Amy Tan on creativity |Amy Tan|| Amy Tan über Kreativität Η Amy Tan για τη δημιουργικότητα Amy Tan sobre la creatividad Amy Tan sur la créativité Amy Tan sulla creatività 에이미 탄의 창의성 Amy Tan sobre criatividade Эми Тан о творчестве 谭恩美谈创造力

The Value of Nothing: Out of Nothing Comes Something.That was an essay I wrote when I was 11 years old and I got a B+. `` Ценность ничего: что-то происходит из ничего ''. Это было эссе, которое я написал, когда мне было 11 лет, и я получил оценку B +. Hiçbir şeyin Değeri: Hiçbir Şeyden Bir Şey Gelmez. 11 yaşındayken yazdığım ve B + aldığım bir denemeydi. 虚无的价值：无中生有。那是我 11 岁时写的一篇文章，我得了 B+。 (Laughter)What I’m going to talk about: nothing out of something, and how we create.And I’m gonna try and do that within the 18-minute time span that we were told to stay within,and to follow the TED commandments:that is, actually, something that creates a near-death experience,but near-death is good for creativity. ||||||||||||||||||||||||分钟|||||||||||||||||||||||||||||||| |||||discuss||absence of content|||||||generate ideas|||going to|attempt||||during||||time limit||||instructed||remain|inside|||adhere to||TED guidelines|guidelines|||in fact|||produces||almost||||close to|||beneficial||enhances innovation （笑い）私が話したいこと：何かから何も出てこない、そして私たちがどのように作成するかTEDの戒め：つまり、実際には臨死体験を生み出すものですが、臨死は創造性にとって良いことです。 (Смех) О чем я собираюсь поговорить: ничего из чего-то и о том, как мы создаем. И я попытаюсь сделать это в течение 18-минутного промежутка времени, в котором нам сказали оставаться в рамках и следовать Заповеди TED: это, на самом деле, то, что вызывает околосмертный опыт, но околосмерть полезна для творчества. (Gülüşmeler) Ne hakkında konuşacağım: hiçbir şeyden ve nasıl yarattığımızdan. Ve bunu içinde kalmamız ve takip etmemizin söylendiği 18 dakikalık zaman aralığında yapmaya çalışacağım. TED emirleri: aslında, ölüme yakın bir deneyim yaratan bir şeydir, ancak ölüme yakın olmak yaratıcılık için iyidir. （笑声）我要谈的是：什么都没有，以及我们如何创造。我会尝试在我们被告知要留在里面的 18 分钟时间内做到这一点，并遵循TED戒律：实际上是一种创造濒死体验的东西，但濒死对创造力有好处。 (Laughter) OK. |Alright (Смех) Хорошо.

So, I also want to explain,because Dave Eggers said he was going to heckle me if I said anything that was a lie, or not true to universal creativity.And I’ve done it this way for half the audience, who is scientific.When I say we, I don’t mean you, necessarily;I mean me, and my right brain, my left brain and the one that’s in between that is the censor and tells me what I’m saying is wrong.And I’m going do that also by looking at what I think is part of my creative process,which includes a number of things that happened, actually --the nothing started even earlier than the moment in which I’m creating something new.And that includes nature, and nurture,and what I refer to as nightmares. |||desire||||Dave Eggers|Dave Eggers||||||interrupt|||||that||||falsehood|or not true||accurate||shared|universal creativity||I have|approached|||method||some of||half the audience|||analytical|||||||you||not you||myself|||||||logical|||||||middle||||inner critic||informs||||is||incorrect||||||||examining||||believe||first part|||thinking||my creative process|a number of||a variety||||occurred|in fact||absence of something|began||before|||point in time||in which||producing|||||nature nurture nightmares|natural environment||upbringing||||call|||dreams fears だから、私も説明したいのですが、デイブ・エガーズは、私が嘘であるか、普遍的な創造性に当てはまらないことを言ったら、彼は私をやじるつもりだと言ったので、私は科学的である聴衆の半分のためにそれをこのようにしました私たちが言うとき、私は必ずしもあなたを意味するのではありません;私は私を意味します、そして私の右脳、私の左脳、そしてその間にあるものは検閲であり、私が言っていることが間違っていると私に言います。そして私は私の創造的なプロセスの一部であると私が考えることによってもそれを行うつもりです。これには、実際に起こった多くのことが含まれます-私が何か新しいものを作成している瞬間よりも早く始まったことは何もありません。自然、育成、そして私が悪夢と呼んでいるものが含まれています。 Итак, я также хочу объяснить, потому что Дэйв Эггерс сказал, что он будет перебивать меня, если я скажу что-нибудь, что было ложью или не соответствовало универсальному творчеству. И я сделал это для половины аудитории, которая является научной Когда я говорю «мы», я не обязательно имею в виду вас; я имею в виду меня, и мое правое полушарие, мое левое полушарие и то, что находится между ними, является цензором и говорит мне, что я говорю неправильно. Я собираюсь сделать это также, глядя на то, что, по моему мнению, является частью моего творческого процесса, который включает в себя ряд вещей, которые на самом деле произошли - ничто не началось даже раньше того момента, когда я создаю что-то новое. включает природу, воспитание и то, что я называю кошмарами. 所以，我也想解释一下，因为戴夫·埃格斯说，如果我说任何谎言或不符合普遍创造力的话，他会质问我。我已经为一半的科学观众这样做了.当我说我们时，我不一定指你；我指的是我，我的右脑，我的左脑以及介于两者之间的那个是审查员，它告诉我我所说的是错误的。我我也会通过查看我认为是我的创作过程的一部分来做到这一点，其中包括实际上发生的许多事情 - 甚至比我创造新事物的那一刻更早开始。包括先天、后天和我所说的噩梦。

