ted英文演讲稿3篇

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ted英文演讲稿3
以下这篇由XX演讲稿网站整理提供的是《阿凡达》、《泰坦尼克号》的导演詹姆斯•卡梅隆
(jamescameron
一篇ted演讲。在这个演讲里,卡梅隆回顾了自己从电影学院毕业后走上导演道路的故事。卡梅隆告诉你,不要畏惧失败,永远不要给自己设限。更多演讲稿范文,欢迎访问演讲稿网站
XX
igrewuponasteadydietofsciencefiction.inhighschool,itookabustoschoolanhoureachway
everyday.andiwasalwaysabsorbedinabook,sciencefictionbook,whichtookmymindtootherworlds,andsatisfied,inanarrativeform,thisinsatiablesenseofcuriositythatihad.
andyouknow,thatcuriosityalsomanifesteditselfinthefactthatwheneveriwasn'tinschooliwasout
inthewoods,hikingandtaking"samples"--frogsandsnakesandbugsandpondwater--andbringingitback,lookingatitunderthemicroscope.youknow,iwasarealsciencegeek.butitwasall
understandtheworld,possibility.
andmyloveofsciencefictionactuallyseemedmirroredin

abouttrying
understand
thelimits
toof


theworldaroundme,becausewhatwashappening,thiswasinthelate'60s,weweregoingtothemoon,wewereexploringthe
deepcousteauwas
xxingintoourlivingroomswithhisamazingspecialsthatshowedusanimalsandplacesandawondrousworldthatwecouldneverreallyhavepreviouslyimagined.
so,thatseemedtoresonatewiththewholesciencefictionpartofit.
andiwasanartist.icoulddraw.icouldpaint.andifoundthatbecausethereweren'tvideogamesandthissaturationofcgmoviesandallofthisimageryinthemedialandscape,ihadtocreatetheseimagesinmyhead.youknow,wealldid,askidshavingtoreadabook,andthroughtheauthor'sdescription,putsomethingonthemoviescreeninourheads.andso,myresponsetothiswastopaint,todrawaliencreatures,alienworlds,robots,spaceships,allthatstuff.iwasendlesslygettingbustedinmathclassdoodlingbehindthetextbook.thatwas--thecreativityhadtofinditsoutletsomehow.
andaninterestingthinghappened:thejacquescousteaushowsactuallygotmeveryexcitedaboutthefactthattherewasanalienworldrighthereonearth.
imightnotreallygotoanalienworldonaspaceshipsomeday--



thatseemedprettydarnunlikely.butthatwasaworldicouldreallygoto,righthereonearth,thatwasasrichandexoticasanythingthatihadimaginedfromreadingthesebooks.
so,idecidediwasgoingtobexxeascubadiverattheageof15.andtheonlyproblemwiththatwasthatilivedinalittlevillageincanada,600milesfromthenearestocean.butididn'tletthatdauntme.ipesteredmyfatheruntilhefinallyfoundascuba
classinbuffalo,newyork,rightacrosstheborderfromwherewelive.andiactuallygotcertifiedinapoolataymcainthedeadofwinterinbuffalo,newyork.
andididn'tseetheocean,arealocean,foranothertwoyears,untilwemovedtocalifornia.
sincethen,intheintervening40years,i'vespentabout3,000hoursunderwater,and500hoursofthatwasinsubmersibles.andi'velearnedthatthatdeep-oceanenvironment,andeventheshallowoceans,aresorichwithamazinglifethatreallyisbeyondourimagination.nature'simaginationissoboundlessxxparedtoourownmeagerhumanimagination.istill,tothisday,standinabsoluteaweofwhatiseewhenimakethesedives.
andmyloveaffairwiththeoceanisongoing,andjustasstrongasiteverwas.



butwhenichoseacareerasanadult,itwas
filmmaking.andthatseemedtobethebestwaytoreconcilethis
urgeihadtotell
storieswith
myurges
tocreateimages.andiwas,asakid,constantlydrawingxxicbooks,andsoon.so,filmmakingwasthewaytoputpicturesandstoriestogether,andthatmadesense.andofcoursethestoriesthatichosetotellweresciencefictionstories:"terminator,""aliens"and"theabyss."andwith"theabyss,"iwasputtingtogethermyloveofunderwateranddivingwithfilmmaking.so,youknow,mergingthetwopassions.
somethinginterestingcameoutof"theabyss,"whichwasthattosolveaspecificnarrativeproblemonthatfilm,whichwastocreatethiskindofliquidwatercreature,weactuallyembracedxxputergeneratedanimation,cg.andthisresultedinthefirstsoft-surfacecharacter,cganimationthatwaseverin
amovie.andeventhoughthefilmdidn'tmakeanymoney--barelybrokeeven,ishouldsay--iwitnessedsomething
amazing,whichis
thatthe
audience,
the
globalaudience,wasmesmerizedbythisapparentmagic.
you
know,it'sarthur
clarke's
lawthat
any
sufficientlyadvancedtechnologyisindistinguishablefrommagic.theywereseeingsomethingmagical.andsothatgotmevery



excited.andithought,"wow,thisissomethingthatneedstobeembracedintothecinematicart."so,with"terminator2,"whichwasmynextfilm,wetookthatmuchfarther.workingwithilm,wecreatedtheliquidmetaldudeinthatfilm.thesuccesshunginthebalanceonwhetherthateffectwouldwork.anditdid,andwecreatedmagicagain,andwehadthesameresultwithan
audience--althoughwedidmakealittlemoremoneyonthatone.
so,drawingalinethroughthosetwodotsofexperiencecameto,"thisisgoingtobeawholenewworld,"thiswasawholenewworldofcreativityforfilmartists.so,istartedaxxpanywithstanwinston,mygoodfriendstanwinston,whoisthepremiermake-upandcreaturedesigneratthattime,anditwascalleddigitaldomain.andtheconceptofthexxpanywasthatwewouldleapfrogpasttheanalogprocessesofopticalprintersandsoon,andwewouldgorighttodigitalproduction.andweactuallydidthatanditgaveusaxxpetitiveadvantageforawhile.
butwefoundourselveslagginginthemid'90sinthecreatureandcharacterdesignstuffthatwehadactuallyfoundedthexxpanytodo.so,iwrotethispiececalled"avatar,"whichwasmeanttoabsolutelypushtheenvelopeofvisualeffects,ofcgeffects,beyond,withrealistichumanemotivecharactersgeneratedincg,andthemaincharacterswouldallbeincg,and



theworldwouldbeincg.andtheenvelopepushedback,andiwastoldbythefolksatmyxxpanythatweweren'tgoingtobeabletodothisforawhile.
so,ishelvedit,andimadethisothermovieaboutabigshipthatsinks.(laughteryouknow,iwentandpitchedittothestudioas"'romeoandjuliet'onaship:"it'sgoingtobethisepicromance,passionatefilm."secretly,whatiwantedtodowasiwantedtodivetotherealwreckof"titanic."andthat'swhyimadethemovie.(applauseandthat'sthetruth.now,
thestudiodidn'tknowthat.buticonvincedthem.isaid,"we'regoingtodivetothewreck.we'regoingtofilmitforreal.we'llbeusingitintheopeningofthefilm.itwillbereallyimportant.itwillbeagreatmarketinghook."anditalkedthemintofundinganexpedition.(laughter
soundscrazy.butthisgoesbacktothatthemeaboutyourimaginationcreatingareality.becauseweactuallycreatedarealitywheresixmonthslater,ifindmyselfinarussiansubmersibletwoandahalfmilesdowninthenorthatlantic,lookingattherealtitanicthroughaviewport.notamovie,nothd--forreal.(applause
now,thatblewmymind.andittookalotofpreparation,wehadtobuildcamerasandlightsandallkindsofthings.but,it



