwe run our companies like this. We stigmatize mistakes. And we're now running national education systems where mistakes are the worst thing you can make. And the result is that we are educating people out of their creative capacities.
那就会使他们也变得惧怕错误的尝试。 这种情况也存在于公司经营方面。 我们不能容忍任何错误。这就使得现在的教育体系成为最不能容忍错误的领域。 这样做的后果就是我们的教育体制正在扼杀孩子们的创造力。甚至可以说，是我们所受的教育让我们丧失了创造力。
But something strikes you when you move to America and travel around the world: Every education system on Earth has the same hierarchy of subjects. Every one. Doesn't matter where you go.
但搬到美国后，有些事使我印象深刻 如果你周游世界 你会发现每个国家的教育体系都存在相同的学科等级制度。没有例外。不论哪个国家。
You'd think it would be other wise, but it isn't. At the top are mathematicsand languages, then the humanities, and at the bottom are the arts. Everywhereon Earth. And in pretty much every system too, there's a hierarchy within thearts.
你认为也许会有例外，但没有。排在最前面的学科是数学和语言，接下去是人文学科，艺术排在最后。世界上所有国家都是如此。而且相同的还有就是在艺术学科范围内也有等级制。
Art and music are normally given a higher status in schools than dramaand dance. There isn't an education system on the planet that teaches danceeveryday to children the way we teach them mathematics.
通常学校把美术课和音乐课看的较重要 然后是戏剧课和舞蹈课。没有哪个国家的教育体系 天天安排舞蹈课 但却每天都安排数学课。
Why? Why not? I thinkthis is rather important. I think math is very important, but so is dance.Children dance all the time if they're allowed to, we all do. We all have bodies, don't we? Did I miss a meeting?
为什么?为什么不呢?我认为舞蹈课很重要。 我认为舞蹈课和数学课同样重要。 如果有允许，孩子们会不停地跳舞，我们也一样。 我们都有体会，对吗?
If you were to visiteducation, as an alien, and say "What's it for, public education?" I think you'd have to conclude, if you look at the output, who really succeeds bythis, who does everything that they should,
如果你以一个外国人的身份来参观我们的教育体系， 带着这样的问题：“公办教育的目的是什么?”那么当你看到我们的教育体系产业化的发展，我相信，你就会明白 是谁在真正从中受益， 是谁被教导着该做什么不该做什么，
who gets all the brownie points,who are the winners -- I think you'd have to conclude the whole purpose ofpublic education throughout the world is to produce university professors.Isn't it?
是谁得了满分，谁是第一名-- 关于公办教育的目的，我想你会得出这样的结论 世界上所有的公办教育 都以培养大学教授为目的。难道不是吗?
They're the people who come out the top. And I used to be one, so there.And I like university professors,but you know, we shouldn't hold them up as the high-water mark of all humanachievement.
因为大学教授是象牙塔尖上的人。我也曾是一名大学教授，也是塔尖上的人。我倾慕大学教授的学识，但 我们不应该用这样一个头衔作为衡量一个人成功与否的分水岭。
They're just a form of life, another form of life. But they'rerather curious, and I say this out of affection for them. There's somethingcurious about professors in my experience -- not all of them, but typically,they live in their heads.
其实大学教授只是360行中的一行， 只不过他们比较好求知， 我这样说不是因为对他们的倾慕。 在我看来，大学教授有个特点-- 虽然不是共性，但很典型--他们只用脑子生活。
They live up there, and slightly to one side. They'redisem bodied, you know, in a kind of literal way. They look upon their body as aform of transport for their heads.Don't they? It's a way ofgetting their head to meetings.
而且偏重于大脑的一侧。用书面语来说就是--他们脑体分离。 他们只是把身体当作 大脑的载体而已，难道不是吗? (笑声)这个载体可以载着大脑去开会。
If you want real evidenceof out-of-body experiences, get yourself along to a residential conference ofsenior academics, and pop into the discotheque on the final night.And there, you will seeit. Grown men and women writhing uncontrollably, off the beat.
如果你想亲身体验 你就去参加一次会议 --学术研讨会，然后在会议结束后再去迪厅蹦迪。 (笑声)在那你会看到，成年男女在不和乐拍地疯狂摇摆。
Waiting until it ends sothey can go home and write a paper about it.Our education system ispredicated on the idea of academic ability. And there's a reason. Around theworld, there were no public systems of education, really, before the 19thcentury.