Now in the nature area, we look at whether or not we are innately equipped with something, perhaps in our brains, some abnormal chromosome that causes this muse-like effect.And some people would say that we’re born with it in some other means.And others, like my mother,would say that I get my material from past lives.Some people would also say that creativity may be a function of some other neurological quirk --van Gogh syndrome -- that you have a little bit of, you know, psychosis, or depression.I do have to say, somebody -- I read recently that van Gogh wasn’t really necessarily psychotic,that he might have had temporal lobe seizures,and that might have caused his spurt of creativity, and I don’t --I suppose it does something in some part of your brain.And I will mention that I actually developed temporal lobe seizures a number of years ago,but it was during the time I was writing my last book,and some people say that book is quite different. |||creativity|nature area|||||not||||naturally|innately gifted|||possibly|||brain structure||unusual|abnormal chromosome||produces||creative inspiration|||||||||||||||||||||my mother|||||||creativity source||previous||||||||innate ability||||result of||||brain-related|anomaly|van Gogh|van Gogh syndrome|van Gogh syndrome|||||small|small amount||||mental illness|or depression|mood disorder||||||I|||||Vincent van Gogh|van Gogh|was not||not necessarily|mental illness||he might||||temporal lobe|temporal lobe|temporal lobe seizures|||||triggered|his creativity|burst||creative output|||||think||||||region|||||||note|||in fact||temporal lobe|lobe seizures|seizures||of|||||||while|||||writing my||previous|last book||||||book two|||distinctive Теперь, когда мы работаем в области природы, мы смотрим, есть ли у нас что-то врожденное, возможно, в нашем мозгу, какая-то аномальная хромосома, которая вызывает этот эффект музы. А другие, например, моя мать, сказали бы, что я получаю свой материал из прошлых жизней. Некоторые люди также скажут, что творчество может быть функцией какой-то другой неврологической причуды - синдрома Ван Гога, - что у вас есть немного ну, знаете, психоз или депрессия. Я должен сказать кое-кому - недавно я прочитал, что Ван Гог на самом деле не обязательно был психотиком, что у него могли быть припадки височной доли, и это могло стать причиной его творческого всплеска. а я нет - я полагаю, это что-то делает в какой-то части вашего мозга. И я упомяну, что у меня действительно развились припадки височных долей несколько лет назад, но это было в то время, когда я писал свою последнюю книгу, и некоторые говорят, что эта книга совсем другая. 现在在自然领域，我们看看我们是否天生就配备了某种东西，也许在我们的大脑中，一些异常的染色体会导致这种类似缪斯的效果。有些人会说我们是在其他一些地方与生俱来的意味着。而其他人，比如我的母亲，会说我从前世得到了我的材料。有些人还会说创造力可能是其他一些神经学怪癖的功能——梵高综合症——你有一点，你知道，精神病或抑郁症。我不得不说，有人——我最近读到梵高不一定是精神病，他可能患有颞叶癫痫，这可能导致他的创造力突飞猛进，我没有——我想它在你大脑的某些部分有什么作用。我会提到几年前我实际上患上了颞叶癫痫，但那是在我写最后一本书的时候，而且有人说那本书完全不同。

I think that part of it also begins with a sense of identity crisis:you know, who am I, why am I this particular person,why am I not black like everybody else?And sometimes you’re equipped with skills,but they may not be the kind of skills that enable creativity.I used to draw. |||first section||||starts||||||identity confusion||||am|||am||||||am not|||African American||everyone else|else (1)||||provided||certain abilities|||||||||creative skills||facilitate|creative expression||formerly||create art Sanırım bunun bir kısmı bir kimlik krizi ile başlıyor: biliyorsun, ben kimim, neden bu özel kişiyim, neden herkes gibi siyah değilim ve bazen becerilerle donatılmışsın ama onlar olabilir yaratıcılığı mümkün kılan türden beceriler değildi. Eskiden çizerdim. 我认为这部分也是从身份危机感开始的：你知道，我是谁，为什么我是这个特殊的人，为什么我不像其他人一样黑？有时你有技能，但他们可能不是那种能够激发创造力的技能。我曾经画画。 I thought I would be an artist.And I had a miniature poodle.And it wasn’t bad, but it wasn’t really creative.Because all I could really do was represent in a very one-on-one way.And I have a sense that I probably copied this from a book.And then, I also wasn’t really shining in a certain area that I wanted to be,and you know, you look at those scores, and it wasn’t bad,but it was not certainly predictive that I would one day make my living out of the artful arrangement of words. ||||||artist|||||small|miniature poodle|||was not|acceptable|||||innovative||||||||depict|||||||personal manner||||||||likely|imitated||||a book|||||was not||excelling|||specific|field of interest|||desired|||||||||those particular|test results|||not|not great||||||indicative||||||||||||skillful|artful arrangement||words Sanatçı olacağımı sanıyordum ve minyatür bir kanişim vardı ve fena değildi, ama gerçekten yaratıcı değildi çünkü gerçekten tek yapabildiğim bire bir şekilde temsil etmekti. Muhtemelen bunu bir kitaptan kopyaladığıma dair bir his var ve sonra, ben de olmak istediğim belirli bir alanda gerçekten parlamıyordum ve bilirsiniz, bu puanlara bakarsınız ve kötü değildi, ama bir gün hayatımı kelimelerin sanatsal düzenlemesiyle kazanacağım kesinlikle öngörücü değildi. 我以为我会成为一名艺术家。我有一只迷你贵宾犬。它还不错，但不是很有创意。因为我真正能做的就是以一种非常一对一的方式表现出来。而且我有一种感觉，我可能是从一本书里抄来的。然后，我也没有在我想成为的某个领域真正发光，你知道，你看看那些分数，还不错，但是我无法预测有一天我会靠巧妙地排列单词来谋生。

Also, one of the principles of creativity is to have a little childhood trauma.And I had the usual kind that I think a lot of people had,and that is that, you know, I had expectations placed on me.That figure right there, by the way,figure right there was a toy given to me when I was but nine years old,and it was to help me become a doctor from a very early age.I have some ones that were long lasting: from the age of five to 15,this was supposed to be my side occupation,and it led to a sense of failure. ||||||innovation||||||trauma|childhood trauma|||||common||||believe||many||||||||||||pressure to succeed|on||||figure one|||||by the way|figure two|||||action figure|to|||||||nine|||||||||become||physician|||||||||||||enduring|||||five years||||intended||||secondary|hobby|||resulted in|||||inadequacy 此外，创造力的原则之一是要经历一点儿时的创伤。而且我有一种我认为很多人都有的常见的那种，那就是，你知道，我对我寄予厚望。那个数字就在那里顺便说一句，我九岁的时候有一个玩具给了我，它是为了帮助我从很小的时候就成为一名医生。我有一些经久不衰的玩具：从五点到十五点，这应该是我的副业，导致了一种失败感。

