-american
Do schools kill creativity
Good
morning. How are you? It's been great, hasn't it?
I've been blown away by
the whole
thing. In fact, I'm leaving. (Laughter) There have
been three themes,
haven't there,
running through the conference, which are relevant
to what I want to
talk about. One is
the extraordinary evidence of human creativity in
all of the
presentations that we've had
and in all of the people here. Just the variety of
it and
the range of it. The second is
that it's put us in a place where we have no idea
what's going to happen, in terms of the
future. No idea how this may play out.
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
其中之一就是人类创造
力的伟大例证
这些例证已经体现在之前的演讲当中
以及在座各位的身上
.
从这些例证
中我们看到了创新的多样化
和多领域
.
第二点
--
这些创新也让我们意识到
我们不知道
未来会发生什么
完全不知道
未来会如何
I have an
interest in education -- 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 you say you work
in education -- actually, you're not often at
dinner
parties, frankly, if you work in
education. (Laughter) You're not asked. And you're
never asked back, curiously. That's
strange to me. But if you are, and you say to
somebody, you know, they say,
education, you can see the blood run
from their face. They're like,
know,
education, they pin you to the wall.
Because it's one of those things that goes deep
with people, am I right? Like religion,
and MONEY and other things. I have a big
interest in education, and I think we
all do. We have a huge vested interest in it,
partly because it's education that's
meant to take us into this future that we can't
grasp. If you think of it, children
starting school this year will be retiring in
2065.
Nobody has a clue -- despite all
the expertise that's been on parade for the past
four
days -- what the world will look
like in five years' time. And yet we're meant to
be
educating them for it. So the
unpredictability, I think, is extraordinary.
我对教育感兴趣
事实上
,
我发现每个人都对教育感兴趣
难道不是吗
?
我发现这很有
趣
如果你参加一个晚宴
,
你说
你在教育部门工作
坦白的讲,如果你
在教育部门工作,
事实上你不会经常参加晚宴
,
(
笑声
)
所以你不会被问及你是做哪行的。
你永远不会被
问到,很奇怪。
但是如果你被问及,
他们问
:
你从事什么行业
?
你
说你在教育部门工
作
你会发现他们涨
红了脸
,
那意思好像是
“我的天啊,”“为什么让我碰上?整整一
周我才出来一次”
(
笑声
)
但如果你要他们谈谈他们的受教育经历,
他们会把你“钉到
墙上”
.
因为这些事情都涉及
个人的隐私
p>
,
对吗
?
比如宗
教信仰
,
薪水等
我对教育特别感
兴趣
,
我认为我们
都是如此
我们对此有巨大的既得利益
部分因为教育旨在
将我们带入
我们无法掌握的未来
p>
大家想想
,
今年入学的小孩
2065
将退休
.
没人知道会怎样
--
虽然
过去四天会议进程里都是关于这方面的专业讨论
--
但我们还是无法预知这个世界
五年<
/p>
后的样子。这就是为何我们要让这些孩子
接受教育。我认为正是未来的不确定性
决定
其非同寻常。
And the third part of this is that
we've all agreed, nonetheless, on the really
extraordinary capacities that children
have -- their capacities for innovation. I mean,
Sirena last night was a marvel, wasn't
she? Just seeing what she could do. And she's
exceptional, but I think she's not, so
to speak, exceptional in the whole of childhood.
What you have there is a person of
extraordinary dedication who found a talent. And
my contention is, all kids have
tremendous talents. And we squander them, pretty
ruthlessly. So I want to talk about
education and I want to talk about creativity. My
contention is that creativity now is as
important in education as literacy, and we
should treat it with the same status.
(Applause) Thank you. That was it, by the way.
Thank you very much. (Laughter) So, 15
minutes left. Well, I was born ... no.
(Laughter)
第三点就是
我们都认同一个观点
--
这些孩子的特别之处正是
他们的创新
能力。我
觉得昨晚
Sirena
的表现
令人惊奇,
对吗?
