1.What I want to do today is to spend some time talking about some stuff that’s sort of given me a little bit of existential angst, for lack of a better word,
我今天来这里 是想花点时间讨论一下 在过去的几年中， 让我由于不知如何表达
2.over the past couple of years.
而产生“存在主义焦虑”的一些事情。
3.And basically these three quotes tell what’s going on.
以下的三段引言 基本上表述了我所思考的事情。
4.”When God made the color purple God was just showing off” Alice Walker wrote in The Color Purple.
“上帝创造紫色的目的 不过是想炫耀而已“ ，这是爱丽丝·沃克尔在《紫色》中所说的。
5.And Zora Neale Hurston in Dust Tracks on a Road, “Research is a formalized curiosity.
佐拉·尼尔赫·斯顿在《公路上尘土飞扬》中说道： “科学研究就是一种形式化了的好奇心。
6.It’s poking and prying with a purpose.”
它是有目标的探索和猎奇“。
7.And then finally, when I think about the near future, you know we have this attitude, “Well whatever happens, happens.” Right?
最后，当我想到不远的将来的时候， 大家都知道我们有这么一种态度： ”该发生的总要发生嘛”， 对吧？
8.So that goes along with the Cheshire Cat saying, “If you don’t care much where you want to get to, it doesn’t much matter which way you go.”
这跟柴郡猫的话意思差不多： “如果你不在乎你想到达的目的地， 那么走哪条路也就不那么重要了”。
9.But I think it does matter which way we go, and what road we take because when I think about design in the near future, what I think are the most important issues,
但是我认为 从那条路走还是有区别的， 因为当我想到不久的将来时， 我觉得最重要的，
10.what’s really crucial and vital, is that we need to revitalize the arts and sciences right now in 2002.
真正至关重要的， 是我们需要在现在，也就是2002年， 让艺术和科学 恢复它们原有的活力。
11.(Applause) If we describe the near future as 10, 20, 15 years from now, that means that what we do today is going to be critically important
（掌声） 当我们描述10年、15年、20年以后 的图景， 你会发现我们今天所做的对将来至关重要，
12.because in the year 2015, in the year 2020, 2025, the world our society is going to be building on, the basic knowledge and abstract ideas,
因为在2015年、 2020年、2025年， 我们的社会将构筑在 我们现有的基本知识、抽象概念
13.the discoveries that we came up with today.
和新发现的基础上。
14.Just as all these wonderful things we’re hearing about here at the TED conference, that we take for granted in the world right now,
就像我们在TED大会上所听到 的精彩演讲一样， 现在我们对演讲中提到的事物已经习以为常了，
15.were really knowledge and ideas that came up in the ’50s, the ’60s, and the ’70s.
但其实这些知识和概念 也就是在上世纪50年代、60年代和70年代才出现的。
16.That’s the substrate that we’re exploring today.
这些知识也是我们今天做研究的基础。
17.Whether it’s the internet, genetic engineering, laser scanners, guided missiles, fiber optics, high-definition television, sensing, remote-sensing from space,
不管是因特网、基因工程、 激光扫描仪、导弹、光纤、 高清电视、 传感、空间遥感，
18.and the wonderful remote-sensing photos that we’re seeing, 3D weaving, TV programs like Tracker, and Enterprise, CD read/write drives,
以及我们今天看到的空间遥感器拍到的美丽图片， 还有三维编织、像“追踪”（Tracker）和“公司”（Enterprise）这样的电视节目， 可读写光驱，
19.flat screen, Alvin Ailey’s “Suite Otis”
平板电视，阿尔文·艾利（Alvin Ailey）舞团的“Suite Otis”，
20.or Sarah Jones’ “Your Revolution Will Not Be Between These Thighs,”
或者莎拉·琼斯的说唱乐作品”Your Revolution Will Not Be Between These Thighs“
21.which by the way is banned by the FCC.
顺便提一下，后者被FCC禁播，
22.Or ska, all of these things without question, almost without exception, are really based on ideas and abstract, and creativity from years before.