期待夜晚的结束好回家写篇关于蹦迪的论文。注重培养学术能力的观点根植于我们的教育体系之中。 形成这种状况还有个原因-- 所有国家的教育体系在最初建立时 也就是在19世纪之前--那时教育还不是公共事业。
They all came into being to meet the needs of industrialism. So thehierarchy is rooted on two ideas.Number one, that the mostuseful subjects for work are at the top.
那时建立教育体系 是为了满足工业化发展的需要。 所以有两点基本的等级原则。 第一点，对工作最实用的科目是最重要的科目。
So you were probably steered benignly away from things at school when you were a kid, things you liked, on thegrounds that you would never get a job doing that. Is that right? Don't domusic, you're not going to be a musician; don't do art, you won't be an artist.
这样就能轻易地避开孩子们喜欢的科目，从小就不让他们碰触。 理由就是 不这样学就找不到工作。对吗? 别玩音乐了，你成不了音乐家; 别画画了，你成不了艺术家。
Benign advice -- now, profoundly mistaken. The whole world is engulfed in arevolution.And the second isacademic ability, which has really come to dominate our view of intelligence,because the universities designed the system in their image.
这些温和的忠告--筑成现在的大错。全世界都被卷入了工业革命的热潮。 第二点，学术能力已经成为 衡量好学生的主要标准这种标准是那些大学自己制定的。
If you think ofit, the whole system of public education around the world is a protractedprocess of university entrance. And the consequence is that manyhighly-talented, brilliant, creative people think they're not,
只要你思考一下就会发现整个教育体系 不论哪个国家的公共教育都是一种按部就班的程序 最终目标是为了考入大学。造成的后果就是许多很有天才的有创造力的学生被钝化了。
because thething they were good at at school wasn't valued, or was actually stigmatized.And I think we can't afford to go on that way.
因为这些学生发现他们的专长在学校 并不受重视甚至还受到蔑视。 我认为我们不能再这样扼杀孩子们的天才了。
By the way, there's ashaft of nerves that joins the two halves of the brain called the corpuscallosum. It's thicker in women. Following off from Helen yesterday, this isprobably why women are better at multi-tasking. Because you are, aren't you?
大脑本来就是 由神经来连接左脑和右脑 这个连接部分叫胼胝体。女性大脑中的这个部分比男性的要厚。昨天听了Helen的演讲受到启发，我认为 脑部特征可能使女性更善于应对头绪纷乱的事情。 对吗?
There's a raft of research, but I know it from my personal life. If my wife iscooking a meal at home -- which is not often, thankfully.
虽然关于这方面的研究有很多，但我对于这方面的了解其实来源于我的亲身体验。我妻子在家做饭时-- 感谢上帝，她不常做饭，
No, she's good at somethings, but if she's cooking, she's dealing with people on the phone, she'stalking to the kids, she's painting the ceiling, she's doing open-heart surgeryover here.
虽然她不擅厨艺但很擅长其他一些事-- 不过她做饭时总是 打打电话，和孩子们说说话，给天棚刷刷漆， 还在旁边做开胸手术。
If I'm cooking, the door is shut, the kids are out, the phone's onthe hook, if she comes in I get annoyed. I say, "Terry, please, I'm tryingto fry an egg in here.""Give me abreak."
而我做饭时就会关上厨房门，不让孩子们进来打扰，不打电话，这时如果我妻子进来我会很生气。 我会这样对我妻子说：“Terry，我在煎鸡蛋，请你别打扰。”
Actually, do you know that old philosophical thing, if a tree falls in a forest and nobody hears it,did it happen? Remember that old chestnut? I saw a great t-shirt recently,which said, "If a man speaks his mind in a forest, and no woman hears him,is he still wrong?"
大家都知道那句有哲理的话-- 如果森林里有棵树倒了可没人听到， 那是否意味着没发生过?记得这句话吗? 最近我看到一件很棒的T恤，上面印着：“如果一个男人说出他的心声 却是在森林里说的，而且没被女人听到， 那应该不算犯错吧?”
And the third thing aboutintelligence is, it's distinct. I'm doing a new book at the moment called"Epiphany," which is based on a series of interviews with peopleabout how they discovered their talent.
