TED演讲中英对照3

第一篇：TED演讲中英对照3

My job is to design, build and study robots that communicate with people.But this story doesn't start with robotics at all, it starts with animation.When I first saw Pixar's “Luxo Jr.,” I was amazed by how much emotion they could put into something as trivial as a desk lamp.I mean, look at them--at the end of this movie, you actually feel something for two pieces of furniture.(Laughter)And I said, I have to learn how to do this.So I made a really bad career decision.And that's what my mom was like when I did it.(Laughter)I left a very cozy tech job in Israel at a nice software company and I moved to New York to study animation.And there I lived in a collapsing apartment building in Harlem with roommates.I'm not using this phrase metaphorically, the ceiling actually collapsed one day in our living room.Whenever they did those news stories about building violations in New York, they would put the report in front of our building.As kind of like a backdrop to show how bad things are.我的工作是设计、构造和研究 那些能够与人交流的机器人。不过这个故事不是从机器人说起，而是要从动画说起。当我第一次看到皮克斯的《顽皮跳跳灯》电影时，我惊呆了，一个如此微不足道的台灯 竟能表现如此多的感情。你看他们啊！电影结尾的时候，你真的开始喜欢上这两件小小的家具了。（笑声）我对自己说，我要学会做这样的东西。所以我做了一个很坏的职业决策，我做出这个决定的时候，我妈妈就是这样的。（笑声）我辞去了在以色列一个软件公司的 一份非常舒服的技术工作，我搬到了纽约 去学习动画。在那，我和我的室友住在 哈莱姆一栋即将坍塌的公寓楼里。我没有夸张，有一天天花板真的塌下来了 就塌在了我们的客厅里。每次报到纽约的违章建筑时，他们都会跑到们的大楼下进行采访。就好像让你看看现场有多糟糕一样。

Anyway, during the day I went to school and at night I would sit and draw frame by frame of pencil animation.And I learned two surprising lessons--one of them was that when you want to arouse emotions, it doesn't matter so much how something looks, it's all in the motion--it's in the timing of how the thing moves.And the second, was something one of our teachers told us.He actually did the weasel in Ice Age.And he said: “As an animator you are not a director, you're an actor.” So, if you want to find the right motion for a character, don't think about it, go use your body to find it--stand in front of a mirror, act it out in front of a camera--whatever you need.And then put it back in your character.言归正传，我上学的日日夜夜，我不停地一幅又一幅地用铅笔画着画。我学到了两个让我惊讶的东西—— 其中一个是： 当你想要唤起某些情感时，外观并不算太重要，关键是动作——物体运动时，对时间的把握。关键是动作——物体运动时，对时间的把握。第二个是我们的一个老师告诉我们的。他正是电影《冰河世纪》的黄鼠狼。他说： ”作为一个动画制作者，你不是一个导演，而是一个演员。“ 所以如果你要为一个角色找到正确的肢体语言，不要想，用你的身体找到它，站在镜子面前，摄像机前，演出来，无论你需要做什么。然后再把这个动作放在你的角色上。

A year later I found myself at MIT in the robotic life group, it was one of the first groups researching the relationships between humans and robots.And I still had this dream to make an actual, physical Luxo Jr.lamp.But I found that robots didn't move at all in this engaging way that I was used to for my animation studies.Instead, they were all--how should I put it, they were all kind of robotic.(Laughter)And I thought, what if I took whatever I learned in animation school, and used that to design my robotic desk lamp.So I went and designed frame by frame to try to make this robot as graceful and engaging as possible.And here when you see the robot interacting with me on a desktop.And I'm actually redesigning the robot so, unbeknownst to itself, it's kind of digging its own grave by helping me.(Laughter)I wanted it to be less of a mechanical structure giving me light, and more of a helpful, kind of quiet apprentice that's always there when you need it and doesn't really interfere.And when, for example, I'm looking for a battery that I can't find, in a subtle way, it will show me where the battery is.So you can see my confusion here.I'm not an actor.And I want you to notice how the same mechanical structure can at one point, just by the way it moves seem gentle and caring--and in the other case, seem violent and confrontational.And it's the same structure, just the motion is different.Actor: “You want to know something? Well, you want to know something? He was already dead!Just laying there, eyes glazed over!”(Laughter)But, moving in graceful ways is just one building block of this whole structure called human-robot interaction.I was at the time doing my Ph.D., I was working on human robot teamwork;teams of humans and robots working together.I was studying the engineering, the psychology, the philosophy of teamwork.And at the same time I found myself in my own kind of teamwork situation with a good friend of mine who is actually here.And in that situation we can easily imagine robots in the near future being there with us.It was after a Passover seder.We were folding up a lot of folding chairs, and I was amazed at how quickly we found our own rhythm.Everybody did their own part.We didn't have to divide our tasks.We didn't have to communicate verbally about this.It all just happened.And I thought, humans and robots don't look at all like this.When humans and robots interact, it's much more like a chess game.The human does a thing, the robot analyzes whatever the human did, then the robot decides what to do next, plans it and does it.And then the human waits, until it's their turn again.So, it's much more like a chess game and that makes sense because chess is great for mathematicians and computer scientists.It's all about information analysis, decision making and planning.一年以后，我去了麻省理工大学（MIT）的 机器人生命小组，这是最早 开始研究人类和机器人关系的小组之一。我依然怀揣着要造一个 真正的、可触碰的顽皮跳跳灯的梦想。但是我发现机器人完全不是 按照我的动画课程中的那种 引人入胜的方式移动。相反的，他们都—— 该怎么说呢？他们都有点儿机械化。（笑声）我就想，如果我可以把我在动画学校学到的东西 应用于设计我的机器人台灯会怎样？ 因此我设计了一幅又一幅，试图让这个机器人 尽量优雅、有吸引力。这里你可以看到这个桌子上的机器人 在跟我互动，我其实是在重新设计这个机器人，而这个机器人完全不知道，它帮我，其实是在自掘坟墓呢。（笑声）比起把他它做成一个照明的机械，比起把他它做成一个照明的机械，我更想要一个能帮忙的、安静的学徒，随时满足你的需求却不打扰你。比如，当我要找一个我怎么也 找不到的电池时，它可以巧妙地提醒我电池在哪里。你看到我的困惑了吗？ 我不是一个演员。我希望你们注意到，同一个机械如何 在前一刻非常温柔、充满关怀，在前一刻非常温柔、充满关怀，下一刻又显得非常暴力，有进攻性。一模一样的结构，改变的仅仅是动作。演员：”你想知道吗？你真的想知道吗？ 他已经死了！他就躺在那里，目光呆滞！“（笑声）但是，以一种优雅的方式移动只是这整个 人类机器人互动结构的一块基石。那时候我正在攻读我的博士学位，我正在研究人类与机器人的团队合作，也就是人类和机器人一起合作。我在学习团队合作的工程学，心理学和哲学。同时，我意识到自己 和我的一个好朋友（他今天也在这里），也碰到了一个团队合作的情境。在那个情境中，我们很容易想象 不久的将来机器人会和我们在一起。那是在一个逾越节家宴结束后，我们要收起大量的折叠椅，我惊讶于我们迅速找到了各自的节奏。每个人都做了自己的那部分，无需分工，无需特意口头沟通。就这样发生了。于是我想，人类和机器人的互动却完全不是这样。当人类和机器人互动的时候，就好像他们在下象棋。人类走一步，机器人对此分析一下，然后机器人决定接下来怎么做，计划好，走下一步。这时候人类就等着，直到轮到他们玩为止。所以，人类和机器人的互动更像下象棋，这很好理解，因为 对数学家和计算机科学家来说，象棋很好，它们都是关于信息分析、决策制定和计划。