struckmehowmuchthisdive,thesedeepdives,waslikeaspacemission.youknow,whereitwashighlytechnical,anditrequiredenormousplanning.yougetinthiscapsule,yougodowntothisdarkhostileenvironmentwherethereisnohopeofrescueifyoucan'tgetbackbyyourself.andithoughtlike,"wow.i'mlike,livinginasciencefictionmovie.thisisreallycool."
andso,ireallygotbittenbythebugofdeep-ocean
exploration.ofcourse,thecuriosity,thesciencexxponentofit--itwaseverything.itwasadventure,itwascuriosity,itwas
imagination.anditwasanexperiencethathollywoodcouldn'tgiveme.because,youknow,icouldimagineacreatureandwecouldcreateavisualeffectforit.buticouldn'timaginewhatiwasseeingoutthatwindow.aswedidsubsequentexpeditions,hydrothermal
iwasseeing
someofourcreatures
thati
athad
ventsandsometimesthings
neverseenbefore,sometimesthingsthatnoonehadseen

before,thatactuallywerenotdescribedbyscienceat
thetimethatwesawthemandimagedthem.
so,iwasxxpletelysmittenbythis,andhadtodo
more.andso,iactuallymadeakindofcuriousdecision.afterthesuccessof"titanic,"isaid,"ok,i'mgoing



toparkmydayjobasahollywoodmoviemaker,andi'mgoingtogobeafull-timeexplorerforawhile."and
so,westartedplanningtheseexpeditions.andwewoundupgoingtothebismark,andexploringitwithroboticvehicles.wewentbacktothetitanicwreck.wetook
littlebotsthatwehadcreatedthatspooledafiberoptic.andtheideawastogoinanddoaninteriorsurveyofthatship,whichhadneverbeendone.nobodyhadeverlookedinsidethewreck.theydidn'thavethemeanstodoit,sowecreatedtechnologytodoit.
so,youknow,hereiamnow,onthedeckoftitanic,sittinginasubmersible,andlookingoutatplanksthatlookmuchlikethis,whereiknewthatthebandhadplayed.andi'mflyingalittleroboticvehiclethroughthecorridoroftheship.whenisay,"i'moperatingit,"butmymindisinthevehicle.ifeltlikeiwasphysicallypresentinsidetheshipwreckoftitanic.anditwasthemostsurrealkindofdejavuexperiencei'veeverhad,becauseiwouldknowbeforeiturnedacornerwhatwasgoingtobetherebeforethelightsofthevehicleactuallyrevealedit,becauseihadwalkedthesetformonthswhenweweremakingthemovie.andthesetwasbasedasanexactreplicaontheblueprintsoftheship.
so,itwasthisabsolutelyremarkableexperience.anditreallymademerealizethatthetelepresenceexperience--thatyou



actuallycanhavetheserobotic
avatars,thenyourconsciousnessisinjectedintothevehicle,intothisotherformofexistence.itwasreally,reallyquiteprofound.anditmaybealittlebitofaglimpseastowhatmightbehappeningsomedecadesoutaswestarttohavecyborgbodiesforexplorationorforother
meansinmanysortof
post-humanfuturesthaticanimagine,asasciencefictionfan.
so,havingdonetheseexpeditions,andreallybeginningtoappreciatewhatwasdownthere,suchasatthedeepoceanventswherewehadtheseamazing,amazinganimals--they'rebasicallyaliensrighthereonearth.theyliveinanenvironmentofchemosynthesis.theydon'tsurviveonsunlight-basedsystemthewaywedo.andso,you'reseeinganimalsthatarelivingnexttoa500-degree-centigradewaterplumes.youthinktheycan'tpossiblyexist.
atthesametimeiwasgettingveryinterestedinspacescienceaswell--again,it'sthesciencefictioninfluence,asakid.andiwoundupgettinginvolvedwiththespacexxmunity,reallyinvolvedwithnasa,sittingonthenasaadvisoryboard,planningactual
spacemissions,goingtorussia,goingthroughthepre-cosmonautbiomedicalprotocols,andallthesesortsofthings,toactuallygo



andflytotheinternationalspacestationwithour3dcamerasystems.andthiswasfascinating.butwhatiwoundupdoingwasbringingspacescientistswithusintothedeep.andtakingthemdownsothattheyhadaccess-astrobiologists,planetaryscientists,peoplewhowereinterestedintheseextremeenvironments--takingthemdowntothevents,andlettingthemsee,andtakesamplesandtestinstruments,andsoon.
so,hereweweremakingdocumentaryfilms,butactuallydoingscience,andactuallydoingspacescience.i'dxxpletelyclosedtheloopbetweenbeingthesciencefictionfan,youknow,asakid,anddoingthisstuffforreal.andyouknow,alongthewayinthisjourneyofdiscovery,ilearnedalot.ilearnedalot
aboutscience.butialsolearnedalotaboutleadership.nowyouthinkdirectorhasgottobealeader,leaderof,captainoftheship,andallthatsortofthing.
ididn'treallylearnaboutleadershipuntilidid
theseexpeditions.becauseihadto,atacertainpoint,say,"whatamidoingouthere?whyamidoingthis?whatdoigetoutofit?"wedon'tmakemoneyatthesedamnshows.webarelybreakeven.thereisnofameinit.peoplesortofthinkiwent
awaybetween"titanic"and"avatar"andwasbuffingmynailssomeplace,sittingatthebeach.madeallthesefilms,madeallthesedocumentaryfilmsforaverylimitedaudience.
nofame,noglory,nomoney.whatareyoudoing?you'redoingitforthetaskitself,forthechallenge



--andtheoceanisthemostchallengingenvironment
thereis--forthethrillofdiscovery,andforthatstrangebondthathappenswhenasmallgroupofpeopleformatightlyknitteam.becausewewoulddothesethingswith10,12people,workingforyearsatatime,sometimesatseafortwo,threemonthsatatime.
andinthatbond,yourealizethatthemostimportantthingistherespectthatyouhaveforthemandthattheyhaveforyou,thatyou'vedoneataskthatyoucan'texplaintosomeoneelse.whenyouxxebacktotheshoreandyousay,"wehadtodothis,andthefiberoptic,andtheattentuation,andthethisandthethat,allthetechnologyofit,
andthedifficulty,the
human-performanceaspectsofworkingatsea,"youcan'texplainittopeople.it'sthatthingthatmaybecopshave,orpeopleinxxbatthathavegonethrough
somethingtogetherandtheyknowtheycanneverexplainit.createsabond,createsabondofrespect.
so,whenicamebacktomakemynextmovie,whichwas"avatar,"itriedtoapplythatsameprincipleofleadership,whichisthatyourespectyourteam,andyouearntheirrespectinreturn.anditreallychangedthedynamic.so,hereiwasagainwithasmallteam,inunchartedterritory,doing"avatar,"xxingupwithnewtechnologythatdidn'texistbefore.tremendouslyexciting.



tremendouslychallenging.andwebecameafamily,overafour-and-halfyearperiod.anditxxpletelychangedhowidomovies.so,peoplehavexxmentedonhow,"well,youknow,youbroughtbacktheoceanorganismsandputthemontheplanetofpandora."tome,itwasmoreofafundamentalwayofdoingbusiness,theprocessitself,thatchangedasaresultofthat.
so,whatcanwesynthesizeoutofallthis?youknow,whatarethelessonslearned?well,ithinknumberoneiscuriosity.it'sthemostpowerfulthingyouown.
imaginationisaforcethatcanactuallymanifesta
reality.andtherespectofyourteamismoreimportantthanallthelaurelsintheworld.ihaveyoungfilmmakersxxeuptomeandsay,"givemesomeadvicefordoingthis."andisay,"don'tputlimitationsonyourself.otherpeoplewilldothatforyou--don'tdoittoyourself,don'tbetagainstyourself,andtakerisks."
nasahasthisphrasethattheylike:"failureisnotanoption."butfailurehastobeanoptioninartandinexploration,becauseit'saleapoffaith.and
noimportantendeavorthatrequiredinnovationwasdonewithoutrisk.youhavetobewillingtotakethoserisks.so,that'sthethoughtiwouldleaveyouwith,isthat
inwhateveryou'redoing,failureisanoption,butfearisnot.thank