But actually, there was something quite real in my life that happened when I was about 14.And it was discovered that my brother, in 1967, and then my father,six months later, had brain tumors.And my mother believed that something had gone wrong,and she was gonna find out what it was, and she was gonna fix it.My father was a Baptist minister, and he believed in miracles,and that God’s will would take care of that.But, of course, they ended up dying, six months apart.And after that, my mother believed that it was fate, or curses-- she went looking through all the reasons in the universewhy this would have happened.Everything except randomness. ||||||||||||||||||||||sibling||||||six|after six months||||brain tumors|||my mother|thought||||gone awry|not right||my mother||going to|||||||was going to||going to|repair||||||Baptist|religious leader||he (father)|had faith||divine intervention|||divine||||handle it|||||||ultimately||passing away||six months|six months apart|||||believed in fate|thought it was||||destiny|or fate|bad luck|she searched for|went searching|searching||||causes|||the universe||||occurred|all factors|randomness|chance Ama aslında, 14 yaşımdayken hayatımda oldukça gerçek bir şey oldu. 1967'de kardeşimin ve altı ay sonra babamın beyin tümörleri olduğu ortaya çıktı ve annem bir şeylerin olduğuna inanıyordu. yanlış gitti ve ne olduğunu öğrenecekti ve düzeltecekti. babam bir Baptist papazıydı ve mucizelere inanıyordu ve Tanrı'nın iradesinin bununla ilgileneceğine inanıyordu. Altı ay arayla ölüyordu ve bundan sonra annem bunun kader ya da lanetler olduğuna inanıyordu - evrendeki bunun neden olabileceği tüm nedenleri araştırdı. 但实际上，在我 14 岁左右的时候，我的生活中发生了一件非常真实的事情。我的兄弟在 1967 年被发现，然后是我父亲，六个月后，我的父亲患有脑瘤。我母亲认为有什么东西出了问题，她会找出问题所在，她会修复它。我父亲是浸信会牧师，他相信奇迹，上帝的旨意会解决这个问题。但是，当然，他们结束了死亡，相隔六个月。在那之后，我妈妈相信这是命运，或者诅咒——她在宇宙中寻找了所有为什么会发生这种情况的原因。除了随机性之外的一切。 She did not believe in randomness.There was a reason for everything.And one of the reasons, she thought, was that her mother,who had died when she was very young, was angry at her.And so, I had this notion of death all around me,because my mother also believed that I would be next, and she would be next.And when you are faced with the prospect of death very soon,you begin to think very much about everything.You become very creative, in a survival sense. the protagonist|||||chance||||explanation||everything that happens|||||explanations|her|believed|||her|her mother|||passed away||her|||||||her||||||concept||||surrounding||||mother (2)||thought|||||next in line||her|||next in line|||||confronted|||possibility||||in the near future||start||reflect||||all things||become very||inventive for survival|||self-preservation| Rastgeleliğe inanmıyordu, her şeyin bir sebebi vardı ve düşündü, çok küçükken ölen annesinin ona kızmasıydı. Etrafımda ölüm, çünkü annem de bir sonraki olacağıma ve o da olacağına inanıyordu ve çok yakında ölüm ihtimaliyle karşı karşıya kaldığınızda, her şey hakkında çok düşünmeye başlıyorsunuz. bir hayatta kalma duygusu. 她不相信随机性。一切都是有原因的。她认为，其中一个原因是她很小的时候就去世了的母亲生她的气。所以，我有这个概念死亡围绕着我，因为我妈妈也相信我会是下一个，她会是下一个。当你很快面临死亡的前景时，你开始对每件事都想得很清楚。你变得非常有创造力，在一种生存意识。

And this, then, led to my big questions.And they’re the same ones that I have today.And they are: why do things happen, and how do things happen?And the one my mother asked: how do I make things happen?It’s a wonderful way to look at these questions, when you write a story.Because, after all, in that framework, between page one and 300,you have to answer this question of why things happen, how things happen,in what order they happen. |||resulted|||||||||||||||||||||||||||||||||||||||||perspective||||||||compose||narrative||||||structure of the story|between|||||||||||||||||||sequence of events|| 然后，这引发了我的大问题。它们与我今天的问题相同。它们是：为什么会发生事情，以及事情是如何发生的？我妈妈问的一个问题：我如何制作东西当你写一个故事时，这是看待这些问题的好方法。因为毕竟，在那个框架中，在第一页到 300 页之间，你必须回答这个问题：为什么事情会发生，事情是如何发生的，在什么情况下发生命令它们发生。 What are the influences?How do I, as the narrator, as the writer, also influence that?And it’s also one that, I think, many of our scientists have been asking.It’s a kind of cosmology, and I have to develop a cosmology of my own universe,as the creator of that universe. ||||||||||||||||||||||||||||||||||theory of the universe||||||||||||||||| 有什么影响？作为叙述者，作为作者，我如何影响它？我认为，这也是我们许多科学家一直在问的问题。这是一种宇宙学，我必须发展一个我自己的宇宙的宇宙学，作为那个宇宙的创造者。

And you see, there’s a lot of back and forth in trying to make that happen, trying to figure it out-- years and years, oftentimes.So, when I look at creativity, I also think that it is this sense or this inability to repress, my looking at associations in practically anything in life.And I got a lot of them during what’s been going on throughout this conference,almost everything that’s been going on. |||||||||||||||||||||||||||||||||||||||||||suppress|||||||||||||||||||||||||||||| 你看，为了实现这一点，有很多来回的努力，试图弄清楚——年复一年，经常如此。所以，当我看到创造力时，我也认为这是一种感觉或这种无能压抑，我在生活中几乎所有事物中都看到了关联。在整个会议期间，我得到了很多关联，几乎所有正在发生的事情。