But I wanted my robot to be less of a chess player, and more like a doer that just clicks and works together.So I made my second horrible career choice: I decided to study acting for a semester.I took off from a Ph.D.I went to acting classes.I actually participated in a play, I hope theres no video of that around still.And I got every book I could find about acting, including one from the 19th century that I got from the library.And I was really amazed because my name was the second name on the list--the previous name was in 1889.(Laughter)And this book was kind of waiting for 100 years to be rediscovered for robotics.And this book shows actors how to move every muscle in the body to match every kind of emotion that they want to express.但比起象棋玩家，我更希望我的机器人是一个行动者，但比起象棋玩家，我更希望我的机器人是一个行动者，可以和人类有默契地一起工作。于是我做了我人生中的第二个糟糕的职业决策： 我决定学习一学期的表演课程。我放下了我的博士课程，去上了表演课。我还参与了一个戏剧，希望现在已经找不到那个视频了。我找到了每一本关于表演的书，其中包括一本从图书馆里借来的 19世纪的书。我震惊地发现我的名字是借阅者名单上的第二个，之前的一个名字是1889年。（笑声）这本书已经躺了100年了，只为了借机器人之名被重新发现。这本书教演员 如何调动他们身体上的每块肌肉 来表达他们想要表达的情感。

But the real revelation was when I learned about method acting.It became very popular in the 20th century.And method acting said, you don't have to plan every muscle in your body.Instead you have to use your body to find the right movement.You have to use your sense memory to reconstruct the emotions and kind of think with your body to find the right expression.Improvise, play off yor scene partner.And this came at the same time as I was reading about this trend in cognitive psychology called embodied cognition.Which also talks about the same ideas--We use our bodies to think, we don't just think with our brains and use our bodies to move.but our bodies feed back into our brain to generate the way that we behave.And it was like a lightning bolt.I went back to my office.I wrote this paper--which I never really published called “Acting Lessons for Artificial Intelligence.” And I even took another month to do what was then the first theater play with a human and a robot acting together.That's what you saw before with the actors.And I thought: How can we make an artificial intelligence model--computer, computational model--that will model some of these ideas of improvisation, of taking risks, of taking chances, even of making mistakes.Maybe it can make for better robotic teammates.So I worked for quite a long time on these models and I implemented them on a number of robots.Here you can see a very early example with the robots trying to use this embodied artificial intelligence, to try to match my movements as closely as possible, sort of like a game.Let's look at it.You can see when I psych it out, it gets fooled.And it's a little bit like what you might see actors do when they try to mirror each other to find the right synchrony between them.And then, I did another experiment, and I got people off the street to use the robotic desk lamp, and try out this idea of embodied artificial intelligence.So, I actually used two kinds of brains for the same robot.The robot is the same lamp that you saw, and I put in it two brains.For one half of the people, I put in a brain that's kind of the traditional, calculated robotic brain.It waits for its turn, it analyzes everything, it plans.Let's call it the calculated brain.The other got more the stage actor, risk taker brain.Let's call it the adventurous brain.It sometimes acts without knowing everything it has to know.It sometimes makes mistakes and corrects them.And I had them do this very tedious task that took almost 20 minutes and they had to work together.Somehow simulating like a factory job of repetitively doing the same thing.And what I found was that people actually loved the adventurous robot.And they thought it was more intelligent, more committed, a better member of the team, contributed to the success of the team more.They even called it 'he' and 'she,' whereas people with the calculated brain called it 'it.' And nobody ever called it 'he' or 'she'.When they talked about it after the task with the adventurous brain, they said, “By the end, we were good friends and high-fived mentally.” Whatever that means.(Laughter)Sounds painful.Whereas the people with the calculated brain said it was just like a lazy apprentice.It only did what it was supposed to do and nothing more.Which is almost what people expect robots to do, so I was surprised that people had higher expectations of robots, than what anybody in robotics thought robots should be doing.And in a way, I thought, maybe it's time--just like method acting changed the way people thought about acting in the 19th century, from going from the very calculated, planned way of behaving, to a more intuitive, risk-taking, embodied way of behaving.Maybe it's time for robots to have the same kind of revolution.