you.(applause
译文:我是看科幻小说长大的。高中时,我连坐校车上下学时都在读着科幻小说。这些书将我带到另一个世界,满足了我无止境的好奇。每当我在学校,我总是在树丛中寻找一些“标本”一一青蛙、蛇、昆虫……我把它们放在显微镜下观察。我总是试图认知这个世界,想找到它可能的边界。
我对科幻小说的热爱或许是那个时代的写照。
60年代末
期,人类登上了月球,去了深海。通过电视,我们看到了不同的动物和地方。这都是我们不曾想象的。这种氛围中,我不知不觉地喜欢上了科幻小说。
每当我看完小说,故事中的影像就会在我脑海中不断放映。或许是因为创造力必须找到一个发泄方式,我开始画外星人、机器人、飞船……我甚至会在数学课上在课本的背面画画。
对科幻小说的不断接触让我想到:外星人不一定生存在外太空,他们很有可能就生活在我们星球上。所以
15岁时,
我决定成为一个潜水员。而当时实现梦想唯一的问题是我生活在加拿大的一个小山村,离最近的海有
6英里远。
但我父亲并没有让这成为我梦想的障碍,他在边境对岸的美国纽约州布法罗找到了一个潜水培训班。于是我便在布法罗的一个泳池里获得了潜水证书。直到两年后,当我们全家搬到加州,我才第一次有机会真正地潜水。
在这之后的40年里,我在海底大约总共花了

3万个小


时。大海如此丰富多彩,众多神奇的生物生活其中。比起我们的想象力,自然的想象力完全没有边界。我想,至今我对大海的了解还是很少,但我对海洋的好奇却一直延续着。
电影魔法师与科学体验
但长大后,我并没有成为一名潜水员,我选择的职业是电影。我喜欢讲故事,画图画,电影看起来是最合适的工作。当然,我讲述的故事都是科幻的一一终结者、外星人等等。
我也将我对潜水的热爱和电影融合在了一起。拍摄《深渊》时,我有了一些有趣的想法。当我们要塑造一个水状的生物时,我们使用“计算机生成动画”-------------------egeg的应用产生了电影历史上第一个软表面、电脑制成的形象。虽然这部电影使公司差点亏本,但全世界的观众被这种新技术所震撼。
根据亚瑟•克拉克定律一一任何高难度的技术和魔法没有什么区别,很多人觉得自己看到了一些“神奇”的东西。这使我感到很兴奋。我想eg应该被用到电影艺术中去。
所以,在我接下来的电影《终结者
2》中,我把这种技
术又推近了一步,创造了一个金属人。我又变了一次魔术。这部电影很成功,我们赚了一些钱。
作为一个电影人,我看到了一个全新的世界,一个全新的未来。于是我和好友斯坦•温斯顿创立了一家公司,叫做“数领域”。公司的概念是要跳过普通的电影制作直接进入数电影制作。我们也是这么做的,这也使得我们在一段时间内有了一定的优势。但在90年代中



期,我发现我们有些落后了。
我写《阿凡达》这部电影,就是想要推动整个视觉体验以及动画效果的进步。让电影人物跳出人们想象的框架,完全用动画效果诠释人物表情。但一开始,员工告诉我,他们还没有能力做到。于是我把《阿凡达》放在了一边,转而制作了另一部电影——《泰坦尼克号》。
在为《泰坦尼克号》寻找投资商时,我告诉制作人这是一部关于爱情的电影。它的故事就像罗密欧与朱丽叶一样凄美动人。而事实上,我自己真正想做的是,潜入海底探寻真正的泰坦尼克号。这是我的真心话,电影公司并不知道。
我告诉他们,我们要沉入海底,拍摄泰坦尼克号真实的画面。我们将把这个片段放在首映式上展现,这将会引起很大的轰动,票房也会很好。令人意外,电影公司真的同意出钱,支持我去探索泰坦尼克号。
虽然到现在我仍觉得有些疯狂,但这就是“想象创造了现实”。两个月后,我在北大西洋的一艘俄罗斯潜艇里用肉眼看到真正的泰坦尼克号。
《泰坦尼克号》的拍摄体验给我很大震撼。虽然我们要做很多准备工作,但令我震惊的是,这次深海拍摄就像是一次外太空旅行——尖端的科技,繁杂的计划,环境的危险,我仿佛置身于一本科幻小说中。
我发现我们可以想象一个生物,但是我想我永远无法想象出透过



潜艇窗所看到的那些生物。我看见了一些我从未看见的东西,也看见了一些从来没有被人看见过的东西,因为当我们拍下它们时,他们还没有被科学所描述。我被震撼了我必须做更多。
在《泰坦尼克号》成功后,我做了一个决定:暂停我的主业一一好莱坞导演,做一段时间全职探险家。于是我们开始策划一些探险。在自动探测车帮助下,我们去了些危险的地方。我们发明了技术,对泰坦尼克号残骸做了一次全面勘测,使它再次重现在人们面前。
通过一种会飞行的自动探测仪,我可以坐在一个潜艇里探索泰坦尼克号的内部。当我在操作仪器时,我的脑子就像是在这些探测仪中。我感觉我自己真的到了泰坦尼克号上。这是一种最令人兴奋的似曾相识的感觉。我知道假如我在这里转个弯,我将会看到什么。因为我已经在另一个完全一样的泰坦尼克号复制品上工作了好几个月。
这是一次不同寻常的体验。它让我感觉到,远程监控的能量。你的意识可以被注入这些机器或注入另一种存在中。这种体验非常深刻。或许几十年后,当半机器人出现,或者任何后人类生物出现时,人们会对这种感觉习以为常。
在这些探险之后,我开始真正感谢这些存在于海底的生物。这些生物基本上对于我们来说就是外星生物。它们生活在一个化学合成的环境之中。它们无法像我们一样存活于太阳之下。同时,从小被科幻小说影响的我对于太空科学也非常感兴趣。
我进入了nasa的顾问委员会,策划真正的太空行程,让宇航员带着3d摄像机进入太空站。这些非常有趣,但我真正想做的是将这



些太空专家带入深海,让他们看看深海,取一些样本。所以我们既做了纪录片,也在做科学。这些事业将我整个人生很好地整合了起来。
发现团队的力量
在发现的旅途中,我学到了很多。我学到的不仅仅是科学知识,还有领导力。很多人以为作为导演,就一定具有很高的领导力。但我却是从这些探险中学到如何带领团队。
在探险时,有时候我会问自己,我为什么会在这里

什么要做这些纪录片我从中得到了什么我们并没有从这些纪录片中赚钱,还差点亏了本。我也没有赚到名声。很多人以为我在《泰坦尼克号》之后就一直躺在沙滩边享受。
那我在做什么呢我做这些其实只是为了这件任务本身。为了挑战——海洋是现存最危险的环境
为了发现也为
了一种奇怪的关系一个由很少人组成的紧密团队。我们1012个人在一起工作了很多年。有时要在海里一起工23个月。
在这种关系中,我发现最重要的东西就是尊重。我在这里为了你,你在这里为了我。每个人做的工作都无法向其他人解释。我们必须建立起一种关系,建立尊重。
当我开始拍摄《阿凡达》时,我试着将这种互相尊重的领导力原则应用在电影拍摄中。很快情况就改变了。在《阿凡达》拍摄过程中,我的团队也很小,也在未知领地工作,
创造新的科技,这非常有意思,非常有挑战。四年半时间,我们成为了一个家庭。这完全改变了我以前拍电影的方式。
有评论文章说,卡梅隆把海底的一些生物放到了潘多拉星球上是