And so I’m going to use, as the metaphor, this association:quantum mechanics, which I really don’t understand,but I’m still gonna use it as the process for explaining how it is the metaphor.So, in quantum mechanics, of course, you have dark energy and dark matter.And it’s the same thing in looking at these questions of how things happen.There’s a lot of unknown, and you often don’t know what it is except by its absence.But when you make those associations,you want them to come together in a kind of synergy in the story,and what you’re finding is what matters. 所以我要用这个联想作为比喻力学，当然，你有暗能量和暗物质。看这些关于事情如何发生的问题也是一回事。有很多未知数，你通常不知道它是什么，除非它不存在。但是当你建立这些关联时，你希望它们在故事中以某种协同作用结合在一起，而你所发现的才是最重要的。 The meaning.And that’s what I look for in my work, a personal meaning. 意义。这就是我在工作中寻找的，个人意义。

There is also the uncertainty principle, which is part of quantum mechanics,as I understand it. 还有不确定性原理，据我了解，它是量子力学的一部分。 (Laughter)And this happens constantly in the writing.And there’s the terrible and dreaded observer effect,in which you’re looking for something, and you know, things are happening simultaneously,and you’re looking at it in a different way,and you’re trying to really look for the about-ness,or what is this story about. （笑声）这在写作中经常发生。还有一种可怕而可怕的观察者效应，在这种效应中，你正在寻找一些东西，你知道，事情是同时发生的，你以不同的方式看待它，你正在努力寻找真正的意义，或者这个故事是关于什么的。 And if you try too hard,then you will only write the about.You won’t discover anything.And what you were supposed to find,what you hoped to find in some serendipitous way,is no longer there.Now, I don’t want to ignore the other side of what happens in our universe,like many of our scientists have.And so, I am going to just throw in string theory here,and just say that creative people are multidimensional,and there are 11 levels, I think, of anxiety. |||||||||||||||||||||||||||||||unexpectedly fortunate||||||||||||||||||||||||||||||||||||||||||||||having many aspects|||||||| 如果你太努力，那么你只会写关于。你不会发现任何东西。你应该找到的东西，你希望以某种偶然的方式找到的东西，已经不存在了。现在，我不知道不想忽视我们宇宙中发生的事情的另一面，就像我们的许多科学家一样。所以，我将在这里抛出弦理论，并说有创造力的人是多维的，有 11 个层次，我想，焦虑。 (Laughter) And they all operate at the same time. （笑声） 他们都同时运作。

There is also a big question of ambiguity.And I would link that to something called the cosmological constant.And you don’t know what is operating, but something is operating there.And ambiguity, to me, is very uncomfortable in my life, and I have it. |||||||||||||||||universe-related||||||||||||||||||||||||||| 还有一个很大的模糊问题。我会把它和宇宙常数联系起来。你不知道什么在起作用，但有东西在那里起作用。模糊，对我来说，在我的生活中非常不舒服，我有它。 Moral ambiguity.It is constantly there. And, just as an example,this is one that recently came to me.It was something I read in an editorial by a woman who was talking about the war in Iraq. 而且，作为一个例子，这是我最近遇到的一个例子。这是我在一篇谈论伊拉克战争的女人的社论中读到的。 And she said,"Save a man from drowning, you are responsible to him for life. 她说：“救人免于溺水，你要对他一辈子负责。 "A very famous Chinese saying, she said.And that means because we went into Iraq, we should stay there until things were solved. “一句非常有名的中国谚语，她说。这意味着因为我们进入了伊拉克，我们应该留在那里直到事情解决。 You know, maybe even 100 years.So, there was another one that I came across,and it’s "saving fish from drowning. "And it’s what Buddhist fishermen say,because they’re not supposed to kill anything.And they also have to make a living, and people need to be fed.So their way of rationalizing that is they are saving the fish from drowning,and unfortunately, in the process the fish die. ||||||||||||||||||||||||||||||||||||||||suffocating in|||||||| “这就是佛教渔民所说的，因为他们不应该杀死任何东西。而且他们还必须谋生，人们需要得到食物。所以他们合理化的方式是他们正在拯救溺水的鱼，并且不幸的是，在这个过程中鱼死了。 Now, what’s encapsulated in both these drowning metaphors-- actually, one of them is my mother’s interpretation,and it is a famous Chinese saying, because she said it to me:"save a man from drowning, you are responsible to him for life. Şimdi, bu boğulma metaforlarının ikisinde de özetlenen şey - aslında, bunlardan biri annemin yorumu ve bu ünlü bir Çin atasözü, çünkü bana şunu söyledi: "Bir adamı boğulmaktan kurtar, ona ömür boyu sorumlusun . 现在，这两个溺水的隐喻都包含着什么——其实，其中一个是我妈妈的解释，这是一句中国名言，因为她对我说：“救人不溺水，你要对他负责. "And it was a warning -- don’t get involved in other people’s business,or you’re going to get stuck.OK. “这是一个警告——不要卷入别人的生意，否则你会陷入困境。好吧。 I think if somebody really was drowning, she’d save them.But, both of these sayings -- saving a fish from drowning,or saving a man from drowning -- to me they had to do with intentions. 我想如果有人真的溺水了，她会救他们。但是，这两种说法——拯救溺水的鱼，或拯救溺水的人——对我来说都与意图有关。