或者ska。所有这些毫无疑问， 毫无例外地都建立在多年以前的理念、 抽象概念和创造力的基础上。
23.So we have to ask ourselves, “What are we contributing to that legacy right now?”
因此我们必须得问自己：”我们要为将来 做些什么贡献？“
24.And when I think about it, I’m really worried.
当我开始思考这个问题的时候，我真的有些担心。
25.To be quite frank I’m concerned.
老实说我很担忧。
26.I’m skeptical that we’re doing very much of anything.
我怀疑我们并没有做什么有意义的事情，
27.We’re in a sense, failing to act in the future.
从某种意义上说，我们没有为未来打好基础。
28.We are purposefully, consciously being laggards.
我们有意识的、故意的滞后于社会的发展，
29.We’re lagging behind.
我们落后了。
30.Frantz Fannon who was a psychiatrist from Martinque said, “Each generation must, out of relative obscurity, discover its mission, and fulfill or betray it.”
来自马尔廷科(Martinque)的精神科医生弗朗兹·范农曾说： “每一代人都应该在相对无知的状态下 努力去发现他们的使命，然后完成它或者背叛它“。
31.What is our mission? What do we have to do?
那么我们的使命是什么？什么是我们必须完成的？
32.I think our mission is to reconcile to reintegrate science and the arts because right now there’s a schism that exists in popular culture.
我认为我们的使命就是 让科学和艺术重新成为一家人。 因为在目前的流行文化中，科学和艺术是分离的。
33.You know people have this idea that science and the arts are really separate.
很多人认为 科学和艺术是两样不同的东西，
34.We think of them as separate and different things.
认为它们之间存在很大差别。
35.And this idea was probably introduced centuries ago.
这样的想法可能几百年前就产生了，
36.But it’s really becoming critical now because we’re making decisions about our society every day, that if we keep thinking that the arts are separate from the sciences,
但现在它变得越来越重要， 因为我们每天都在为社会的发展方向做决策。 如果我们继续认为 艺术与科学是毫不相干的，
37.and we keep thinking it’s cute to say, “I don’t understand anything about this one.
如果我们还认为一个人说”我对这个一窍不通，
38.I don’t understand anything about the other one.”
对那个知之甚少“ 是可爱的表现的话，
39.Then we are going to have problems.
我们将会遇到麻烦。
40.Now I know no one here at TED thinks this.
我知道在座的诸位不会这么认为。
41.All of us, we already know that they’re very connected.
我们所有人都已经知道这两者（艺术和科学）是紧密联系的。
42.But I’m going to let you know that some folks in the outside world, believe it or not, they think it’s neat when they say you know,
但信不信由你，这个世界上确实有一些人 会自鸣得意地说：
43.”Scientists and science is not creative.
”科学家和科学是缺乏创造力的。
44.Maybe scientists are ingenious, but they’re not creative.”
科学家可能很灵巧，但他们没有创意“。
45.And then we have this tendency that career counselors, and various people say things like, “Artists are not analytical.
与此同时，我们也经常听到职业咨询师 或者其他人这么说： ”艺术家是没有分析能力的。
46.They’re ingenious perhaps, but not analytical.”
他们可能有独创性， 但不具备分析能力”。
47.And when these concepts underlie our teaching, and what we think about the world, then we have a problem because we stymie support for everything.
一旦这样的思想主导我们的教育 和我们对世界的看法，我们就会有麻烦， 因为我们等于是自绝门路。
48.By accepting this dichotomy, whether it’s tongue in cheek, when we attempt to accommodate it in our world, and we try to build our foundation for the world,
一旦我们接受了这种“二分法”， 不管是否由衷相信， 当我们试图在现实世界中应用这种法则， 并使之成为我们构筑一切事物的基础，
49.we’re messing up the future because who wants to be uncreative?
我们就是在破坏未来。 试问：有谁想成为没有创意的人呢？
50.Who wants to be illogical?
又有谁希望自己毫无逻辑思维能力呢？
51.Talent would run from either of these fields, if you said you have to choose either.
如果只能二者选其一的话，那么真正有才干的人会两者都放弃，
52.Then they’re going to go to something where they think, “Well I can be creative and logical at the same time.”