其影片成功的原因,而对于我来说,做事的基本法则以及过程本身改变了事情的结果。
最后,总结一下。我学到了什么


第一:好奇心,这是你拥有的最重要的东西第二:想象力,这是你创造现实最重要的力量
第三:对团队的尊重,这是比世界上其他定律更重要的定律。有不少年轻电影导演向我讨教成功经验,我对他们说:“不要给自己划定界限。别人会为你去划边界,但你自己千万别去。你要去冒险。失败是你其中一个选项,
但畏惧不是。
从来没有一次探险是在有完全安全保障的情况下完成的。你必须愿意承担这些风险。”谢谢大家
!掌声Ted英文演讲
稿:Whatfearcanteachusted英文演讲稿(2
onedayin1819,3,000milesoffthecoastofchile,inoneofthemostremoteregionsofthepacificocean,20americansailorswatchedtheirshipfloodwithseawater.
1819年的某一天,在距离智利海岸3000英里的地方,有一个太平
洋上的最偏远的水域,20名美国船员目睹了他
们的船只进水的场面。
they'dbeenstruckbyaspermwhale,whichhad
rippedacatastrophicholeintheship'shull.astheirshipbegantosinkbeneaththeswells,themenhuddledtogetherinthreesmall



whaleboats.
他们和一头抹香鲸相撞,给船体撞了洞。当船在巨浪中开始沉没时,作一团。
一个毁灭性的大
人们在三条救生小艇中抱
thesemenwere10,000milesfromhome,morethan1,000milesfromthenearestscrapofland.intheir
smallboats,theycarriedonlyrudimentarynavigationalequipmentandlimitedsuppliesoffoodandwater.
这些人在离家10000万英里的地方,离最近的陆地也超过
1000英里。在他们的小艇中,他们只带了
航设备和有限的食物和饮水。
落后的导
thesewerethemenofthewhaleshipessex,whosestorywouldlaterinspirepartsof"mobydick."
他们就是捕鲸船
essex上的人们,后来的他们的故事
成为《白鲸记》的一部分。
evenintoday'sworld,theirsituationwouldbereallydire,butthinkabouthowmuchworseitwouldhavebeenthen.
即使在当今的世界,碰上这种情况也够杯具的,更不用说在当时的情况有多糟糕。
nooneonlandhadanyideathatanythinghadgonewrong.



nosearchpartywasxxingtolookforthesemen.somostofushaveneverexperiencedasituationasfrighteningastheoneinwhichthesesailorsfoundthemselves,butweallknowwhatit'sliketobeafraid.
岸上的人根本就还没意识到出了什么问题。人来搜寻他们。我们当中大部分人没有经历过处的可怕情景,但我们都知道害怕是什么感觉。
没有任何这些船员所
weknowhowfearfeels,buti'mnotsurewespendenoughtimethinkingaboutwhatourfearsmean.
我们知道恐惧的感觉,
但是我不能肯定我们会花很多
时间想过我们的恐惧到底意味着什么。
aswegrowup,we'reoftenencouragedtothinkoffearasaweakness,justanotherchildishthingtodiscardlikebabyteethorrollerskates.
我们长大以后,我们总是会被鼓励把恐惧需要像乳牙或轮滑鞋一样
扔掉的幼稚的东西。
视为软弱,
andithinkit'snoaccidentthatwethinkthisway.neuroscientistshaveactuallyshownthathumanbeingsarehard-wiredtobeoptimists.
我想意外事故并非我们所想的那样。

神经系统科学家


已经知道人类生来就是乐观主义者。
somaybethat'swhywethinkoffear,sometimes,asadangerinandofitself."don'tworry,"weliketosaytooneanother."don'tpanic."inenglish,fearissomethingweconquer.it'ssomethingwefight.
这也许就是为什么我们认为有时候恐惧,种危险或带来危险。
本身就是一
“不
“不要愁。”我们总是对别人说。
要慌”。英语中,恐惧是我们需要征服的东西。须对抗的东西,是我们必须克服的东西。
是我们必
it'ssomethingweoverxxe.butwhatifwelookedatfearinafreshway?whatifwethoughtoffearasanamazingactoftheimagination,somethingthatcanbeasprofoundandinsightfulasstorytellingitself?
但是我们如果换个视角看恐惧会如何呢恐惧当做是想象力的一个惊人成果,精妙而有见地的东西,又会如何呢
如果我们把
是和我们讲故事一样
it'seasiesttoseethislinkbetweenfearandtheimaginationinyoungchildren,whosefearsareoftenextraordinarilyvivid.
在小孩子当中,我们最容易看到恐惧与想象之间的联系,他们的恐惧经常是超级生动的
wheniwasachild,ilivedinCalifornia,which



is,youknow,mostlyaveryniceplacetolive,butformeasachild,californiacouldalsobealittlescary.
我小时候住在加利福尼亚,
你们都知道,是非常适合
居住的位置,但是对一个小孩来说,加利福尼亚也会有点吓人。
irememberhowfrighteningitwastoseethechandelierthathungaboveourdiningtableswingbackandforthduringeveryminorearthquake,andisometimescouldn'tsleepatnight,terrifiedthatthebigonemightstrikewhileweweresleeping.
我记得每次小地震的时候
当我看到我们餐桌上的吊灯
晃来晃去的时候是多么的吓人,我经常会彻夜难眠,担心大地震在我们睡觉的时候突然袭来。
andwhatwesayaboutkidswhohavefearslikethatisthattheyhaveavividimagination.butatacertainpoint,mostofuslearntoleavethesekindsofvisionsbehindandgrowup.
我们说小孩子感受到这种恐惧
是因为他们有生动的想
抛弃这种想法
象力。但是在某个时候,我们大多数学会了而变得成熟。
welearnthattherearenomonstershidingunderthebed,andnoteveryearthquakebringsbuildingsdown.butmaybeit'snocoincidencethatsomeofourmostcreativeminds



failtoleavethesekindsoffearsbehindasadults.
我们都知道床下没有魔鬼,
也不是每个地震都会震垮
并没有因为成年而
房子。但是我们当中最有想象力的人们抛弃这种恐惧,这也许并不是巧合。
thesameincredibleimaginationsthatproduced
"theoriginofspecies,""janeeyre"and"theremembranceofthingspast,"alsogeneratedintenseworriesthathauntedtheadultlivesofcharlesdarwin,charlottebront??andmarcelproust.sothequestionis,whatcantherestofuslearnaboutfearfromvisionariesandyoungchildren?
同样不可思议的想象力创造了和《追忆似水年华》,一直缠绕着成年的塞尔•普罗斯特。
《物种起源》,《简•爱》
也就是这种与生俱来的深深的担忧
夏洛特•勃朗特和马
查尔斯•达尔文,
问题就来了,我们其他人如何能从这些
梦想家和小孩子身上学会恐惧

welllet'sreturntotheyear1819foramoment,tothesituationfacingthecrewofthewhaleshipessex.




let'stakealookatthefearsthattheirimaginationsweregeneratingastheydriftedinthemiddleofthepacific.
让我们暂时回到1819年,回到essex捕鲸船的水手们面对的情况。让我们看看他们漂流在太平洋中央时想象力给他们带来的恐惧感觉。
他们的
twenty-fourhourshadnowpassedsincethe
capsizingoftheship.thetimehadxxeforthementomakeaplan,buttheyhadveryfewoptions.
船倾覆后已经过了24个小时。这时人们制定了一个计划,但是其实他们没什么太多的选择。
inhisfascinatingnathaniel

accountofthatthese
thedisaster,menwerejust
philbrickwrote
aboutasfarfromlandasitonearth.
在纳撒尼尔•菲尔布里克

waspossibletobeanywhere
(nathanielphilbrick
描述
这场灾难的动人文章中,他写到“这些人离陆地如此之远,似乎永远都不可能到达地球上的任何一块陆地。”
themenknewthatthenearestislandstheycould
reachwerethemarquesasislands,1,200milesaway.butthey'dheardsomefrighteningrumors.
这些人知道离他们最近的岛
1200英里以外的马克萨