她很出色,但是我认为
她在孩提时代时没
显得与众不同。
现在的教育提倡的是一个有奉献精神的老师
能发现一个天才学生。但
我认为
所有孩子都是伟大的天才。
而我们却无情地扼杀了他们的才能。
所以我想谈
谈教育和
创造力。我认为
创造力和文化知识在教育中占同样比重,
所以这两方面我
们应同等对待。
(掌声)谢谢。而且,
非常感谢。(
笑声)还剩
15
分钟。
我出生于
--
说错了(笑声)
I heard a great story recently -- I
love telling it -- of a little girl who was in a
drawing lesson. She was six and she was
at the back, drawing, and the teacher said
this little girl hardly ever paid
attention, and in this drawing lesson she did. The
teacher was fascinated and she went
over to her and she said,
drawing?
(Laughter)
最近我听到一个很不错的
故事
--
我很愿意讲讲这个故事
--
说的是一个小女孩正在
上绘画课。小女孩只有六岁
她坐在教室的后排,正在画画,
而她的老师评价她几乎从
不
注意听讲,但在绘画课上她却听得很认真。
老师饶有兴趣地走过去
问她:“你在
画什么?”
她说:“我画的是上帝。”
老师说:“可是没人知道上帝长什么样。”
这时小女孩说:“他们马上就能知道上帝的样子了。”
(笑声)
When my son
was four in England -- actually he was four
everywhere, to be
honest. (Laughter) If
we're being strict about it, wherever he went, he
was four that
year. He was in the
Nativity play. Do you remember the story? No, it
was big. It was
a big story. Mel Gibson
did the sequel. You may have seen it:
James got the part of Joseph, which we
were thrilled about. We considered this to
be one of the lead parts. We had the
place crammed full of agents in T-shirts:
bit where the three kings
come in. They come in bearing gifts, and they
bring gold,
frankincense and myrrh.
This really happened. We were sitting there and I
think they
just went out of sequence,
because we talked to the little boy afterward and
we said,
that was it.
Anyway, the three boys came in -- four-year-olds
with tea towels on their
heads -- and
they put these boxes down, and the first boy said,
gold.
sent
this.
我儿子四岁时在英国
--
实际上他那会儿在哪都四岁(笑声)
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?应该记不得,情节太长。
故事太长。梅尔
.
吉布森演过那部剧的续集。
你们
也许看过,叫《基督诞生
II
》。我儿子
James
在那部
舞台剧里演
Joseph,
我们为此很
兴奋。
我们以为那是个主要角色。
我们给观
众们发了
T
恤:
上面印着“
James
Robinson
扮演
Joseph
笑声)
他的角色不一定有台词,剧情是
三个国王拿着礼物走
进来
他们分别拿着黄金,乳香精油,没药精油。
演出开始了。我们坐在观众席上
我
认为他们应该按顺序出场,
演出结束后我们对
James
说:
“你们刚才演的对吗?”
他说:“对啊,怎么了
,哪错了吗?”
其实他们把剧情改了。
他们是这么演的:三个
小演员出场,
四岁的小家伙们头上戴着擦杯子用的毛巾,
他们放下手上拿的盒子
第
一个孩子说:“我带来了黄金。”
第二个孩子说:“我带来了没药精油。”
第三个孩
子说:“
Frank
带来
了这个”(笑声)(注:“
frankincense
乳香精油
”英文发音和
“
Frank sent
this
”英文发音相似)
What
these things have in common 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. Now, I
don't mean to say
that being wrong is the same thing as being
creative. What we do
know is, if you're
not prepared to be wrong, you'll never come up
with anything
original -- if you're not
prepared to be wrong. And by the time they get to
be adults,
most kids have lost that
capacity. They have become frightened of being
wrong. And
we run our companies like
this, by the way. We stigmatize mistakes. And
we're now
running national education
systems where mistakes are the worst thing you can
make. And the result is that we are
educating people out of their creative capacities.
Picasso once said this -- he said that
all children are born artists. The problem is to
remain an artist as we grow up. I
believe this passionately, that we don't grow into
creativity, we grow out of it. Or
rather, we get educated out if it. So why is this?