然后他们将选择另外一个领域并告诉自己： “我可以既有创意又有逻辑分析能力啊”。
53.Now I grew up in the ’60s. And I’ll admit it, actually my childhood spanned the ’60s.
我成长在60年代。老实说， 实际上我的童年跨越了整个60年代，
54.And I was a wanna-be hippie.
那时我想成为一名嬉皮，
55.And I always resented the fact that I wasn’t really old enough to be a hippie.
常常恨自己年龄太小， 当不了名副其实的嬉皮士。
56.I know there are people here, you know, the younger generation of wanna-be hippies.
我知道在座的当中 也有想要成为嬉皮的年轻人，
57.People talk about the ’60s all the time and they talk about the anarchy that was there.
人们常常谈论60年代， 谈及那个时候有多混乱，
58.But when I think about the ’60s, what I took away from it was that there was hope for the future.
但对我而言， 60年代留给我印象最深的， 是对未来的希望。
59.We thought everyone could participate.
那时候我们认为任何人都能参与（对未来的建设），
60.There were wonderful, incredible ideas that were always percolating.
许许多多的奇思妙想 在我们中间层出不穷。
61.And so much of what’s cool or hot today is really based on some of those concepts — whether it’s people trying to use a Prime Directive from Star Trek,
现在有很多很酷的东西 其最初的构思其实就出现在那个时候。 不管是人们试图使用“星际迷航”中的“首要指令”
62.being involved in things, or again that three-dimensional weaving, and fax machines that I read about in my weekly readers, as the technology and engineering was just getting started.
参与各项事务， 还是刚才提到的三维编织， 或者是我从”每周读者“中得知的传真机。 这些技术工程在当时都刚刚起步而已。
63.But the ’60s left me with a problem.
但60年代同时也给我带来了一个问题。
64.You see, I always assumed I would go into space because I followed all of this.
我总是想象自己能到宇宙太空去看一看， 因为我太迷恋这些东西。
65.But I also loved the arts and sciences.
但我也同样喜欢艺术和科学。
66.You see, when I was growing up as a little girl and a teenager, I loved designing and making doll clothes, and wanted to be a fashion designer.
从小女孩到青少年时期， 我一直很喜欢给布娃娃设计和制作衣服，一直梦想成为一名时装设计师。
67.I took art and ceramics.
我上艺术和陶艺课程。
68.I loved dance — Lola Falana, Alvin Ailey, Jerome Robins.
我还很喜欢跳舞。 喜欢萝拉·法拉纳，阿尔文·艾利，杰罗姆·罗宾斯。
69.And I also avidly followed the Gemini and the Apollo programs.
我还疯狂的迷恋”双子星“和”阿波罗“计划，
70.I had science projects and tons of astronomy books.
我做过一些科学项目， 还拥有大量天文书籍。
71.I took calculus and philosophy.
我上过微积分和哲学课程，
72.I wondered about the infinity and the Big Bang theory.
我思考过”宇宙无限“的意义，以及”大爆炸“理论。
73.And when I was at Stanford, I found myself, my senior year — chemical engineering major — half the folks thought I was a political science and performing arts major,
我在斯坦福读书的时候， 大四的时候我的专业是化学工程， 但有一半人认为我是学政治和表演的，
74.which was sort of true, because I was Black Student Union President, and I did major in some other things.
其实也对，因为我那时侯是黑人学生联合会的主席， 我的主要精力集中在一些专业以外的事情上了。
75.And I found myself, the last quarter, juggling chemical engineering separation processes, logic classes, nuclear magnetic resonance spectroscopy,
最后一个学期的时候， 我同时做了很多事情，包括学习化学工程分解过程， 逻辑课，研究核磁共振光谱，
76.and also producing and choreographing a dance production.
还制作和编排了一个舞蹈作品。
77.And I had to do the lighting and the design work.
我同时还要做照明和设计的工作。
78.I was trying to figure out, do I go to New York City to try to become a professional dancer?
那时我在思考我是应该去纽约 从事舞蹈行业
79.Or do I go to medical school?