斯群岛(marquesasislandso但是他们听到了让人恐怖的
they'dbeentoldthattheseislands,andseveral
othersnearby,werepopulatedbycannibals.sothemenpictured
xxingashoreonlytobemurderedandeatenfordinner.anotherpossibledestinationwashawaii,but
giventheseason,thecaptainwasafraidthey'dbestruckbyseverestorms.
他们听说这些群岛,
以及附近的一些岛屿上都住着食
被人当做盘但是船长担
人族。所以他们脑中都是上岸以后就会被杀掉中餐的画面。另一个可行的目的地是夏威夷,心他们会被困在风暴当中。
nowthelastoptionwasthelongest,andthemostdifficult:tosail1,500milesduesouthinhopesof
reachingacertainbandofwindsthatcouldeventuallypushthemtowardthecoastofsouthamerica.
所以最后的选择是到最远,也是最艰险的地方:1500英里希望某股风能最终把他们吹到南美洲的海岸。
往南
buttheyknewthatthesheerlengthofthisjourneywouldstretchtheirsuppliesoffoodandwater.tobeeatenbycannibals,tobebatteredbystorms,tostarvetodeathbeforereachingland.
和饮水的供给。被食人族吃掉,被风暴掀翻,在登陆前饿



但是他们知道这个行程中一旦偏航死。
将会耗尽他们食物
thesewerethefearsthatdancedintheimaginationsof
thesepoormen,andasitturnedout,thefeartheychosetolistentowouldgovernwhethertheylivedordied.
这就是萦绕在这群可怜的人想象中的恐惧,他们选择听从的恐惧
将决定他们的生死。
事实证明,
nowwemightjustaseasilycallthesefearsbyadifferentname.whatifinsteadofcallingthemfears,wecalledthemstories?
也许我们可以很容易的用别的名称来称呼这些恐惧。我们不称之为恐惧,
而是称它们为故事如何
becausethat'sreallywhatfearis,ifyouthinkaboutit.it'sakindofunintentionalstorytelling
thatweareallbornknowinghowtodo.andfearsandstorytellinghavethesamexxponents.
如果你仔细想想,这是恐惧真正的意义。
这是一种与
生俱来的,无意识的讲故事的能力。恐惧和讲故事有着同样的构成。
theyhavethesamearchitecture.likeallstories,



fearshavecharacters.inourfears,thecharactersareus.fearsalsohaveplots.theyhavebeginningsandmiddlesandends.youboardtheplane.
他们有同样的结构。如同所有的故事,恐惧中有角色。在恐惧中,角色就是我们自己。头,有中间,有结尾。
恐惧也有情节。他们有开
你登上飞机。
theplanetakesoff.theenginefails.ourfears
alsotendtocontainimagerythatcanbeeverybitasvividaswhatyoumightfindinthepagesofanovel.pictureacannibal,humanteethsinkingintohumanskin,humanfleshroastingoverafire.
飞机起飞。结果引擎故障。
我们的恐惧会包括各种生
想象食人族,
动的想象,不比你看到的任何一个小说逊色。人类牙齿咬在人类皮肤上,
人肉在火上烤。
fearsalsohavesuspense.ifi'vedonemyjobas
astorytellertoday,youshouldbewonderingwhathappenedtothemenofthewhaleshipessex.ourfearsprovokeinusaverysimilarformofsuspense.
恐惧中也有悬念。
如果我今天像讲故事一样,留个悬
念不说了,你们也许会很想知道essex捕鲸船上,人们到
底怎么样了。我们的恐惧用悬念一样的方式刺激我们



justlikeallgreatstories,ourfearsfocusourattentiononaquestionthatisasimportantinlifeasitisinliterature:whatwillhappennext?
就像一个很好的故事,我们的恐惧也如同一部好的文学作品一样,将我们的注意力集中在对我们生命至关重要的问题上:后来发生了什么
inotherwords,ourfearsmakeusthinkaboutthe
future.andhumans,bytheway,aretheonlycreaturescapableofthinkingaboutthefutureinthisway,ofprojectingourselvesforwardintime,andthismentaltimetravelisjustonemorethingthatfearshaveinxxmonwithstorytelling.
换而言之,我们的恐惧让我们想到未来。是唯一有能力通过这种方式想到未来的生物,间推移后我们的状况,故事的另一个共同点。
另外,人来就是预测时
与讲
这种精神上的时间旅行是恐惧
asawriter,icantellyouthatabigpartofwritingfictionislearningtopredicthowoneevent
inastorywillaffectalltheotherevents,andfearworksinthatsameway.
我是一个作家,我要告诉你们写小说一个很重要的部分
就是学会预测故事中一件也是同样这么做的。
事情如何影响另一件事情,

恐惧



infear,justlikeinfiction,onethingalwaysleadstoanother.wheniwaswritingmyfirstnovel,"theageofmiracles,"ispentmonthstryingtofigureoutwhatwouldhappeniftherotationoftheearthsuddenlybegantoslowdown.whatwouldhappentoourdays?
恐惧中,如同小说一样,一件事情总是导致另一件事情。我写我的第一部小说《奇迹时代》的时候,时间想象如果地球旋转突然变慢了之后的一天变得如何
我花了数月的
会发生什么。
我们
whatwouldhappentoourcrops?whatwouldhappentoourminds?andthenitwasonlylaterthatirealizedhowverysimilarthesequestionsweretotheonesiusedtoaskmyselfasachildfrightenedinthenight.
我们身体会怎样我们的思想会有什么变化也就是在那之后,我意识到我过去总是问自己的那些些问题子们在夜里害怕是多么的相像。
和孩
ifanearthquakestrikestonight,iusedtoworry,whatwillhappentoourhouse?whatwillhappentomyfamily?andtheanswertothosequestionsalwaystooktheformofastory.

要是在过去,如果今晚发生地震,我会很担心,
我的



房子会怎么样啊家里人会怎样啊这类问题的答案通常都会和故事一样。
soifwethinkofourfearsasmorethanjustfearsbutasstories,weshouldthinkofourselvesastheauthorsofthosestories.butjustasimportantly,weneedtothinkofourselvesasthereadersofourfears,andhowwechoosetoreadourfearscanhaveaprofoundeffectonourlives.
所以我们认为我们的恐惧不仅仅是恐惧们应该把自己当作
这些故事的作者。
还是故事,我
但是同样重要的是,
我们需要想象我们自己是我们恐惧的解读者,我们选择如
去解读这些恐惧会对我们的生活产生深远的影响。
now,someofusnaturallyreadourfearsmorecloselythanothers.ireadaboutastudyrecentlyofsuccessfulentrepreneurs,andtheauthorfoundthatthesepeoplesharedahabitthathecalled"productiveparanoia,"whichmeantthatthesepeople,insteadofdismissingtheirfears,thesepeoplereadthemclosely,theystudiedthem,andthentheytranslatedthatfearintopreparationandaction.
现在,我们中有些人比其他人更自然的解读自己的恐

惧。最近我看过一个关于成功的企业家的研究,
叫做“未雨绸缪“,
作者发现
这些人都有个习惯

意思是,这些人,


不回避自己的恐惧,惧转换成准备和行动。
而是认真解读并研究恐惧,然后把恐
sothatway,iftheirworstfearscametrue,theirbusinesseswereready.
这样,如果最坏的事情发生了,备。
他们的企业也有所准
andsometimes,ofcourse,ourworstfearsdoxxetrue.that'soneofthethingsthatissoextraordinaryaboutfear.onceinawhile,ourfearscanpredictthefuture.
当然,很多时候,最坏的事情确实发生了。非凡的一面。
曾几何时,我们的恐惧预测将来。
这是恐惧
butwecan'tpossiblyprepareforallofthefears
thatourimaginationsconcoct.sohowcanwetellthedifferencebetweenthefearsworthlistening
toandall
theothers?ithinktheendofthestoryofthewhaleshipessexoffersanilluminating,iftragic,example.
但是我们不可能为我们想象力构建的所有备。所以,如何区分值得听从的恐惧
恐惧来做准
和不值得的呢我想
捕鲸船essex的故事结局提供了一个有启发性,同时又悲惨的例子。
aftermuchdeliberation,themenfinallymadeadecision.