真正让我受到启示的是 方法演技。它在20世纪的时候非常流行。方法演技指出，你不需要安排你的每一块肌肉，相反，你可以用你的身体找到对的动作。你应该运用你的感觉记忆，去重新建构情感，用你的身体找到对的表情。即兴发挥，根据你的场景搭档即兴表演。这个时候我也正读到 认知心理学关于具身认知的东西，这也谈到同样的观点—— 即我们用我们的身体思考，我们并不是用大脑思考用身体表现，而是我们的身体反馈给大脑 并做出相应的动作，这对我好像一道闪电。我马上回了我的办公室。我写了这篇论文，从来也没发表过，叫做《人工智能的表演课》。我甚至花了一个月的时间 去做当时第一部由人类和机器人 一起主演的戏剧。你之前看到的演员和机器人的表演就是这部戏剧。当时我就想： 我们怎样可以做出这样的人工智能模型—— 计算机、计算机模型等等，它们会即兴发挥、会冒险、甚至会犯错。它可能会是更好的机器人队友。因此我花了很多时间去研究这些模型，我还在几个机器人身上做了试验。这里你可以看到一个早期的例子，这个机器人试图运用具身人工智能 来尽量模仿我的动作，就好像一个游戏。我们来看一下。你可以看到我可以糊弄它。有点像你可能看到的演员们 互相模仿对方 只为了找到他们之间的默契。然后，我又做了另外一个实验，我从大街上拉人来使用这个机器人台灯，试验具身人工智能。其实，同样的机器人我用了两个大脑，机器人就是你看到的这个台灯，我给了它两个大脑。对一半的人，我放入了一个传统的、机械计算的大脑。它会等，会分析，会计划，我们暂且称它为“会计算的大脑”。给另一半人则是那个舞台演员、爱冒险的大脑，我们暂且称它为“爱冒险的大脑”，有的时候它在并不知道所有事情的时候行动，有的时候它会犯错然后去纠正。我让他们完成一项无比乏味的任务，这个任务要花近20分钟，他们必须一起合作完成，有点类似在工厂工作，机械地重复一件事情。我发现人们非常喜欢 那个“爱冒险的机器人”。他们觉得它非常聪明，非常忠心，是一个很好的团队成员，一起帮助团队成功。他们甚至称它为“他”和“她”，而另外那些人称那个“会计算的机器人”为“它”，没有人称它为“他”或“她”。任务完成后，那些与“会冒险的大脑”互动的人说： “最后，我们成了好朋友，还在脑内举手击掌了。” 不管那是啥意思……（笑声）听上去很…（口齿不清）然而，那些与“会计算的大脑”互动的人 则说“它就像一个懒徒弟，只做最基本的。“ 这基本上和同人对机器人期待一样，所以我有些惊讶，比起那些机器人研究专家，人们居然对机器人有更高的期望。但从另一个角度，我又想，也许就像方法演技改变了 19世纪人们思考表演的方式一样，是时间改变这种通过精确计算的 行为方式，而转向一种更直觉的、冒险的、用身体表现的行为方式。也许类似的 机器人革命时间到了。A few years later, I was at my next research job at Georgia Tech in Atlanta, and I was working in a group dealing with robotic musicians.And I thought, music, that's the perfect place to look at teamwork, coordination, timing, improvisation--and we just got this robot playing marimba.Marimba, for everybody who was like me, it was this huge, wooden xylophone.And, when I was looking at this, I looked at other works in human-robot improvisation--yes, there are other works in human-robot improvisation--and they were also a little bit like a chess game.The human would play, the robot would analyze what was played, would improvise their own part.So, this is what musicians called a call and response interaction, and it also fits very well, robots and artificial intelligence.But I thought, if I use the same ideas I used in the theater play and in the teamwork studies, maybe I can make the robots jam together like a band.Everybody's riffing off each other, nobody is stopping it for a moment.And so, I tried to do the same things, this time with music, where the robot doesn't really know what it's about to play.It just sort of moves its body and uses opportunities to play, And does what my jazz teacher when I was 17 taught me.She said, when you improvise, sometimes you don't know what you're doing and you're still doing it.And so I tried to make a robot that doesn't actually know what it's doing, but it's still doing it.So let's look at a few seconds from this performance.Where the robot listens to the human musician and improvises.And then, look at how the human musician also responds to what the robot is doing, and picking up from its behavior.And at some point can even be surprised by what the robot came up with.(Music)(Applause)几年后，我在亚特兰大的乔治理工大学做研究，我在一个研究机器人音乐家的 小组工作。我想，音乐是可以很好的 研究团队合作、配合、时间分配和即兴表演的领域，我们有这个玩马林巴的机器人。和我一样对乐器不在行的朋友，马林巴是 一个巨大的木琴。我看着这个，又看了那些其它的人类和机器人的即兴互动，——没错，还有其它人和机器人即兴互动的项目—— 都差不多也是一个个象棋游戏式的互动。人类走一步，机器人对此分析，然后决定下一步。音乐家们称其为 呼叫和应答互动，作为机器人和人工智能，这很合适。但是我想，如果我可以运用 戏剧表演和团队合作中的研究发现，也许我可以让这些机器人 组成一个乐队，每个人都在即兴发挥，没有人需要停下来。于是这次我尝试用音乐做试验，机器人并不知道 它会演奏什么，它就这样移动它的身体，找机会演奏，做着我17岁时候的爵士老师教我的事情。她说，当你即兴表演的时候，有的时候，你并不知道你在做什么，但是你还是继续做。于是我尝试做一个不知道自己在做什么 却仍然继续做的机器人。让我们来看一下这个表演的一个小片段。机器人听人类音乐家演奏 然后即兴发挥。接着，看人类音乐家如何 回应机器人的行为，回应机器人的行为，有时甚至被机器人的表现惊讶。（音乐）（掌声）

Being a musician is not just about making notes, otherwise nobody would ever go see a live show.Musicians also communicate with their bodies, with other band members, with the audience, they use their bodies to express the music.And I thought, we already have a robot musician on stage, why not make it be a full-fledged musician.And I started designing a socially expressive head for the robot.The head does't actually touch the marimba, it just expresses what the music is like.These are some napkin sketches from a bar in Atlanta, that was dangerously located exactly halfway between my lab and my home.(Laughter)So I spent, I would say on average, three to four hours a day there.I think.(Laughter)And I went back to my animation tools and tried to figure out not just what a robotic musician would look like, but especially what a robotic musician would move like.To sort of show that it doesn't like what the other person is playing--and maybe show whatever beat it's feeling at the moment.作为一个音乐家不仅仅是编写音符，否则没有人会去看现场表演了。音乐家也用他们的身体交流，和他们的乐队成员，和观众，他们用他们的身体来表现音乐。于是我想，我们已经有一个在舞台上的机器人音乐家，为什么不把它打造成一个真正的音乐家呢？ 于是我开始为机器人设计一个 可以表现情感的头部。头部并不会碰到马林巴，它只是用来表现音乐是什么样的。这草图的纸巾来自亚特兰大某处一个酒吧，而且酒吧就正好在实验室和我家的正中间。（笑声）而且酒吧就正好在实验室和我家的正中间。（笑声）我大概平均 每天有3到4个小时的时间在那里，“大概”…（笑声）我重新拾起了我的动画工具，试图想象 不仅仅一个机器人音乐家的样子，特别是一个机器人音乐家会如何移动它的身体，来告诉人们它不喜欢其他人的演奏，还有它自己当下感觉到的节奏。还有它自己当下感觉到的节奏。