还是去上医学院。
80.Now my mother helped me figure that one out.
最终我妈妈帮我做了决定。
81.(Laughter) But when I went into space, when I went into space I carried a number of things up with me.
（笑声） 然而，后来当我走进太空的时候， 我随身带了一些东西，
82.I carried a poster by Alvin Ailey — who you can figure out now I love the dance company — an Alvin Ailey poster of Judith Jameson performing the dance “Cry,”
其中包括一张阿尔文·艾利的海报－你们已经知道他是谁了 我喜欢舞蹈，所以就带了这张阿尔文·艾利舞团的 朱迪·詹姆森表演舞蹈”哭泣”的海报，
83.dedicated to all black women everywhere, a Bundu statue, which was from the Women’s Society in Sierra Leone, and a certificate for the Chicago public school students
这个舞蹈是献给全世界的黑人女性同胞的。 我还带了一尊本杜的塑像，是塞拉利昂的妇女协会送给我的， 还有一份颁发给芝加哥公立学校的一份证书，
84.to work to improve their science and math.
是用来鼓励那些努力学习科学和数学的学生。
85.Folks ask me, “Why did you take up what you took up?”
人们都问我， “你为什么选择带上这些东西？”
86.I had to say, “Because it represents human creativity.”
我回答说：“因为这体现了人类的创造力“。
87.The creativity that allowed us, that we were required to have to conceive and build and launch the space shuttle, springs from the same source of imagination and analysis
有了这种创造力， 我们才能够构思、建造 和发射航天飞机。 这跟雕刻一尊本杜的塑像所需要的想象力和分析能力
88.that it took to carve a Bundu statue, or the ingenuity it took to design, choreograph, and stage “Cry.”
在本质上是同源的。 这跟设计、编排和表演 舞蹈”哭泣“所需要的独创性也是同源的。
89.Each one of them are different manifestations, incarnations of creativity.
只是它们借助不同的的表达形式， 是人类创造力的不同化身、
90.Avatars of human creativity.
不同表现而已。
91.And that’s what we have to reconcile in our minds, how these things fit together.
这就需要我们去调整思维， 思考这些事情之间的联系。
92.The difference between arts and sciences is not analytical versus intuitive. Right?
艺术和科学之间的区别 并不是分析能力和直觉的区别。对吗？
93.E=mc2 required an intuitive leap.
E=mc2的发现需要瞬间的灵感喷涌，
94.And then you had to do the analysis afterwards.
但之后你必须做逻辑分析。
95.Einstein said in fact, “The most beautiful thing we can experience is the mysterious.
爱因斯坦早就说过： “我们能体验到的最美丽的东西就是神秘感，
96.It is the source of all true art and science.”
它是所有真实艺术和科学的发源地”。
97.Dance requires us to express, and want to express, the jubilation in life.
舞蹈需要我们去表达 并渴望表达生活中的一切美好。
98.But then you have to figure out, “Exactly what movement do I do to make sure that it comes across correctly?”
然而为了达到这个目标，你必须思考“究竟什么样的舞步 才能表达出我想要传达的东西？”
99.The difference between arts and sciences is also not constructive versus deconstructive. Right?
艺术和科学的区别也不是 建构和解构的关系。对吧？
100.A lot people think of the sciences as deconstructive.
许多人认为科学是解构的，
101.You have to pull things apart.
因为你必须把事物拆开来进行研究。
102.Yes subatomic physics is deconstructive.
是的亚原子物理学的确是解构的。
103.You literally try to tear atoms apart to understand what’s inside of them.
你确实想要把原子拆开来研究 从而了解里面究竟是什么。
104.But sculpture, from what I understand from great sculptors, is deconstructive because you see a piece, and you remove what doesn’t need to be there.
但是，根据我从大雕塑家那里了解到的，雕塑艺术也是解构的。 因为你看到一样东西后，你要把不需要的部分去掉。
105.Biotechnology is constructive.
生物科技是建构性的。
106.Orchestral arranging is constructive.
交响乐编曲也是建构性的。
暂无讨论，说说你的看法吧