terrifiedofcannibals,theydecidedtoforgotheclosestislandsandinsteadembarkedonthelongerandmuchmoredifficultroutetosouthamerica.
经过数次权衡,他们最终做出了决定。
由于害怕食人
族,他们决定放弃最近的群岛而是开始更长更艰难的南美洲之旅。
aftermorethantwomonthsatsea,themenranoutoffoodastheyknewtheymight,andtheywerestill
quitefarfromland.whenthelastofthesurvivorswerefinallypickedupbytwopassingships,lessthanhalfofthemenwereleftalive,andsomeofthemhadresortedtotheirownformofcannibalism.
在海上呆了两个多月后,他们殆尽,而且他们仍然离陆地那么远。被过往船只救起时,
的食物如预料之中消耗当最后的幸存者最终
实际上他们
只有一小半的人还活着,
中的一些人自己变成了食人族。
hermanmelville,whousedthisstoryasresearchfor"mobydick,"wroteyearslater,andfromdryland,quote,"allthe
sufferingsofthesemiserablemenoftheessexmightinallhumanprobabilityhavebeenavoidedhadthey,immediatelyafterleavingthewreck,
steeredstraightfortahiti.



赫尔曼•梅尔维尔(hermanmelville《白鲸记》的素材,在数年后写到:
将这个故事作为
essex船上遇难者的悲
如果他们当机
惨结局或许是可以通过人为的努力避免的,立断地离开沉船,直奔塔西提群岛。
but,"asmelvilleputit,"theydreadedcannibals."sothequestionis,whydidthesemendreadcannibalssomuchmorethantheextremelikelihoodofstarvation?
“但是”,梅尔维尔说道:“他们害怕食人族”
是,为什么这些人对于食人族的恐惧饿威胁呢
问题
超过了更有可能的饥
whyweretheyswayedbyonestorysomuchmorethantheother?lookedatfromthisangle,theirsbexxesastoryaboutreading.thenovelistthat

vladimirnabokovsaid
oftwo
and
verythe
thebestreaderhasaxxbination
temperaments,
the
artistic
different
scientific.
为什么他们会被一个故事
影响如此之大呢从另一个
小说家弗拉基米
角度来看,这是一个关于解读的故事。
尔•纳博科夫(vladimirnabokov说最好的读者能把两种截然不同的性格结合起来,精神。
一个是艺术气质,一个是科学



agoodreaderhasanartist'spassion,awillingnesstoget
caughtupinthestory,butjustasimportantly,thereadersalsoneedsthecoolnessofjudgmentofascientist,whichactstotemperandxxplicatethereader'sintuitivereactionstothestory.aswe'veseen,themenoftheessexhadnotroublewiththeartisticpart.
好的读者有艺术家的热情,愿意融入故事当中,同样重要的是,这些读者还要有科学家的冷静判断,帮助他们稳定情绪并分析其对故事的直觉反应。看出来,essex上的人在艺术部分一点问题都没有。
但是这能我们可以
theydreamedupavarietyofhorrifyingscenarios.theproblemwasthattheylistenedtothewrongstory.
ofallthenarrativestheirfearswrote,theyrespondedonlytothemostlurid,themostvivid,theonethatwaseasiestfortheir
cannibals.
他们梦想到一系列恐怖的场景。一个错误的故事。所有他们恐惧中闻,最生动的故事,人族。
问题在于他们听从了他们只对其中最耸人听

imaginationstopicture:
也是他们想象中最早出现的场景:
butperhapsifthey'dbeenabletoreadtheirfearsmorelikeascientist,withmorecoolnessofjudgment,theywouldhave



listenedinsteadtothelessviolentbutthemorelikelytale,thestoryofstarvation,andheadedfortahiti,justasmelville'ssadxxmentarysuggests.
也许,如果他们能像科学家那样
稍微冷静一点解读这
半路
如梅尔维尔
个故事,如果他们能听从不太惊悚但是更可能发生的饿死的故事,他们可能就会直奔塔西提群岛,充满惋惜的评论所建议的那样。
andmaybeifwealltriedtoreadourfears,wetoowouldbelessoftenswayedbythemostsalaciousamongthem.
也许如果我们都试着解读自己的恐惧,其中的一些幻象所迷惑。
我们就能少被
maybethenwe'dspendlesstimeworryingabout
serialkillersandplanecrashes,andmoretimeconcernedwiththesubtlerandslowerdisastersweface:thesilentbuildupofplaqueinourarteries,thegradualchangesinourclimate.
我们也就能少花一点时间在方面的担忧,
为系列杀手或者飞机失事
的灾难:
而是更多的关心那些悄然而至
脉血小板的逐渐堆积,气候的逐渐变迁。
justasthemostnuancedstoriesinliterature
are
oftentherichest,sotoomightoursubtlestfearsbethetruest.readintherightway,ourfearsareanamazinggiftoftheimagination,akindofeveryday
clairvoyance,awayofglimpsingwhatmightbethefuturewhen



there'sstilltimetoinfluencehowthatfuturewillplayout.
如同文学中最精妙的故事通常是最丰富的故事,
我们
最细微的恐惧才是最真实的恐惧。用正确的方法的解读,我们的恐惧就是我们想象力赐给我们的礼物,借此一双慧眼,让我们能管窥未来
甚至影响未来。
properlyread,ourfearscanofferussomethingaspreciousasourfavoriteworksofliterature:
alittle
wisdom,abitofinsightandaversionofthatmostelusivething--thetruth.thankyou.
如果能得到正确的解读,我们的恐惧能的文学作品一样给我们珍贵的东西:
和我们最喜欢
一点点智慧,一点点
洞悉以及对最玄妙东西一一真相的诠释。谢谢。
applause
掌声TEd英文演讲稿:内向性格的力量ted英文演讲
稿(3
wheniwasnineyearsoldiwentofftosummercampforthefirsttime.andmymotherpackedmeasuitcasefullofbooks,whichtomeseemedlikeaperfectlynaturalthingtodo.becauseinmyfamily,readingwastheprimarygroupactivity.andthismightsoundantisocialtoyou,butforusitwasreally



justadifferentwayofbeingsocial.youhavetheanimalwarmthofyourfamilysittingrightnexttoyou,but
youarealsofreetogoroamingaroundtheadventurelandinsideyourownmind.andihadthisideathatcampwasgoingtobejustlikethis,butbetter.(laughterihadavisionof10girlssittinginacabincozilyreadingbooksintheirmatchingnightgowns.
(laughter
campwasmorelikeakegpartywithoutanyalcohol.andontheveryfirstdayourcounselorgatheredusalltogetherandshetaughtusacheerthatshesaidwewouldbedoingeverydayfortherestofthesummertoinstillcampspirit.anditwentlikethis:"r-o-w-d-i-e,that'sthewaywespellrowdie.rowdie,rowdie,let'sgetrowdie."yeah.soicouldn'tfigureoutforthelifeofmewhyweweresupposedtobesorowdy,orwhywehadtospellthiswordincorrectly.(laughterbuti
recitedacheer.irecitedacheeralongwitheverybodyelse.ididmybest.andijustwaitedforthetimethaticouldgooffandreadmybooks.
butthefirsttimethatitookmybookoutofmysuitcase,thecoolestgirlinthebunkcameuptomeandsheaskedme,"whyareyoubeingsomellow?"--mellow,ofcourse,beingtheexactoppositeofr-o-w-d-i-e.andthenthesecondtimeitriedit,the