And all of us in life, when we see a situation, we have a response.And then we have intentions.There’s an ambiguity of what that should be that we should do,and then we do something.And the results of that may not match what our intentions had been.Maybe things go wrong. 而我们所有人在生活中，当我们看到一种情况时，我们会有反应。然后我们有意图。我们应该做什么是模棱两可的，然后我们做某事。结果可能不会符合我们的意图。也许事情出错了。 And so, after that, what are our responsibilities?What are we supposed to do?Do we stay in for life,or do we do something else and justify and say, well, my intentions were good,and therefore I cannot be held responsible for all of it?That is the ambiguity in my lifethat really disturbed me, and led me to write a book called"Saving Fish From Drowning." ||||||||||||||||||||||||||||||||||||||||||||||||||||life||||||||||||||| 那么，在那之后，我们的责任是什么？我们应该做什么？我们是一辈子待在家里，还是我们做其他事情并证明说，好吧，我的意图是好的，因此我不能承担责任对于所有这些？那是我生活中的模棱两可，真正让我感到不安，并导致我写了一本书，名为《拯救溺水的鱼》。 I saw examples of that. Once I identified this question, it was all over the place.I got these hints everywhere.And then, in a way, I knew that they had always been there.And then writing, that’s what happens. 一旦我确定了这个问题，它就无处不在。我到处都得到了这些提示。然后，在某种程度上，我知道它们一直在那里。然后写作，就是这样。 I get these hints, these clues,and I realize that they’ve been obvious, and yet they have not been.And what I need, in effect, is a focus.And when I have the question, it is a focus.And all these things that seem to be flotsam and jetsam in life actually go through that question, and what happens is those particular things become relevant.And it seems like it’s happening all the time.You think there’s a sort of coincidence going on, a serendipity,in which you’re getting all this help from the universe.And it may also be explained that now you have a focus.And you are noticing it more often. ||||||||||||||||||||||||||||||||||||||||||||||debris||debris||||||||||||||||||||||||||||||||||||fortunate coincidence||||||||||||||||||||||||||||| 我得到了这些提示，这些线索，我意识到它们已经很明显了，但它们并不明显。实际上，我需要的是一个焦点。当我有问题时，它就是一个焦点。并且所有这些在生活中似乎是漂浮物和Jetsam的事情实际上都经历了这个问题，发生了什么是那些特定的事情变得相关。而且它似乎一直在发生。你认为这是一种巧合，一种偶然，你从宇宙中得到了所有这些帮助。这也可以解释为现在你有一个焦点。而且你更经常地注意到它。

But you apply this.You begin to look at things having to do with your tensions.Your brother, who’s fallen in trouble, do you take care of him?Why or why not?It may be something that is perhaps more serious-- as I said, human rights in Burma.I was thinking that I shouldn’t go because somebody said, if I did, it would show that I approved of the military regime there.And then, after a while, I had to ask myself,"Why do we take on knowledge, why do we take on assumptions that other people have given us? Ama bunu uygularsın, gerginliğinle ilgili şeylere bakmaya başlarsın, başını belaya sokan kardeşin, ona bakar mısın, neden ya da neden olmasın, belki daha ciddi bir şey olabilir ... Burma'da insan hakları dedim, gitmemem gerektiğini düşünüyordum çünkü birisi dedi ki, eğer yaparsam oradaki askeri rejimi onayladığımı gösterirdi ve sonra bir süre sonra kendime sormak zorunda kaldım: "Neden bilgiyi üstleniyoruz, neden diğer insanların bize verdiği varsayımları üstleniyoruz? 但是你应用这个。你开始考虑与你的紧张有关的事情。你陷入困境的兄弟，你会照顾他吗？为什么或为什么不？这可能是更严重的事情——比如我说，缅甸的人权。我在想我不应该去，因为有人说，如果我去了，就表明我赞成那里的军政府。然后，过了一会儿，我不得不问自己， “我们为什么要接受知识，为什么要接受别人给我们的假设？ "And it was the same thing that I felt when I was growing up,and was hearing these rules of moral conduct from my father,who was a Baptist minister.So I decided that I would go to Burma for my own intentions,and still didn’t know that if I went there,what the result of that would be, if I wrote a book --and I just would have to face that later, when the time came. "Ve bu, büyürken hissettiğim ve bu ahlaki davranış kurallarını Baptist bir papaz olan babamdan duyduğum şeydi. Eğer oraya gidersem bunun sonucunun ne olacağını, bir kitap yazarsam bunun ne olacağını bilmiyordum - ve bununla daha sonra, zamanı geldiğinde yüzleşmek zorunda kalacağımı. “这和我长大后的感觉是一样的，从我父亲那里听到这些道德行为准则，他是一名浸信会牧师。所以我决定为了我自己的意图去缅甸，仍然不知道如果我去那里，结果会是什么，如果我写了一本书——我只需要稍后，到时候再去面对。 We are all concerned with things that we see in the world that we are aware of.We come to this point and say, what do I as an individual do?Not all of us can go to Africa, or work at hospitals,so what do we do, if we have this moral response, this feeling?Also, I think one of the biggest things we are all looking at,and we talked about today, is genocide.This leads to this question.When I look at all these things that are morally ambiguous and uncomfortable,and I consider what my intentions should be,I realize it goes back to this identity question that I had when I was a child-- and why am I here, and what is the meaning of my life,and what is my place in the universe? |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||mass extermination|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| 我们都关心我们在世界上看到的我们所知道的事情。我们来到这一点上说，作为一个个体，我该怎么做？不是我们所有人都可以去非洲，或者在医院工作，那又如何？如果我们有这种道德反应，这种感觉，我们会做吗？另外，我认为我们都在关注的最重要的事情之一，我们今天谈到的，就是种族灭绝。这导致了这个问题。当我看到所有这些道德上模棱两可和不舒服的事情，我考虑我的意图应该是什么，我意识到这可以追溯到我小时候的身份问题——我为什么在这里，我的生活意义是什么，我在宇宙中的位置是什么？

It seems so obvious, and yet it is not.We all hate moral ambiguity in some sense,and yet it is also absolutely necessary.In writing a story, it is the place where I begin.Sometimes I get help from the universe, it seems.My mother would say it was the ghost of my grandmother from the very first book,because it seemed I knew things I was not supposed to know.Instead of writing that the grandmother died accidentally,from an overdose of opium, while having too much of a good time,I actually put down in the story that the woman killed herself,and that actually was the way it happened.And my mother decided that that information must have come from my grandmother. ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||excessive consumption||||||||||||||||||||||||||||||||||||||||||| Çok açık görünüyor ama yine de öyle değil.Hepimiz bir anlamda ahlaki belirsizlikten nefret ediyoruz ve yine de kesinlikle gerekli. Bir hikaye yazarken, başladığım yer burası Bazen evrenden yardım alıyorum. Görünüşe göre annem, daha ilk kitaptan büyükannemin hayaleti olduğunu söylerdi, çünkü bilmemem gereken şeyleri biliyormuşum gibi görünüyordu. İyi bir zaman geçirdim, aslında kadının kendini öldürdüğünü ve gerçekte böyle olduğunu anlattım ve annem bu bilginin büyükannemden gelmesi gerektiğine karar verdi. 看起来很明显，其实不然似乎。我妈妈会说这是第一本书中我祖母的鬼魂，因为我似乎知道了我不应该知道的事情。而不是写祖母意外死去，死于过量的鸦片，同时也有非常愉快，我实际上写下了那个女人自杀的故事，事情就是这样发生的。我妈妈认为这些信息一定来自我的祖母。