So we ended up actually getting the money to build this robot, which was nice.I'm going to show you now the same kind of performance, this time with a socially expressive head.And notice one thing--how the robot is really showing us the beat it's picking up from the human.We're also giving the human a sense that the robot knows what it's doing.And also how it changes the way it moves as soon as it starts its own solo.(Music)Now it's looking at me to make sure I'm listening.(Music)And now look at the final chord of the piece again, and this time the robot communicates with its body when it's busy doing its own thing.And when it's ready to coordinate the final chord with me.(Music)(Applause)幸运的是，我们最终还获得了一笔 造这样一个机器人的资金。接下来我给大家看一下同样的表演 换成一个情感表现头的效果。注意一点： 请观察这个机器人如何 根据人类的演奏即兴发挥，也让人类知道，这个机器人知道它在做什么。还有独奏开始时，它是如何做出回应的。还有独奏开始时，它是如何做出回应的。（音乐）这会儿它正看着我确保我在听。（音乐）我们再看一下这段的最后一部分，现在机器人正在用它的身体进行沟通，当它正忙于做它自己的事情时，忙于准备 跟我一起演奏最后的旋律。（音乐）（掌声）

Thanks.I hope you see how much this totally not--how much this part of the body that doesn't touch the instrument actually helps with the musical performance.And at some point, we are in Atlanta, so obviously some rapper will come into our lab at some point.And we had this rapper come in and do a little jam with the robot.And here you can see the robot basically responding to the beat and--notice two things.One, how irresistible it is to join the robot while it's moving its head.and you kind of want to move your own head when it does it.And second, even though the rapper is really focused on his iPhone, as soon as the robot turns to him, he turns back.So even though it's just in the periphery of his vision--it's just in the corner of his eye--it's very powerful.And the reason is that we can't ignore physical things moving in our environment.We are wired for that.So, if you have a problem with maybe your partners looking at the iPhone too much or their smartphone too much, you might want to have a robot there to get their attention.(Laughter)(Music)(Applause)谢谢。我希望你能看到 它的头部不碰到乐器 其实有助于音乐表演！既然我们在亚特兰大，就不会没有说唱歌手参与到我们的试验中来。既然我们在亚特兰大，就不会没有说唱歌手参与到我们的试验中来。这个说唱歌手来了之后，我们让他和这个机器人一起表演。这里你可以看到这个机器人 对节奏的回应，请注意两点。第一，当这个机器人在摇头晃脑的时候，你是不是也很想加入其中，和它一起晃动你的头部？ 第二，虽然这个说唱歌手非常专注于它的苹果手机，当机器人转向它的时候，他也马上转回来。虽然仅仅是在他的视线边缘—— 他的眼角的余光里，它仍然非常强大。这就是为什么我们不能忽视 我们周边物体的移动。我们天生会这样做。所以，如果你的搭档 很喜欢看它的苹果手机或智能手机，也许你需要一个机器人 来获得他们的注意力。（笑声）（音乐）（掌声）

Just to introduce the last robot that we've worked on, that came out of something kind of surprising that we found: At some point people didn't care anymore about the robot being so intelligent, and can improvise and listen, and do all these embodied intelligence things that I spent years on developing.They really liked that the robot was enjoying the music.(Laughter)And they didn't say that the robot was moving to the music, they said that the robot was enjoying the music.And we thought, why don't we take this idea, and I designed a new piece of furniture.This time it wasn't a desk lamp;it was a speaker dock.It was one of those things you plug your smartphone in.And I thought, what would happen if your speaker dock didn't just play the music for you, but it would actually enjoy it too.(Laughter)And so again, here are some animation tests from an early stage.(Laughter)And this is what the final product looked like.(“Drop It Like It's Hot”)So, a lot of bobbing head.(Applause)A lot of bobbing heads in the audience, so we can still see robots influence people.And it's not just fun and games.最后再为大家介绍一下 我们最近在打造的一个机器人。说来也奇怪，我们发现 到了某个阶段，人们不再对那些聪明的、会即兴表演、会聆听、会做那些我花了多年研究的身体智能表演的 机器人感兴趣了。他们真的很喜欢那个会享受音乐的机器人。（笑声）他们没有说这个机器人是随着音乐扭动身体，而是说这个机器人在享受音乐。于是我们想，为什么不借用这个想法呢，因此我设计了一件新的小家具。这次不是一个台灯，而是一个扬声器底座，就是你可以把你的智能手机放上去的那种。于是我想，如果这个扬声器底座 不仅可以为你放音乐，还可以享受音乐，会怎样？（笑声）这是早期的一些动画尝试。这是早期的一些动画尝试。这是最终的成品的样子。饶舌音乐 不停的点头……（掌声）观众那里也有很多人在不停点头，因此我们可以看到机器人可以影响人。当然这一切不仅仅只是娱乐和游戏。