counselorcameuptomewithaconcernedexpressiononherfaceandsherepeatedthepointaboutcampspiritandsaidweshouldallworkveryhardtobeoutgoing.
andsoiputmybooksaway,backintheirsuitcase,andiputthemundermybed,andtheretheystayedfortherestofthesummer.andifeltkindofguiltyaboutthis.ifeltasifthebooksneededmesomehow,andtheywerecallingouttomeandiwasforsakingthem.butididforsakethemandididn'topenthatsuitcaseagainuntiliwasbackhomewithmyfamilyattheendofthesummer.
now,itellyouthisstoryaboutsummercamp.icouldhavetoldyou50othersjustlikeit--allthetimesthatigotthemessagethatsomehowmyquietandintroverted
styleofbeingwasnotnecessarilythe
rightwaytogo,thatishouldbetryingtopassasmoreofanextrovert.andialwayssenseddeepdownthatthiswaswrongandthatintrovertswereprettyexcellentjustastheywere.butforyearsideniedthisintuition,andsoibecameawallstreetlawyer,ofallthings,insteadofthewriterthatihadalwayslongedtobe--partlybecauseineededtoprovetomyselfthati
couldbeboldandassertivetoo.andiwasalwaysgoingofftocrowdedbarswhenireallywouldhavepreferredtojusthavea



nicedinnerwithfriends.andimadetheseself-negatingchoicessoreflexively,thatiwasn't
evenawarethatiwasmakingthem.
nowthisiswhatmanyintrovertsdo,andit'sourlossforsure,butitisalsoourcolleagues'lossand
ourxxmunities'loss.andattheriskofsoundinggrandiose,itistheworld'sloss.becausewhenitxxestocreativityandtoleadership,weneedintroverts
doingwhattheydobest.athirdtoahalfofthepopulationareintroverts
--athirdtoahalf.so
that'soneoutofeverytwoorthreepeopleyouknow.soevenifyou'reanextrovertyourself,i'mtalking




aboutyourcoworkersandyourspousesandyourchildrenandthepersonsittingnexttoyourightnow--allofthemsubjecttothisbiasthatisprettydeepandrealinoursociety.weallinternalizeitfromaveryearlyagewithoutevenhavingalanguageforwhatwe'redoing.
nowtoseethebiasclearlyyouneedtounderstandwhatintroversionis.it'sdifferentfrombeingshy.
shynessisaboutfearofsocialjudgment.introversionismoreabout,howdoyourespondtostimulation,includingsocialstimulation.soextrovertsreallycravelargeamountsofstimulation,feelattheirmostaliveandtheir
whereasintrovertsmostswitched-onand
theirmostcapablewhenthey'rearen't
inquieter,moreabsolute--butalotofthetime.sothe
keythentomaximizingourtalentsisfor
usalltoputourselvesinthezoneofstimulationthatisrightforus.

notallthetime--low-keyenvironments.thesethings
butnowhere'swherethebiasxxesin.ourmost
importantinstitutions,ourschoolsandourworkplaces,theyaredesignedmostlyforextrovertsandforextroverts'needforlotsofstimulation.andalsowehavethisbeliefsystemrightnowthaticallthenewgroupthink,whichholdsthatallcreativityandallproductivityxxesfromaveryoddlygregariousplace.
soifyoupicturethetypicalclassroomnowadays:wheniwas



goingtoschool,wesatinrows.wesatinrowsofdeskslikethis,andwedidmostofourworkprettyautonomously.butnowadays,yourtypicalclassroomhaspodsofdesks--fourorfiveorsixorsevenkidsallfacingeachother.andkidsareworkingincountlessgroupassignments.eveninsubjectslikemathandcreativewriting,whichyouthinkwoulddependonsoloflightsofthought,kidsarenowexpectedtoactasxxmitteemembers.andforthekidswhoprefertogooffbythemselvesorjusttoworkalone,thosekidsareseenasoutliersoftenor,worse,asproblemcases.andthevastmajorityofteachersreportsbelievingthattheidealstudentisanextrovertasopposedtoanintrovert,eventhoughintrovertsactuallygetbettergradesandaremoreknowledgeable,accordingtoresearch.(laughter
okay,samethingistrueinourworkplaces.now,mostofusworkinopenplanoffices,withoutwalls,
wherewearesubjecttotheconstantnoiseandgazeofourcoworkers.andwhenitxxestoleadership,introvertsareroutinelypassedoverforleadershippositions,eventhoughintrovertstendtobeverycareful,muchlesslikelytotakeoutsizerisks--whichissomethingwemightallfavornowadays.andinterestingresearchbyadamgrantatthewhartonschoolhasfoundthatintrovertedleadersoftendeliverbetteroutxxesthanextrovertsdo,because



whentheyaremanagingproactiveemployees,they'remuchmorelikelytoletthoseemployeesrunwiththeirideas,whereasanextrovertcan,quiteunwittingly,getsoexcitedaboutthingsthatthey'reputtingtheirownstamponthings,andotherpeople'sideasmightnotaseasilythenbubbleuptothesurface.
nowinfact,someofourtransformativeleadersinhistoryhavebeenintroverts.i'llgiveyousomeexamples.eleanorroosevelt,
rosaparks,gandhi--all
thesepeopleddescribedthemselvesasquietandsoft-spokenandevenshy.
andtheyalltookthe
spotlight,eventhougheveryboneintheirbodieswastellingthemnotto.andthisturnsouttohaveaspecialpowerallitsown,becausepeoplecouldfeelthattheseleaderswereatthehelm,notbecausetheyenjoyeddirectingothersandnotoutofthepleasureofbeinglookedat;theyweretherebecausetheyhadnochoice,becausetheyweredriventodowhattheythoughtwasright.
nowithinkatthispointit'simportantformetosaythatiactuallyloveextroverts.ialwaysliketosaysomeofmybestfriendsareextroverts,includingmybelovedhusband.andweallfallatdifferentpoints,ofcourse,alongtheintrovert/extrovert

spectrum.


evencarljung,thepsychologistwhofirstpopularizedtheseterms,saidthatthere'snosuchthingasapureintrovertorapureextrovert.hesaidthatsuchamanwouldbeinalunatic
somepeoplefall
asylum,ifheexistedatall.smackin
themiddleof
andthe
introvert/extrovertspectrum,andwecallthesepeopleambiverts.andioftenthinkthattheyhavethebestofallworlds.butmanyofusdorecognizeourselvesasonetypeortheother.
andwhati'msayingisthatculturallyweneedamuchbetterbalance.weneedmoreofayinandyang
betweenthesetwotypes.thisisespeciallyimportantwhenitxxestocreativityandtoproductivity,becausewhenpsychologistslookatthelivesofthemostcreativepeople,whattheyfindarepeoplewhoareverygoodatexchangingideasandadvancingideas,butwhoalsohaveaseriousstreakofintroversioninthem.
andthisisbecausesolitudeisacrucialingredientoftento
creativity.sodarwin,hetooklongwalksaloneinthewoodsandemphaticallyturneddowndinnerpartyinvitations.theodorgeisel,betterknownasdr.seuss,hedreamedupmanyofhisamazingcreationsinalonelybelltowerofficethathehadinthebackofhishouseinlajolla,california.andhewasactuallyafraidtomeettheyoungchildrenwhoreadhisbooksforfearthattheywere



expectinghimthiskindofjollysantaclaus-likefigureandwouldbedisappointedwithhismorereservedpersona.stevewozniakinventedthefirstapplexxputersittingaloneinhiscubicalinhewlett-packardwherehewasworkingatthetime.andhesaysthatheneverwouldhavebexxesuchanexpertinthefirstplacehadhenotbeentoointrovertedtoleavethehousewhenhewasgrowingup.
nowofcourse,thisdoesnotmeanthatweshouldallstopcollaborating--andcaseinpoint,issteve
wozniakfamouslyxxingtogetherwithstevejobstostartapplexxputer--butitdoesmeanthatsolitude
mattersandthatforsomepeopleitistheairthattheybreathe.andinfact,wehaveknownforcenturiesaboutthetranscendentpowerofsolitude.it'sonlyrecentlythatwe'vestrangelybeguntoforgetit.ifyoulookatmostoftheworld'smajorreligions,youwillfindseekers--moses,jesus,buddha,muhammad--seekerswhoaregoingoffbythemselvesalonetothewildernesswheretheythenhaveprofoundepiphaniesandrevelationsthattheythenbringbacktotherestofthexxmunity.sonowilderness,norevelations.
this
isnosurprise
thoughif
youlookat
thethat
insightsofcontemporary