There are also things, quite uncanny,which bring me information that will help me in the writing of the book.In this case, I was writing a story that included some kind of detail, period of history, a certain location.And I needed to find something historically that would match that.And I took down this book, and I --first page that I flipped it to was exactly the setting, and the time period,and the kind of character I needed -- was the Taiping rebellion,happening in the area near Guilin, outside of that,and a character who thought he was the son of God. |||||strange||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||Taiping Rebellion|||||||near Guilin|||||||||||||| Bana kitabı yazarken yardımcı olacak bilgileri getiren oldukça esrarengiz şeyler de var Bu durumda bir tür ayrıntı, tarih dönemi, belirli bir konum içeren bir hikaye yazıyordum ve ihtiyacım vardı. Tarihsel olarak buna uyan bir şey bulmak için. Ve bu kitabı elime aldım ve onu çevirdiğim ilk sayfa tam olarak ortam, zaman aralığı ve ihtiyacım olan karakter türü idi - Taiping isyanıydı. , Guilin yakınlarındaki bölgede, bunun dışında ve Tanrı'nın oğlu olduğunu düşünen bir karakter. 还有一些非常不可思议的事情，它们给我带来了有助于我写作这本书的信息。在这种情况下，我正在写一个包含某种细节、历史时期、某个地点的故事。而我需要找到符合历史的东西。然后我把这本书拿下来，我——我翻到的第一页正是我需要的背景、时间段和那种角色——太平天国起义，发生在桂林附近的地区，在那之外，还有一个认为自己是上帝之子的人物。

You wonder, are these things random chance?Well, what is random? 你想知道，这些事情是随机的吗？那么，什么是随机的？ What is chance? What is luck?What are things that you get from the universe that you can’t really explain?And that goes into the story, too.These are the things I constantly think about from day to day.Especially when good things happen,and, in particular, when bad things happen.But I do think there’s a kind of serendipity,and I do want to know what those elements are,so I can thank them, and also try to find them in my life.Because, again, I think that when I am aware of them, more of them happen. ||||||||||||||||||||||||||||||||||||||||||||||||||||||||fortunate coincidence||||||||||||||||||||||||||||||||||||||| 什么是运气？你从宇宙中得到了什么你无法真正解释的东西？这也进入了故事。这些是我每天不断思考的事情。尤其是当好事发生时，和，尤其是当坏事发生时。但我确实认为有一种机缘巧合，我确实想知道这些元素是什么，所以我可以感谢它们，也试着在我的生活中找到它们。因为，再一次，我认为，当我意识到它们时，它们会发生更多。