I think one of the reasons I care so much about robots that use their body to communicate and use their body to move--and I'm going to let you in on a little secret we roboticists are hiding--is that every one of you is going to be living with a robot at some point in their life.Somewhere in your future there's going to be a robot in your life.And if not in yours, then in your children's lives.And I want these robots to be--to be more fluent, more engaging, more graceful than currently they seem to be.And for that I think that maybe robots need to be less like chess players and more like stage actors and more like musicians.Maybe they should be able to take chances and improvise.And maybe they should be able to anticipate what you're about to do.And maybe they need to be able to make mistakes and correct them, because in the end we are human.And maybe as humans, robots that are a little less than perfect are just perfect for us.Thank you.(Applause)我觉得自己非常热衷研究 那些可以用身体沟通、用身体移动的机器人的一个原因是—— 我告诉你一个只有我们机器人专家知道的秘密—— 我们每一个人在生命的某个阶段 都会需要机器人，你未来的某个阶段会有个机器人。如果不是你的未来，那么你的孩子的未来。我希望这些机器人 比现在 可以更流畅、更吸引人、更优雅。比现在 可以更流畅、更吸引人、更优雅。因此，我觉得机器人 不应该是像一个象棋玩家，而应该更像一个舞台演员或者音乐家。它们应该可以冒险，会即兴表演，甚至会预料到你接下来会做什么。它们也应该可以犯错 并且改正，因为到头来，我们只是人类。也许对人类而言，不完美的机器人 才是完美的。谢谢！

第二篇：莱温斯基TED演讲 中英对照

The price of shame

主讲人：莫妮卡 莱温斯基

主题：耻辱的代价

You're looking at a woman who was publicly silent for a decade.Obviously, that's changed, but only recently.站在你们面前的是一个在大众面前沉默了十年之久的女人。当然，现在情况不一样了，不过这只是最近发生的事。

It was several months ago that I gave my very first major public talk at the Forbes 30 Under 30 summit:1,500 brilliant people, all under the age of 30.That meant that in 1998, the oldest among the group were only 14, and the youngest, just four.I joked with them that some might only have heard of me from rap songs.Yes, I'm in rap songs.Almost 40 rap songs.几个月前，我在《福布斯》杂志举办的“30岁以下”峰会（Under 30 Summit）上发表了首次公开演讲。现场1500位才华横溢的与会者都不到30岁。这意味着1998年，他们中最年长的是14岁，而最年轻的只有4岁。我跟他们开玩笑道，他们中有些人可能只在说唱歌曲里听到过我的名字。是的，大约有40首说唱歌曲唱过我。

But the night of my speech, a surprising thing happened.At the age of 41, I was hit on by a 27-year-old guy.I know, right? He was charming and I was flattered, and I declined.You know what his unsuccessful pickup line was? He could make me feel 22 again.I realized later that night, I'm probably the only person over 40 who does not want to be 22 again.但是，在我演讲当晚，发生了一件令人吃惊的事——我作为一个41岁的女人，被一个27岁的男孩示爱。我知道，这听上去不太可能对吧？他很迷人，说了很多恭维我的话，然后我拒绝了他。你知道他为何搭讪失败吗？他说，他可以让我感到又回到了22岁。后来，那晚我意识到，也许我是年过40岁的女人中唯一一个不想重返22岁的人。

At the age of 22, I fell in love with my boss, and at the age of 24, I learned the devastating consequences.Can I see a show of hands of anyone here who didn't make a mistake or do something they regretted at 22? Yep.That's what I thought.So like me, at 22, a few of you may have also taken wrong turns and fallen in love with the wrong person, maybe even your boss.Unlike me, though, your boss probably wasn't the president of the United States of America.Of course, life is full of surprises.Not a day goes by that I'm not reminded of my mistake, and I regret that mistake deeply.22岁时，我爱上了我的老板；24岁的时，我饱受了这场恋爱带来的灾难性的后果。现场的观众们，如果你们在22岁的时候没有犯过错，或者没有做过让自己后悔的事，请举起手好吗？是的，和我想的一样。与我一样，22岁时，你们中有一些人也曾走过弯路，爱上了不该爱的人，也许是你们的老板。但与我不同的是，你们的老板可能不会是美国总统。当然，人生充满惊奇。之后的每一天，我都会想起自己所犯的错误，并为之深深感到后悔。

In 1998, after having been swept up into an improbable romance, I was then swept up into the eye of a political, legal and media maelstrom like we had never seen before.Remember, just a few years earlier,news was consumed from just three places: reading a newspaper or magazine, listening to the radio, or watching television.That was it.But that wasn't my fate.Instead, this scandal was brought to you by the digital revolution.That meant we could access all the information we wanted, when we wanted it, anytime, anywhere, and when the story broke in January 1998, it broke online.It was the first time the traditional news was usurped by the Internet for a major news story, a click that reverberated around the world.饱受网络欺凌之苦 1998年，在卷入一场不可思议的恋情后，我又被卷入了一场前所未有的政治、法律和舆论漩涡的中心。记得吗？几年前，新闻一般通过三个途径传播：读报纸杂志、听广播、和看电视，仅此而已。但我的命运并不是仅此而已。这桩丑闻是通过数字革命传播的。这意味着我们可以获取任何我们需要的信息，不论何时何地。这则新闻在1998年1月爆发时，它也在互联网上火了。这是互联网第一次在重大新闻事件报道中超越了传统媒体。只要轻点一下鼠标，就会在全世界引起反响。

What that meant for me personally was that overnight I went from being a completely private figure to a publicly humiliated one worldwide.I was patient zero of losing a personal reputation on a global scale almost instantaneously.This rush to judgment, enabled by technology, led to mobs of virtual stone-throwers.Granted, it was before social media, but people could still comment online, email stories, and, of course, email cruel jokes.News sources plastered photos of me all over to sell newspapers, banner ads online, and to keep people tuned to the TV.Do you recall a particular image of me, say, wearing a beret? 对我个人而言，这则新闻让我一夜之间从一个无名小卒变成了全世界人民公开羞辱的对象。我成了第一个经历在全世界范围内名誉扫地的“零号病人”。科技是这场草率审判的始作俑者，无数暴民向我投掷石块。当然，那时还没有社交媒体，但人们依然可以在网上发表评论，通过电子邮件传播新闻和残酷的玩笑。新闻媒体贴满了我的照片，借此来兜售报纸，为网页吸引广告商，提高电视收视率。记得当时的那张照片吗？我戴着贝雷帽的照片。