psychology.itturnsout


wecan'tinstinctively
evenbein
mirroring,
agroupofmimicking
peoplewithouttheiropinions.
likethe
evenaboutseeminglypersonalandvisceralthings

to
beliefsofthepeoplearoundyouwithoutevenrealizingthatthat'swhatyou'redoing.
andgroupsfamouslyfollowtheopinionsofthemostdominantorcharismatic
personintheroom,eventhough
whoyou're
attracted
,youwillstartaping
there'szerocorrelationbetweenbeingthebesttalkerandhavingthebestideas--imeanzero.
so...
(laughteryoumightbefollowingthepersonwiththebestideas,butyoumightnot.anddoyoureallywanttoleaveituptochance?muchbetterforeverybodytogooffbythemselves,generatetheirownideasfreedfromthedistortionsofgroupdynamics,andthenxxetogetherasateamtotalkthemthroughinawell-managedenvironmentandtakeitfromthere.
nowifallthisistrue,thenwhyarewegetting
itsowrong?whyarewesettingupourschoolsthiswayandourworkplaces?andwhyarewemakingtheseintrovertsfeelsoguiltyaboutwantingtojustgooffbythemselvessomeofthetime?oneanswerliesdeepinourculturalhistory.westernsocieties,andinparticularthe,havealwaysfavoredthemanofactionoverthe



manofcontemplationand"man"ofcontemplation.butinamerica'searlydays,welivedinwhathistorianscallacultureofcharacter,wherewestill,atthatpoint,valuedpeoplefortheirinner
selvesandtheirmoralrectitude.andifyoulookattheself-helpbooksfromthisera,theyallhadtitleswiththingslike"character,thegrandestthingintheworld."andtheyfeaturedrolemodelslikeabrahamlincolnwhowaspraisedforbeingmodestandunassuming.ralphwaldoemersoncalledhim"amanwhodoesnotoffendbysuperiority."
butthenwehitthe20thcenturyandweenteredanewculturethathistorianscallthecultureofpersonality.whathappenediswehadevolvedanagriculturaleconomytoaworldofbigbusiness.andsosuddenlypeoplearemovingfromsmalltownstothecities.andinsteadofworkingalongsidepeoplethey'veknownalltheirlives,nowtheyarehavingtoprovethemselvesinacrowdofstrangers.so,quiteunderstandably,qualitieslikemagnetismandcharismasuddenlyxxetoseemreallyimportant.andsureenough,theself-helpbookschangetomeetthesenewneedsandtheystarttohavenameslike"howtowinfriendsandinfluencepeople."theirrole

andtheyfeatureas


modelsreallygreatsalesmen.sothat'slivingintoday.that'sourculturalinheritance.
theworldwe're
nownoneofthisistosaythatsocialskillsareunimportant,andi'malsonotcalling
forthe
abolishingofteamworkatall.thesamereligionswhosendtheirsagesofftolonelymountaintopsalsoteachusloveandtrust.andtheproblemsthatwearefacingtodayinfieldslikescienceandineconomicsaresovastandsoxxplexthatwearegoingtoneedarmiesofpeoplexxingtogethertosolvethemworkingtogether.butiamsayingthatthemorefreedomthatwegiveintrovertstobethemselves,themorelikelythattheyaretoxxeupwiththeirownuniquesolutionstotheseproblems.
sonowi'dliketosharewithyouwhat'sinmysuitcasetoday.guesswhat?books.ihaveasuitcasefullofbooks.here'smargaretatwood,"cat'seye."here'sanovelbymilankundera.andhere's"theguidefortheperplexed"bymaimonides.butthesearenotexactlymybooks.ibroughtthesebookswithmebecausetheywerewritten
bymygrandfather's
favoriteauthors.
mygrandfatherwasarabbiandhewasawidowerwholivedaloneinasmallapartmentinbrooklynthatwasmyfavoriteplaceintheworldwheniwasgrowingup,partly

becauseitwasfilledwithhisverygentle,very


courtly

presenceandpartlybecauseitwasfilled
everychairin
withthis
books.imeanliterallyeverytable,
apartmenthadyieldeditsoriginalfunctiontonowserveasasurfaceforswayingstacksofbooks.justliketherestofmyfamily,mygrandfather'sfavoritethingtodointhewholeworldwastoread.
buthealsolovedhiscongregation,andyoucouldfeelthisloveinthesermonsthathegaveeveryweekforthe62yearsthathewasarabbi.hewouldtakesthefruitsofeachweek'sreadingandhewouldweavetheseintricatetapestriesofancientandhumanistthought.andpeoplewouldxxefromallovertohearhimspeak.
buthere'sthethingaboutmygrandfather.underneaththis
ceremonialrole,hewasreallymodestandreallyintroverted--somuchsothatwhenhedeliveredthesesermons,hehadtroublemakingeyecontactwiththeverysamecongregationthathehadbeenspeakingtofor62years.andevenawayfromthepodium,whenyoucalledhimtosayhello,hewouldoftenendtheconversationprematurelyforfearthathewastakinguptoomuchofyourtime.butwhenhediedattheageof94,thepolicehadtoclosedownthestreetsofhisneighborhoodtoacxxmodatethecrowdofpeoplewhocameouttomournhim.andsothesedaysi



trytolearnfrommygrandfather'sexampleinmyownway.
soijustpublishedabookaboutintroversion,andittookmeaboutsevenyearstowrite.andforme,thatsevenyearswasliketotalbliss,becauseiwasreading,iwaswriting,iwasthinking,iwasresearching.itwasmyversionofmygrandfather'shoursofthedayaloneinhislibrary.butnowallofasuddenmyjobisverydifferent,andmyjobistobeoutheretalkingaboutit,talkingaboutintroversion.(laughterandthat'salotharderforme,becauseashonoredasiamtobeherewithallofyourightnow,thisisnotmynaturalmilieu.
soipreparedformomentsliketheseasbesticould.ispentthelastyearpracticingpublicspeakingeverychanceicouldget.andicallthismy''yearofspeakingdangerously."(laughterandthatactuallyhelpedalot.buti'lltellyou,whathelpsevenmoreismysense,mybelief,myhopethatwhenitxxestoourattitudestointroversionandtoquietandtosolitude,wetruly
arepoisedonthebrinkondramaticchange,imean,weare.andsoiamgoingtoleaveyounowwiththreecallsforactionforthosewhosharethisvision.
numberone:stopthemadnessforconstantgroupwork.juststopit.(laughterthankyou.(applauseandiwanttobeclearaboutwhati'msaying,because



ideeplybelieveourofficesshouldbeencouragingcasual,chattycafe-style
typesofinteractions--you
know,thekindwherepeoplexxetogetherandserendipitouslyhaveanexchangeofideas.
great.it'sgreatforintrovertsandit'sgreatfor
extroverts.butweneedmuchmoreprivacyandmuchmorefreedomandmuchmoreautonomyatwork.school,samething.weneedtobeteachingkidstoworktogether,forsure,butwealsoneedtobeteachingthemhowtoworkontheirown.thisisespeciallyimportantforextrovertedchildrentoo.theyneedtoworkontheirownbecausethatiswheredeepthoughtxxesfrominpart.
okay,numbertwo:gotothewilderness.belike
buddha,haveyourownrevelations.i'mnotsayingthatweallhavetonowgooffandbuildourowncabinsinthewoodsandnevertalktoeachotheragain,butiamsayingthatwecouldallstandtounplugandgetinsideourownheadsalittlemoreoften.
numberthree:takeagoodlookatwhat'sinsideyourownsuitcaseandwhyyouputitthere.soextroverts,maybeyoursuitcasesarealsofullofbooks.ormaybethey'refullof
champagneglassesorskydivingequipment.whateveritis,ihopeyoutakethesethingsouteverychanceyougetandgraceuswith

thatis

ted英文演讲稿3篇

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