Another chance encounter is when I went to a place-- I just was with some friends, and we drove randomly to a different place,and we ended up in this non-tourist location,a beautiful village, pristine.And we walked three valleys beyond,and the third valley, there was something quite mysterious and ominous,a discomfort I felt. ||||||||||||||||||||||||||||||||||||untouched pure|||||||||||||||||foreboding|||| 另一个偶然的相遇是我去一个地方——我只是和一些朋友，我们随机开车到不同的地方，我们最终来到了这个非旅游胜地，一个美丽的村庄，原始的。我们走了三个山谷越过第三个山谷，有一种非常神秘和不祥的东西，我感到一种不适。 And then I knew that had to be [the] setting of my book.And in writing one of the scenes, it happened in that third valley.For some reason I wrote about cairns -- stacks of rocks -- that a man was building.And I didn’t know exactly why I had it, but it was so vivid.I got stuck, and a friend, when she asked if I would go for a walk with her dogs,that I said, sure. ||||||||||||||||||||||||||||||||rock piles||||||||||||||||||||||||||||||||||||||||||||| Ve sonra bunun kitabımın sahnesi olması gerektiğini anladım ve sahnelerden birini yazarken, o üçüncü vadide gerçekleşti. Nedense, bir adamın inşa ettiği cairns - kaya yığınları hakkında yazdım Ve neden sahip olduğumu tam olarak bilmiyordum, ama çok canlıydı. Sıkıştım ve bir arkadaşım, köpekleriyle yürüyüşe çıkıp çıkmayacağımı sorduğunda, eminim dedim. 然后我知道那一定是我书的背景。在写其中一个场景时，它发生在第三个山谷。出于某种原因，我写了关于凯恩斯——一堆岩石——一个人正在建造的东西.而且我不知道为什么我有它，但它是如此生动。我被卡住了，还有一个朋友，当她问我是否会和她的狗一起去散步时，我说，当然。 And about 45 minutes later,walking along the beach, I came across this.And it was a man, a Chinese man,and he was stacking these things, not with glue, not with anything.And I asked him, "How is it possible to do this? 大约 45 分钟后，我在海滩上散步时遇到了这个。是一个男人，一个中国人，他正在堆放这些东西，没有用胶水，也没有用任何东西。我问他，“怎么样可以这样做吗？ "And he said, "Well, I guess with everything in life, there’s a place of balance. "And this was exactly the meaning of my story at that point.I had so many examples -- I have so many instances like this, when I’m writing a story,and I cannot explain it.Is it because I had the filter that I have such a strong coincidencein writing about these things?Or is it a kind of serendipity that we cannot explain, like the cosmological constant? |||||||||||||||||||||||||||||||||||||||||||||||coincidence||||||||||||||||||| “这正是当时我故事的意义。我有很多例子——我有很多这样的例子，当我写一个故事时，我无法解释它。是因为我有过滤器吗？我在写这些东西时有这么强烈的巧合？或者它是一种我们无法解释的机缘巧合，就像宇宙常数一样？ A big thing that I also think about is accidents.And as I said, my mother did not believe in randomness.What is the nature of accidents?And how are we going to assign what the responsibility and the causes are,outside of a court of law?I was able to see that in a firsthand way,when I went to beautiful Dong village, in Guizhou, the poorest province of China.And I saw this beautiful place. |||||||||||||||||||||||||||||||||||||||||||||||||||||||direct experience||||||||||Guizhou Province||||||||||| Benim de düşündüğüm büyük bir şey kazalar ve dediğim gibi annem rastlantısallığa inanmadı, kazaların niteliği nedir ve mahkeme dışında sorumlulukların ve sebeplerin ne olduğunu nasıl belirleyeceğiz Çin'in en fakir eyaleti olan Guizhou'daki güzel Dong köyüne gittiğimde bunu ilk elden görebildim ve bu güzel yeri gördüm. 我还考虑的一件大事是事故。正如我所说，我妈妈不相信随机性。事故的性质是什么？我们如何在法庭之外分配责任和原因法律？当我去中国最贫穷的省份贵州美丽的侗村时，我亲眼目睹了这一点。我看到了这个美丽的地方。 I knew I wanted to come back.And I had a chance to do that, when National Geographic asked meif I wanted to write anything about China.And I said yes, about this village of singing people, singing minority.And they agreed, and between the time I saw this place and the next time I went,there was a terrible accident. |||||||||||||||||||if||||||||||||||||||||||||||||||||||||||||| 我知道我想回来。当我有机会这样做时，国家地理问我是否想写一些关于中国的东西。我说是的，关于这个唱歌的民族，唱歌的少数民族。他们同意了，并且从我看到这个地方到我下次去的时候，发生了一起可怕的事故。 A man, an old man, fell asleep,and his quilt dropped in a pan of fire that kept him warm.60 homes were destroyed, and 40 were damaged.Responsibility was assigned to the family.The man’s sons were banished to live three kilometers away, in a cowshed.And, of course, as Westerners, we say, "Well, it was an accident. |||||||||bed covering|||||||||||||||||||||||||||exiled||||||||barn for cows|||||||||||| Yaşlı bir adam uykuya daldı ve yorganı onu sıcak tutan bir tavaya düştü. 60 ev yıkıldı, 40 ev hasar gördü, sorumluluk aileye verildi, adamın oğulları üç kilometre yaşamaya sürüldü. uzakta, bir ahırda. Ve tabi ki Batılılar olarak diyoruz ki, "Bu bir kazaydı. 一个男人，一个老人，睡着了，他的被子掉进了一锅暖和的火里。60间房屋被毁，40间房屋受损。责任分配到家庭。该男子的儿子被放逐到三公里处当然，作为西方人，我们会说，“嗯，这是一个意外。 That’s not fair.It’s the son, not the father." When I go on a story, I have to let go of those kinds of beliefs.It takes a while, but I have to let go of them and just go there, and be there.And so I was there on three occasions, different seasons.And I began to sense something different about the history,and what had happened before, and the nature of life in a very poor village,and what you find as your joys, and your rituals, your traditions, your links with other families. Bir hikâyeye gittiğimde, bu tür inançları bırakmalıyım, biraz zaman alıyor, ama onları bırakmam ve oraya gitmem ve orada olmam gerekiyor. Ve tarih, daha önce olanlar ve çok fakir bir köyde yaşamın doğası hakkında farklı bir şeyler hissetmeye başladım ve neşe kaynağınız, ritüelleriniz, gelenekleriniz, diğer ailelerle bağlarınız . 当我讲故事时，我必须放下那些信念。这需要一段时间，但我必须放下它们，去那里，在那里。所以我在那里三次，不同我开始感觉到一些不同的历史，过去发生的事情，一个非常贫穷的村庄的生活本质，你发现的快乐，你的仪式，你的传统，你与其他家庭的联系. And I saw how this had a kind of justice, in its responsibility.I was able to find out also about the ceremony that they were using,a ceremony they hadn’t used in about 29 years. 我看到这有一种正义，在它的责任中。我还能够了解他们正在使用的仪式，这是他们大约 29 年没有使用过的仪式。 And it was to send some men-- a Feng Shui master sent men down to the underworld on ghost horses.Now you, as Westerners, and I, as Westerners,would say well, that’s superstition. ||||||||Feng Shui|Feng Shui||||||||||||||||||||||| Ve bir Feng Shui ustası, hayalet atlarla yeraltı dünyasına adamlar göndermekti. Şimdi siz, Batılılar olarak ve ben Batılılar olarak iyi diyebiliriz, bu batıl inanç. 还有就是派人，风水师派人骑鬼马下冥界。现在你西方人，我西方人都说好，那是迷信。 But after being there for a while,and seeing the amazing things that happened,you begin to wonder whose beliefs are those that are in operation in the world,determining how things happen. Ama bir süre orada bulunduktan ve olan inanılmaz şeyleri gördükten sonra, olayların nasıl olacağını belirleyerek, dünyada işlemekte olanların kimlerin inançları olduğunu merak etmeye başlıyorsunuz. 但在那里待了一段时间，并看到发生的令人惊奇的事情之后，你开始想知道谁的信仰是世界上正在运作的信仰，决定了事情是如何发生的。

So I remained with them, and the more I wrote that story,the more I got into those beliefs, and I think that’s important for me-- to take on the beliefs, because that is where the story is real,and that is where I’m gonna find the answers to how I feel about certain questions that I have in life.Years go by, of course, and the writing, it doesn’t happen instantly,as I’m trying to convey it to you here at TED.The book comes and it goes. Bu yüzden onlarla kaldım ve bu hikayeyi ne kadar çok yazarsam, bu inançlara o kadar çok girdim ve bunun benim için önemli olduğunu düşünüyorum - inançları benimsemek, çünkü hikayenin gerçek olduğu yer burası ve Hayatta sahip olduğum bazı sorular hakkında nasıl hissettiğimin cevaplarını bulacağım. Elbette, yıllar geçiyor ve yazma anında gerçekleşmiyor, burada size iletmeye çalıştığım gibi TED. Kitap gelir ve gider. 所以我和他们在一起，我写的故事越多，我就越相信那些信念，我认为这对我来说很重要——接受这些信念，因为那是故事真实的地方，那是我会找到我对生活中某些问题的感受的答案。当然，岁月流逝，写作也不会立即发生，因为我想在这里向你传达TED. 书来了又去。 When it arrives, it is no longer my book.It is in the hands of readers, and they interpret it differently.But I go back to this question of, how do I create something out of nothing?And how do I create my own life? 当它到达时，它就不再是我的书了生活？

