《TED演讲：学校扼杀了学生的创造性.docx》由会员分享，可在线阅读，更多相关《TED演讲：学校扼杀了学生的创造性.docx（26页珍藏版）》请在taowenge.com淘文阁网|工程机械CAD图纸|机械工程制图|CAD装配图下载|SolidWorks_CaTia_CAD_UG_PROE_设计图分享下载上搜索。
1、TED演讲：学校扼杀了学生的创造性英国人，爵士，国际知名的创新、创建力与人力资源专家。他是一名激情的演讲家，广受欢迎，擅长以诙谐、激情与机灵的方式传递深邃的学问，他告知全世界的受众，在全球经济的新形势下，商业、教化与组织的需求如何改变。下面是小编为大家收集关于TED演讲：学校扼杀了学生的创建性，欢迎借鉴参考。中英比照演讲稿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 ha
2、ve 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.
3、Just the variety of it and the range of it.其中之一就是人类创建力的宏大例证 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.其次点- 这些创新也让我们意识到我们不知道将来会发生什么 完全不知道 将来会如何I
4、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.我对教化感爱好，事实上，我发觉每个人都对教化感爱好莫非不是吗? 我发觉这
5、很好玩 假如你参与一个晚宴,你说 你在教化部门工作坦白的讲，假如你在教化部门工作，事实上你不会常常参与晚宴,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。你恒久不会被问到，很惊奇。 但是假如你被问及， 他们问:&
6、quot;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.你说你在教化部门工作 你会发觉他们涨红了脸,那意思似乎是 我的天啊，为什
7、么让我碰上?整整一周我才出来一次 但假如你要他们谈谈他们的受教化经验， 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 tha
8、t'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 我对教化特殊感爱好,我认为我们都是如此。我们对此有巨大的既得利益，部分因为教化旨在，将我们带入我们无法驾驭的将来。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 parad
9、e 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探讨- 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'v
10、e 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化。我认为正是将来的不确定性确定其非同寻常。第三点就是我们都认同一个观点- 这些孩子的特殊之处正是他们的创新实力。I mean,Sirena last night was a marvel, wasn't she? Just seeing what she could do. Andshe's exceptiona
11、l, 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的表现令人惊异， 对吗? 她很精彩，但是我认为她在孩提时代时没显得别出心裁。现在的教化提倡的是一个有奉献精神的老师能发觉一个天才学生。And my contention is, all kids have tremendous talents. And we
12、squander 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,全部孩子都是宏大的天才。 而我们却无情地扼杀了他们的才能。 所以我想谈谈教化和 创建力。我认为创建力和文化学问在教化中占同样比重， 所以这两方
13、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.感谢。而且， 特别感谢。还剩15分钟。我诞生于-说错了.最近我听到一个很不错的故事-我很情愿讲讲这个故事- 说的是一个小女孩正在上绘画课。She was six, and she was at th
14、e 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 留意听讲，但在绘画课上她却听得很仔细。老师饶有爱好地走过去 问她：你在画什么?And the girl said,
15、"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：他们立刻就能知道上帝的样子了。When my son was four inEngland - Actually, he was four everywhere, to be honest
16、.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- 事实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."Nativi
17、ty II."But James got the part of Joseph, which we were thrilled about. We consideredthis to be one of the lead parts.应当记不得，情节太长。 故事太长。梅尔.吉布森演过那部剧的续集。 你们或许看过，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!&q
18、uot;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"他的角色不肯定有台词，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。演出起先了。We were sitting there and I think they j
19、ust 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 我认为他们应当按依次出场， 演出结束后我们对James说： 你们刚才演的对
20、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。 其次个孩子说：我带来了没药精油。第三个
21、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情愿冒险。 对于未知的事物，他们情愿去尝试。 莫非不是吗?即
22、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 假如你不准备做错误的尝试 你恒久不会创建出新东西。 假如你不想让孩子们做
23、错误的尝试，等他们长大了，多数孩子就会丢失创新的实力。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
24、 capacities.那就会使他们也变得惧怕错误的尝试。 这种状况也存在于公司经营方面。 我们不能容忍任何错误。这就使得现在的教化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化体制正在扼杀孩子们的创建力。甚至可以说，是我们所受的教化让我们丢失了创建力。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
25、9;t matter where you go.但搬到美国后，有些事使我印象深刻 假如你周游世界 你会发觉每个国家的教化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, ther
26、e's a hierarchy within thearts.你认为或许会有例外，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，艺术排在最终。世界上全部国家都是如此。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 teac
27、h 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。没有哪个国家的教化体系 每天支配舞蹈课 但却每天都支配数学课。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
28、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。 假如有允许，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,假如你以一个
29、外国人的身份来参观我们的教化体系， 带着这样的问题：公办教化的目的是什么?那么当你看到我们的教化体系产业化的发展，我信任，你就会明白 是谁在真正从中受益， 是谁被教育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
30、一名- 关于公办教化的目的，我想你会得出这样的结论 世界上全部的公办教化 都以培育高校教授为目的。莫非不是吗?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.因为高校教授是象牙塔尖上的人。我也曾是一名高校教授，也是塔尖上的人。我倾慕高校教授的学识，
31、但 我们不应当用这样一个头衔作为衡量一个人胜利与否的分水岭。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.其实高校教授只是360行中的一行， 只不过
32、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，高校教授有个特点- 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
33、于大脑的一侧。用书面语来说就是-他们脑体分别。 他们只是把身体当作 大脑的载体而已，莫非不是吗? (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 uncontrol
34、lably, off the beat.假如你想亲身体验 你就去参与一次会议 -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 ed
35、ucation, really, before the 19thcentury.期盼夜晚的结束好回家写篇关于蹦迪的论文。注意培育学术实力的观点根植于我们的教化体系之中。 形成这种状况还有个缘由- 全部国家的教化体系在最初建立时 也就是在19世纪之前-那时教化还不是公共事业。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 to
36、p.那时建立教化体系 是为了满意工业化发展的须要。 所以有两点基本的等级原则。 第一点，对工作最好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&#
37、39;t do art, you won't be an artist.这样就能轻易地避开孩子们喜爱的科目，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,beca
38、use the universities designed the system in their image.这些温柔的忠告-筑成现在的大错。全世界都被卷入了工业革命的热潮。 其次点，学术实力已经成为 衡量好学生的主要标准这种标准是那些高校自己制定的。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, bril
39、liant, creative people think they're not,只要你思索一下就会发觉整个教化体系 不论哪个国家的公共教化都是一种按部就班的程序 最终目标是为了考入高校。造成的后果就是很多很有天才的有创建力的学生被钝化了。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.因为这些学生发觉他们的专长在学校 并不受重视甚至还受到蔑视。 我认为
40、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?大脑原来就是 由神经来连接左脑和右脑 这个连接部分叫
41、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擅长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.虽然关于这方面的探讨有许多，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
42、 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'
43、;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，不让孩子们进来打搅，不打电话，这时假如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，请你别打搅。Actually, do you know that old philosophical thing, if a tree falls in a forest and n
44、obody 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- 假如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：假如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， 那应当不算犯错吧
45、?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.培育好学生的第三个原则就是- 特性化。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觉 自身的才能。I'm fascinated
46、 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.对于这点我很感爱好。 激发我写这本书的缘由是一次对话我采访了一位很优秀的女士，或许许多人 没听说过这个人，她叫Gillian Lynne, 你们知道这个人吗?应当有人知道吧。She's a choreogra
47、pher, 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,她是一个舞蹈编剧全部人都知道她的作品。 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