以上例子的共同点就是孩子们愿意冒险。
对于未知的事物,他们愿意去尝试。
难
道不是吗?即使尝试的结果是错误的,他们也不惧怕。
p>
当然,我并不认为错误的尝试
等同于创新。
但我们都知道
如果你不打算做错误的尝试
你永远不会创造出新东西。
如果你不想让孩子们做错误的尝试,等他们长大了,
多数孩子就会丧失创新的能力。
那就会使他们也变得惧怕错误的尝试。
这种情况也存在于公司经营方面。
我
们不能容
忍任何错误。这就使得现在的
教育体系成为
最不能容忍错误的领域。
这样做的后
果
就是我们的教育体制正在扼杀
孩子们的创造力。毕加索曾说过
:
“孩子们是天生的艺
术家”
问题是我们长大后能否继续保有艺术灵感。我坚信:
我们随着年龄的增长而丧
失了创造力,
甚至可以说,是我们所受的教育让我们丧失了创造力。
为什么会这样
?
I lived
in Stratford-on-Avon until about five years ago.
In fact, we moved from
Stratford to Los
Angeles. So you can imagine what a seamless
transition that was.
(Laughter)
Actually, we lived in a place called Snitterfield,
just outside Stratford,
which is where
Shakespeare's father was born. Are you struck by a
new thought? I
was. You don't think of
Shakespeare having a father, do you? Do you?
Because you
don't think of Shakespeare
being a child, do you? Shakespeare being seven? I
never
thought of it. I mean, he was
seven at some point. He was in somebody's English
class, wasn't he? How annoying would
that be? (Laughter)
sent to bed by his
dad, you know, to Shakespeare,
Shakespeare,
everybody.
五年前,我住在
Stratford-on-
Avon
(注:英国市镇,莎士比亚出生与埋葬之地)。
现在我已经搬到了洛杉矶。
可想而知,这是个多么合乎逻辑的移居。
(笑声)其实,
那时我们住在
Snitterfield
就在
Stratford
郊外,那里是
莎士比亚父亲的出生地。你有
过灵感吗?我曾经有过。<
/p>
你没把莎士比亚和他的父亲联想在一起,对吗?
因为你忽略
了
莎士比亚也曾经是个孩子,对吗?
莎
士比亚七岁时什么样?我从没想过
--
他七岁时
的某个特定场景。比如他在上
英语课,想想他在上英语课
--
多么不可思议
(笑声
)
“你
要努力学习”你能想象他父亲边说边把他抱上床,
“现在该睡觉了”
他父亲又说:
“放下笔,
别再写那些东西了,别人都看不懂。”
(笑声)
Anyway, we
moved from Stratford to Los Angeles, and I just
want to say a word
about the
transition, actually. My son didn't want to come.
I've got two kids. He's 21
now; my
daughter's 16. He didn't want to come to Los
Angeles. He loved it, but he
had a
girlfriend in England. This was the love of his
life, Sarah. He'd known her for a
month. Mind you, they'd had their
fourth anniversary, because it's a long time when
you're 16. Anyway, he was really upset
on the plane, and he said,
another girl
like Sarah.
was the main reason we were
leaving the country. (Laughter)
话说远了,刚才
说到我们从
Stratford
搬到洛杉矶,
< br>
我想说的是,对于这次搬家,
我儿子并不愿意。
我有两个孩子。儿
子现在
21
岁了,女儿
16
岁。
我儿子不愿搬到洛
杉矶。虽然他喜欢这,
但在英国,他有个女友,是他的最爱,叫
Sarah.
他们认识只有
一个月后就开始交往了。
我们要搬家时他们已交往了
4
年。
p>
这对于
16
岁的
年龄来说
已经很长了。
我儿子上了飞机后很郁闷,
他说:“
我再也找不到像
Sarah
那样的女孩
了。”
但说实话,做为家长的我们为此很庆幸。
因为那个女孩是我们搬家的主要原因。
(笑声)
But
something strikes you when you move to America and
when you travel
around the world: Every
education system on earth has the same hierarchy
of
subjects. Every one. Doesn't matter
where you go. You'd think it would be otherwise,
but it isn't. At the top are
mathematics and languages, then the humanities,
and the
bottom are the arts. Everywhere
on Earth. And in pretty much every system too,
there's a hierarchy within the arts.