And I think it is by questioning,and saying to myself that there are no absolute truths.I believe in specifics, the specifics of story,and the past, the specifics of that past,and what is happening in the story at that point.I also believe that in thinking about things --my thinking about luck, and fate, and coincidences and accidents,God’s will, and the synchrony of mysterious forces --I will come to some notion of what that is, how we create.I have to think of my role. ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||chance events|||||||alignment of forces||||||||||||||||||||||| Ve bunun, sorgulayarak ve mutlak gerçeklerin olmadığını kendi kendime söyleyerek olduğunu düşünüyorum; ayrıntılara, hikayenin ayrıntılarına ve geçmişe, o geçmişin ayrıntılarına ve o noktada hikayede neler olduğuna inanıyorum. Ayrıca, şeyler hakkında düşünürken - şans, kader, tesadüfler ve tesadüfler, Tanrı'nın iradesi ve gizemli güçlerin eşzamanlılığı hakkındaki düşüncelerim - bunun ne olduğu, nasıl yarattığımız hakkında bir fikir edeceğime inanıyorum. rolümü düşünmek zorundayım. 我认为这是通过质疑，对自己说没有绝对的真理。我相信细节，故事的细节，过去，过去的细节，以及故事中发生的事情。我也相信，在思考事物时——我思考运气、命运、巧合和意外、上帝的旨意以及神秘力量的同步——我会得出一些关于我们如何创造的概念。得想想我的角色。 Where I am in the universe,and did somebody intend for me to be that way, or is it just something I came up with?And I also can find that by imagining fully, and becoming what is imagined --and yet is in that real world, the fictional world.And that is how I find particles of truth, not the absolute truth, or the whole truth.And they have to be in all possibilities,including those I never considered before. Evrende neredeysem ve birisi benim böyle olmamı mı istedi, yoksa bu benim bulduğum bir şey mi? Ve bunu tam olarak hayal ederek ve hayal edilen şey haline gelerek de bulabilirim - ve yine de bu gerçek dünya, kurgusal dünya ve bu şekilde mutlak gerçeği ya da tüm gerçeği değil, gerçek parçacıkları buluyorum ve daha önce hiç düşünmediklerim de dahil olmak üzere tüm olasılıklarda olmaları gerekiyor. 我在宇宙中的什么地方，是否有人打算让我成为那样的人，或者这只是我想出的东西？我也可以通过充分想象，成为想象中的东西来发现这一点——然而就在那个真实世界，虚构世界。这就是我如何找到真理的粒子，而不是绝对真理或全部真理。它们必须存在于所有可能性中，包括我以前从未考虑过的那些。

So, there are never complete answers.Or rather, if there is an answer, it is to remindmyself that there is uncertainty in everything,and that is good, because then I will discover something new.And if there is a partial answer, a more complete answer from me,it is to simply imagine.And to imagine is to put myself in that story,until there was only -- there is a transparency between me and the story that I am creating. ||||||||||||||||to remind myself|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Yani, hiçbir zaman tam cevaplar yoktur veya daha doğrusu, bir cevap varsa, kendime her şeyde belirsizlik olduğunu ve bu iyi olduğunu hatırlatmaktır, çünkü o zaman yeni bir şey keşfedeceğim. benden daha eksiksiz bir cevap, sadece hayal etmektir ve hayal etmek, kendimi o hikayenin içine koymaktır, ta ki sadece var olana kadar - benim ve yarattığım hikaye arasında bir şeffaflık var. 所以，从来没有完整的答案。或者更确切地说，如果有答案，就是提醒自己一切都有不确定性，这很好，因为这样我会发现一些新的东西。如果有部分答案，一个我给出的更完整的答案是简单地想象。想象就是把自己置身于那个故事中，直到只有——我和我正在创造的故事之间存在透明性。

And that’s how I’ve discovered that if I feel what is in the story-- in one story -- then I come the closest, I think,to knowing what compassion is, to feeling that compassion.Because for everything,in that question of how things happen, it has to do with the feeling.I have to become the story in order to understand a lot of that.We’ve come to the end of the talk,and I will reveal what is in the bag, and it is the muse,and it is the things that transform in our lives,that are wonderful and stay with us.There she is.Thank you very much! Y así es como descubrí que si siento lo que está en la historia, en una historia, entonces me acerco, creo, a saber qué es la compasión, a sentir esa compasión. Porque para todo, en esa pregunta de cómo suceden las cosas, tiene que ver con el sentimiento. Tengo que convertirme en la historia para entender mucho de eso. Hemos llegado al final de la charla, y revelaré lo que hay en la bolsa, y es la musa, y son las cosas que transforman en nuestra vida, que son maravillosas y se quedan con nosotros. Ahí está ella. ¡Muchas gracias! Ve işte bu şekilde keşfettim ki eğer öykünün içindekini hissedersem - bir hikayede - o zaman merhametin ne olduğunu bilmeye, o merhameti hissetmeye en çok yaklaştığım. işlerin nasıl gerçekleştiğini anlamak için hikaye olmalıyım, konuşmanın sonuna geldik ve çantanın içinde ne olduğunu açıklayacağım ve o ilham perisidir ve hayatımızda dönüşen, harika olan ve bizimle kalan şeylerdir. işte orada. çok teşekkür ederim! 这就是我发现，如果我能感受到故事中的内容——在一个故事中——那么我认为，我最接近了解什么是同情，感受那种同情。因为对于一切，在那个问题中事情是如何发生的，这与感觉有关。我必须成为故事才能理解其中的很多内容。我们已经结束了谈话，我将揭示袋子里的东西，并且它是缪斯女神，它是改变我们生活的事物，美妙而与我们同在。她在那里。非常感谢！ (Applause)