Now, I admit I made mistakes, especially wearing that beret.But the attention and judgment that I received, not the story, but that I personally received, was unprecedented.I was branded as a tramp, tart, slut, whore, bimbo, and, of course, that woman.I was seen by many but actually known by few.And I get it: it was easy to forget that that woman was dimensional, had a soul, and was once unbroken.现在，我承认我犯了错，特别是不该戴那顶贝雷帽。但是，除了事件本身，我因此受到的关注和审判是前所未有的。我被贴上“淫妇”、“妓女”，“荡妇”，“婊子”，“蠢女人”的标签，当然，还有“那个女人”。许多人看到了我，但很少有人真正了解我。对此我表示理解，因为人们很容易忘记“那个女人”也是一个活生生的人，她也有灵魂，她也曾过着平静的生活。

When this happened to me 17 years ago, there was no name for it.Now we call it cyberbullying and online harassment.Today, I want to share some of my experience with you, talk about how that experience has helped shape my cultural observations, and how I hope my past experience can lead to a change that results in less suffering for others.17年前，对于我经历的这些遭遇还没有一个专有名词。现在，我们称之为“网络欺凌”和“网上骚扰”。今天我要与你们分享一些我的经历，我想谈谈那次经历是如何形成了我的文化观察，我希望我过去的经历能够产生一些改变，减少他人的痛苦。

In 1998, I lost my reputation and my dignity.I lost almost everything, and I almost lost my life.1998年，我失去了名誉和尊严。我几乎失去了所有，我几乎失去了我的人生。丑闻爆发之后，铺天盖地都是对此事件的报道。Let me paint a picture for you.It is September of 1998.I'm sitting in a windowless office room inside the Office of the Independent Counsel underneath humming fluorescent lights.I'm listening to the sound of my voice, my voice on surreptitiously taped phone calls that a supposed friend had made the year before.I’m here because I've been legally required to personally authenticate all 20 hours of taped conversation.For the past eight months, the mysterious content of these tapes has hung like the Sword of Damocles over my head.I mean, who can remember what they said a year ago?

让我来描绘这样一幅场景：1998年9月的一天，我坐在美国独立检察官办公室一间没有窗的屋子里，头顶上的日光灯嗡嗡作响。我正在听我的录音，那是一位所谓的朋友偷偷录下的电话谈话。我被依法要求鉴定那20个小时的电话录音是真实的。在过去的八个月里，这些录音带中神秘的内容就像一把悬在我头顶的达摩克利斯之剑。我的意思是，有谁会记得自己一年前说过的话？ Scared and mortified, I listen, listen as I prattle on about the flotsam and jetsam of the day;listen as I confess my love for the president, and, of course, my heartbreak;listen to my sometimes catty, sometimes churlish, sometimes silly self being cruel, unforgiving, uncouth;listen, deeply, deeply ashamed, to the worst version of myself,a self I don't even recognize.在恐惧和羞愧中，我听着录音，听我闲扯每天发生的琐碎之事；听我坦白对总统的爱慕，当然，还有我的心碎；听有时尖酸，有时粗鲁，有时愚蠢的我是如何冷酷，无情，无理取闹。我带着深深的羞愧听着那个最糟糕的我的声音，糟糕到我自己都不认识了。A few days later, the Starr Report is released to Congress, and all of those tapes and trans, those stolen words, form a part of it.That people can read the trans is horrific enough, but a few weeks later, the audio tapes are aired on TV, and significant portions made available online.The public humiliation was excruciating.Life was almost unbearable.几天后，斯塔尔报告提交至国会，那些录音带和文字记录，那些被窃取的言语，都是这份报告的一部分。人们能够读到这些文字对我来说已经够恐怖了，但是几个星期后，那些录音又在电视上播放，有一些重要的内容还被发布在网络上。公开的羞辱让我饱受折磨。这样的生活让我几乎无法忍受。

This was not something that happened with regularity back then in 1998, and by this, I mean the stealing of people's private words, actions，conversations or photos, and then making them public--public without consent, public without context, and public without compassion.在1998年，我所说的这些还并不常见。我指的是窃取他人私下的言语、行动、谈话内容和照片，并公之于众——在未经本人同意，未交待背景的情况下，毫无恻隐之心地将这些内容公之于众。

Fast forward 12 years to 2010, and now social media has been born.The landscape has sadly become much more populated with instances like mine, whether or not someone actually make a mistake, and now it's for both public and private people.The consequences for some have become dire, very dire.快进到12年后的2010年，社交媒体诞生了。可悲的是，社交媒体上充斥着更多像我这样的例子，不管这个当事人是不是真的犯了错，而且，公众人物和普罗大众都深受其害。对于有些人来说，后果是严重的，非常严重。

I was on the phone with my mom in September of 2010, and we were talking about the news of a young college freshman from Rutgers University named Tyler Clementi.Sweet, sensitive, creative Tyler was secretly webcammed by his roommate while being intimate with another man.When the online world learned of this incident, the ridicule and cyberbullying ignited.A few days later, Tyler jumped from the George Washington Bridge to his death.He was 18.2010年9月的一天，我正在和我的母亲通电话，我们在讨论一则新闻，关于罗格斯大学的一个名叫泰勒 克莱门蒂的大一新生。可爱、敏感、富有创意的克莱门蒂被室友偷拍到和另一个男人有亲密关系。当这个视频在网络世界曝光后，嘲笑和网络欺凌的火种被点燃。几天后，泰勒从乔治华盛顿大桥上纵身跳下。一个年仅18岁的生命就这样逝去。

My mom was beside herself about what happened to Tyler and his family, and she was gutted with painin a way that I just couldn't quite understand, and then eventually I realized she was reliving 1998, reliving a time when she sat by my bed every night, reliving a time when she made me shower with the bathroom door open, and reliving a time when both of my parents feared that I would be humiliated to death,literally.我母亲在讲到泰勒和他的家人时情绪有些失控，她所表现出的痛苦让我并不十分理解。后来，我才终于意识到，她正在重新经历1998年发生的一切。重新经历她每晚坐在我的床头的时候；重新经历她要我开着浴室门洗澡的时候，重新经历她和父亲担心我会因为受到羞辱而自寻短见的时候。真的是这样。

Today, too many parents haven't had the chance to step in and rescue their loved ones.Too many have learned of their child's suffering and

humiliation after it was too late.今天，太多父母没有机会及时介入来拯救他们挚爱的孩子。太多的人，当他们获悉自己的孩子的痛苦和受到的羞辱时，已为时已晚。