培养好学生的第三个原则就是-- 个性化。我目前在写本书-- 书名叫《顿悟》，素材来自一些 访谈，访谈内容是关于怎样发现 自身的才能。
I'm fascinated by how people got to be there.It's really prompted by a conversation I had with a wonderful woman who maybemost people have never heard of, Gillian Lynne. Have you heard of her? Somehave.
对于这点我很感兴趣。 激发我写这本书的原因是一次对话我采访了一位很优秀的女士，也许很多人 没听说过这个人，她叫Gillian Lynne, 你们知道这个人吗?应该有人知道吧。
She's a choreographer, and everybody knows her work. She did"Cats" and "Phantom of the Opera." She's wonderful. I usedto be on the board of The Royal Ballet, as you can see. Anyway, Gillian and Ihad lunch one day and I said,
她是一个舞蹈编剧所有人都知道她的作品。 她编舞的作品有《猫》、《歌剧魅影》。 她很有才华。我在英国看过由皇家芭蕾舞团演出的她的作品。 你们也看过她的作品。 有一次，我和Gillian 吃午饭，我问她：
"How did you get to be a dancer?" It was interesting.When she was at school, she was really hopeless. And the school,in the '30s, wrote to her parents and said, "We think Gillian has alearning disorder." She couldn't concentrate; she was fidgeting.
“Gillian,你是怎样成为舞蹈家的?她回答说：说起来很有意思，她上学的时候， 觉得自己完全没有希望。她上学那会儿是1930年代， 老师给她家长写信说：“我们认为 Gillian患有学习障碍症。”她无法集中注意力，她老是坐不安生。
I think now they'd say she had ADHD. Wouldn't you? But this was the 1930s, and ADHDhadn't been invented at this point. It wasn't an available condition.People weren't aware theycould have that.
用现在的话讲，那意思就是 她有多动症。你们也这么想吧?但那时候是1930年代， “多动症”这个词还没出现。 那个老师用词不当。那时候人们还不知道用“多动症”这个词。
What I think it comes tois this: Al Gore spoke the other night about ecology and the revolution thatwas triggered by Rachel Carson.
现在，我想说的是--AL Gore 曾在这里做过一次演讲 内容是关于生态学以及RachelCarson引发的那次环境保护运动。
I believe our only hope for the future is toadopt a new conception of human ecology, one in which we start to reconstituteour conception of the richness of human capacity. Our education system has mined our minds in the way that we strip-mine the earth: for a particularcommodity.
我相信对于未来，我们的唯一出路是贯彻一种新的人性化生态的思想， 也就是说我们应重新定义人类能力的多样化。 我们的教育体系培养我们的方式 正如我们开采地球的方式--以功利为目的。
And for the future, it won't serve us. We have to rethink thefundamental principles on which we're educating our children.There was a wonderfulquote by Jonas Salk, who said,
但这种方式对于未来将不再适用。我们必须重新思考那些最基本的准则 也就是我们教育孩子的准则。 Jonas Salk曾说过：
"If all the insects were to disappear fromthe Earth, within 50 years all life on Earth would end. If all human beingsdisappeared from the Earth, within 50 years all forms of life wouldflourish." And he's right.
“如果所有的昆虫都从地球上消失的话， 那么50年之内，所有生命也将从地球上消失。 而如果人类从地球上消失的话， 那么50年之内，其他物种会活得更好。” 他说的很对。
What TED celebrates isthe gift of the human imagination. We have to be careful now that we use thisgift wisely and that we avert some of the scenarios that we've talked about.
TED倡导的是人类的创造性思维。 现在，我们必须运用这种思维方式小心地 避开那些按部就班的规则。
And the only way we'll do it is by seeing our creative capacities for therichness they are and seeing our children for the hope that they are. And our task is to educate their whole being, so they can face this future.
达到这个目的唯一的方法就是运用创造力 最大限度地发挥创造力，而且 用孩子们喜欢的方式培养他们。我们的任务 是全方位地培养孩子，这样他们才能面对未来的社会。
By the way-- we may not see this future, but they will. And our job is to help them makesomething of it.Thank you very much.
顺便说句--我们可能活不到未来那天 但孩子们会。而我们要做的就是帮助 他们能在未来有所作为。谢谢大家。