Art and music are normally given a higher status
in schools than drama and dance. There
isn't an education system on the planet that
teaches dance everyday to children the
way we teach them mathematics. Why? Why
not? I think this 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? (Laughter)
Truthfully, what happens is, as children grow
up, we start to educate them
progressively from the waist up. And then we focus
on
their heads. And slightly to one
side.
但搬到美国后,有些事使我印象深刻
如果你周游世界
你会发现每个国家的
教育体
系都存在相同的学科等级制度。
没有例外。不论哪个国家。
你认为也许会有例外,但
没有。
排在最前面的学科是数学和语言,
接下去是人文学科,艺术排在最后。
世界
上所有国家都是如此。
而且相同的还有
就是在艺术学科范围内也有等级制。
通常学
校把美术课和音乐课看的较重要
然后是戏剧课和舞蹈课。没有哪个国家的教育体系
天
天安排舞蹈课
但却每天都安排数学课。为什么?
为
什么不是每天安排舞蹈课呢?我认
为舞蹈课很重要。
我认为舞蹈课和数学课同样重要。
如
果有允许,孩子们会不停地跳
舞,我们也一样。
我们都有体会,对吗?
(笑声)事实上,
随着孩子年龄增长,我
们开始教导他们
别的东西,(以前是教他们走和跑),而随着他们长大,我们更关注
的是他们的头脑。
而且略微偏重大脑的一侧。
If
you were to visit education, as an alien, and say
education?
succeeds by this,
who does everything that they should, who gets all
the brownie
points, who are the winners
-- I think you'd have to conclude the whole
purpose of
public education throughout
the world is to produce university professors.
Isn't it?
They're the people who come
out the top. And I used to be one, so there.
(Laughter)
And I like university
professors, but you know, we shouldn't hold them
up as the
high-water mark of all human
achievement. They're just a form of life, another
form
of life. But they're rather
curious, and I say this out of affection for them.
There's
something curious about
professors in my experience -- not all of them,
but typically
-- they live in their
heads. They live up there, and slightly to one
side. They're
disembodied, you know, in
a kind of literal way. They look upon their body
as a form
of transport for their heads,
don't they? (Laughter) It's a way of getting their
head to
meetings. If you want real
evidence of out-of-body experiences, by the way,
get
yourself along to a residential
conference of senior academics, and pop into the
discotheque on the final night.
(Laughter) And there you will see it -- grown men
and
women writhing uncontrollably, off
the beat, waiting until it ends so they can go
home and write a paper about it.
如果你以一个外国人的身份来参观我们的教育体系,
带着这样的问题:“公办教
育的目的是什么?”
那么当你看到我们的教育体系产业化的发展,我相信,你就会明
白
是谁在真正从中受益,
是谁被教导着该做什么不该做什么,
是谁得了满分,谁是
第一名
--
关于公办教育的目的,我想你会得出这样的结论
世界上所有的公办教育
都以
培养大学教授为目的。难道不是吗?
因为大学教授是象牙塔尖上的人。
我
也曾是一名
大学教授,也是塔尖上的人。(笑声)
我倾慕大学教授的学识,但
我们不应
该用这样
一个头衔作为衡量一个人成功与否的分水岭。
其实大学教授只是
360
行中的一行,
只
不过他们比较好求知,
我这样说不是因为对他们的倾慕。
在我看来,大学教授有个特
点
-- <
/p>
虽然不是共性,但很典型
--
他们只用脑
子生活。
而且偏重于大脑的一侧。
用书面
语来说就是
--
他们脑体分离。
他们只是把身体当作
大脑的载体而已,难道不是吗?
(笑
声
)
这个载体可以载着大脑去开会。
如果你想亲身体验
你就去参加一次会议
--
学
术研讨会,
然后在会议结束后再去迪厅蹦迪。
(笑声)在那你会看到,成年男女
在
不和乐拍地疯狂摇摆。
期待夜晚的结束好回家写篇关于蹦迪的论文。
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