Tyler's tragic, senseless death was a turning point for me.It served to recontextualize my experiences, and I then began to look at the world of humiliation and bullying around me and see something different.泰勒悲惨而毫无意义的死亡对我来说是一个转折点。他让我开始重新审视我的亲身经历，他让我开始观察身边这个充满羞辱和欺凌的世界，让我看到了不同的东西。In 1998, we had no way of knowing where this brave new technology called the Internet would take us.Since then, it has connected people in unimaginable ways, joining lost siblings, saving lives, launching revolutions, but the darkness, cyberbullying, and slut-shaming that I experienced had mushroomed.1998年，没有人知道这种名叫“因特网”的新技术会把人类带向何方。自诞生以来，因特网用难以想象的方式将人类联系起来。它让人们找到失散的兄弟姐妹、拯救生命、发起革命，但是我所遭受的黑暗、网络欺凌和被称为“荡妇”的羞辱也如雨后春笋般疯长。Every day online, people, especially young people who are not developmentally equipped to handle this, are so abused and humiliated that they can't imagine living to the next day, and some, tragically, don't, and

there's nothing virtual about that.ChildLine, a U.K.nonprofit that's focused on helping young people on various issues,released a staggering statistic late last year: From 2012 to 2013, there was an 87 percent increase in calls and emails related to cyberbullying.A meta-analysis done out of the Netherlands showed that for the first time, cyberbullying was leading to suicidal ideations more significantly than offline bullying.And you know what shocked me, although it shouldn't have, was other research last year that determined humiliation was a more intensely felt emotion than either happiness or even anger.每天，在网络上都会有人，特别是年轻人被辱骂和羞辱，而他们对此束手无策。这些辱骂和羞辱让他们想立刻死去。悲剧的是，有些人，真的因此死去。这一点儿也不虚拟。

ChildLine是英国一个致力于帮助年轻人解决各种问题的公益组织。去年年底，该组织公布了一组令人震惊的数据：从2012年到2013年，与网络欺凌有关的电话和邮件数量增加了87%。一份来自荷兰的综合分析首次披露，网络欺凌比线下欺凌更容易让人产生自杀的念头。去年，还有一项研究让我震惊，尽管我并不该感到震惊。研究显示，羞辱是比快乐或者生气更为强烈的情绪。Cruelty to others is nothing new, but online, technologically enhanced shaming is amplified, uncontained, and permanently accessible.残忍对待他人不是什么新鲜事，但是，在互联网上，技术让羞辱放大，一发而不可收，并且永远可以被看到。

The echo of embarrassment used to extend only as far as your family, village, school or community, but now it's the online community too.Millions of people, often anonymously, can stab you with their words, and that's a lot of pain, and there are no perimeters around how many people can publicly observe you and put you in a public stockade.There is a very personal price to public humiliation, and the growth of the Internet has jacked up that price.过去，丑闻最多在你的家庭、村庄、学校或者社区传播。但是现在也在网络社区流传。数百万的网民，经常匿名地恶语相向，这带来很多痛苦。而且，到底有多少人可以公开地关注你，让你成为众矢之的？这是无法计算的。被公开羞辱对个人而言代价很大，而互联网的发展加剧了这种代价。

For nearly two decades now, we have slowly been sowing the seeds of shame and public humiliation in our cultural soil, both on-and offline.Gossip websites, paparazzi, reality programming, politics, news outlets and

sometimes hackers all traffic in shame.It's led to desensitization and a

permissive environment online which lends itself to trolling, invasion of privacy, and cyberbullying.This shift has created what Professor Nicolaus Mills calls a culture of humiliation.近20年来，我们慢慢地在文化的土壤中播下耻辱和公开羞辱的种子，无论是线上还是线下。八卦网站、狗仔队、真人秀节目、政治、新闻媒体，有时甚至是黑客都是羞辱的通道。冷酷、放纵的网络环境助长了网络煽动、侵犯个人隐私、和网络欺凌。这种转变形成了一种尼古拉斯

米尔斯教授所说的羞辱文化。Consider a few prominent examples just from the past six months alone.Snapchat, the service which is used mainly by younger generationsand claims that its messages only have the lifespan of a few

seconds.You can imagine the range of content that that gets.A third-party app which Snapchatters use to preserve the lifespan of the messages was hacked, and 100,000 personal conversations, photos, and videos were leaked online to now have a lifespan of forever.想想最近六个月发生的事情。Snapchat是一项主要是年轻人使用的服务，它号称所有的信息只有几秒钟的寿命。你可以想象这些信息会包含哪些内容。Snapchat用户使用的保存信息的第三方应用被黑客攻击，近10万名用户的私人谈话、照片、视频被泄露到网上。现在，它们可以永久保留了。Jennifer Lawrence and several other actors had their iCloud accounts hacked, and private, intimate, nude photos were plastered across the Internet without their permission.One gossip website had over five million hits for this one story.And what about the Sony Pictures

cyberhacking? The documents which received the most attention were private emails that had maximum public embarrassment value.詹妮弗 劳伦斯和其他几位演员的iCloud账户被攻击，他们所有私人的、亲密的、裸体的照片在未经允许的情况下在互联网上铺天盖地地传播。一个八卦网站仅仅因为这一则新闻就获得了超过500万的点击量。索尼影视被黑客攻击的情况又如何呢？最受关注的文件是那些公开羞辱价值最大的私人电子邮件。

But in this culture of humiliation, there is another kind of price tag attached to public shaming.The price does not measure the cost to the victim, which Tyler and too many others, notably women, minorities,and members of the LGBTQ community have paid, but the price measures the profit of those who prey on them.This invasion of others is a raw material, efficiently and ruthlessly mined, packaged and sold at a profit.但是在这种羞辱文化中，公开羞辱还被贴上了另一种价格标签。这个价格标签衡量的并不是受害者付出的代价，比如泰勒、还有其他很多人，特别是妇女，少数群体和同性恋、双性恋、变性群体(LGBTQ)成员所付出的代价，而是衡量损害他们利益的牟利者的收益。侵入他人领域成了一种原材料，被人以最快的速度无情地挖掘，打包并出售。

A marketplace has emerged where public humiliation is a commodity and shame is an industry.How is the money made? Clicks.The more shame, the more clicks.The more clicks, the more advertising dollars.We're in a dangerous cycle.The more we click on this kind of gossip, the more numb we get to the human lives behind it, and the more numb we get, the more we click.一个市场横空出世，公开羞辱是商品，耻辱变成了一种产业。靠什么赚钱呢？点击。耻辱越多，点击越多。点击越多，广告收入就越多。我们身处一个恶性循环。我们对这类八卦点击得越多，我们就会对故事背后的当事人越麻木。我们越麻木，就越会去点击。

All the while, someone is making money off of the back of someone else's suffering.With every click, we make a choice.The more we saturate our culture with public shaming, the more accepted it is, the more we will see behavior like cyberbullying, trolling, some forms of hacking, and online harassment.Why? Because they all have humiliation at their cores.This behavior is a symptom of the culture we've created.Just think about it.与此同时，有些人把自己的利益建立在他人的痛苦之上，每一次点击，我们都是在做出选择。我们文化中充斥的公开耻辱越多，它就越容易被接受，我们就会看到越多的网络欺凌、网络煽动、某些形式的黑客入侵，和线上骚扰。为什么呢？因为它们的核心都是羞辱。这种行为成为了我们所创造的一种文化病症。想想吧。

Changing behavior begins with evolving beliefs.We've seen that to be true with racism, homophobia, and plenty of other biases, today and in the past.As we've changed beliefs about same-sex marriage, more people have been offered equal freedoms.When we began valuing sustainability, more people began to recycle.向网络欺凌说不。改变行为从改变信念开始。不管是现在还是过去，无论是种族歧视、同性恋歧视和其它很多的歧视，都是这样来消除的。随着对同性恋结婚观念的改变，更多人被赋予了平等的自由。随着对可持续性的提倡，越来越多的人开始循环利用。

So as far as our culture of humiliation goes, what we need is a cultural revolution.Public shaming as a blood sport has to stop, and it's time for an intervention on the Internet and in our culture.对于羞辱的文化也应该如此。我们需要文化革命。公开羞辱这种血腥的运动应该终止，是时候对英特网和我们的文化采取干预行动了。

The shift begins with something simple, but it's not easy.We need to return to a long-held value of compassion--compassion and empathy.Online, we've got a compassion deficit, an empathy crisis.Researcher Brené Brown said, and I quote, “Shame can't survive empathy.” Shame cannot survive empathy.I've seen some very dark days in my life, and it was the compassion and empathy from my family, friends, professionals, and sometimes even strangers that saved me.转变可以从简单的事开始，不过这也不容易。我们需要回归人类固有的一种价值，也就是同情心和同理心。互联网正经历着同情心匮乏和同理心危机。引用研究者布林 布朗的话来说就是，“羞辱在同理心之下无法存活”。羞辱在同理心之下无法存活。我的人生中有过一些非常黑暗的日子，是来自家人、朋友、专业人士、甚至是一些陌生人的同情心和同理心拯救了我。

Even empathy from one person can make a difference.The theory of minority influence, proposed by social psychologist Serge Moscovici, says that even in small numbers, when there's consistency over time, change can happen.In the online world, we can foster minority influence by becoming upstanders.To become an upstander means instead of bystander apathy, we can post a positive comment for someone or report a bullying situation.哪怕只有一个人的同情也会产生改变。社会心理学家谢尔盖 莫斯科维奇提出了小众影响理论。他说，哪怕是小众人群，只要能坚持下去，也能做出改变。在网络世界中，我们可以成为行动派，培养小众影响力。成为行动派意味着不再袖手旁观，而是发表积极评论或是举报欺凌现象。

Trust me, compassionate comments help abate the negativity.We can also counteract the culture by supporting organizations that deal with these kinds of issues, like the Tyler Clementi Foundation in the U.S., In the U.K., there's Anti-Bullying Pro, and in Australia, there's Project Rockit.相信我，表达同情的评论能够削弱负面影响。我们还可以通过支持处理这类问题的组织机构来对抗这种羞辱文化。例如，美国有泰勒 克莱门蒂基金，英国有反欺凌项目，澳大利亚有Rockit项目。

We talk a lot about our right to freedom of expression, but we need to talk more about our responsibility to freedom of expression.We all want to be heard, but let's acknowledge the difference between speaking up with intention and speaking up for attention.The Internet is the superhighway for the id, but online, showing empathy to others benefits us all and helps create a safer and better world.We need to communicate online with compassion, consume news with compassion, and click with compassion.Just imagine walking a mile in someone else's headline.I'd like to end on a personal note.关于言论自由的权力我们讨论了很多，但我们还应该更多地谈谈享受言论自由时所承担的责任。我们都希望自己的声音被听到，但是我们要区分有意图的发声和寻求关注的发声。因特网是表达自我的超级高速公路，但是，站在他人角度考虑问题对我们都是有利的，而且能够帮助创建更安全，更美好的世界。

我们需要怀着同情心在网络上交流，怀着同情心阅读新闻，怀着同情心点击鼠标。试着想象活在别人的新闻头条里。

In the past nine months, the question I've been asked the most is why.Why now? Why was I sticking my head above the parapet? You can read between the lines in those questions, and the answer has nothing to do with politics.最后我想以个人说明做总结。过去九个月里，我被人问得最多的问题是“为什么”。为什么是现在？为什么要逆流而上？你们应该可以听出这些问题的言外之意。答案与政治无关。

The top note answer was and is because it's time: time to stop tip-toeing around my past;time to stop living a life of opprobrium;and time to take back my narrative.It's also not just about saving myself.Anyone who is suffering from shame and public humiliation needs to know one thing: You can survive it.I know it's hard.It may not be painless, quick or easy, but you can insist on a different ending to your story.我的答案是，因为是时候了，是时候不再为过去而过得如履薄冰，是时候结束背负骂名的生活，是时候夺回我的话语权了。这不仅仅是为了拯救我自己。任何遭受耻辱和公开羞辱的人，都需要明白一点：你能挺过来。我知道这很难，肯定会伴随痛苦，肯定不会又快又轻松，但你可以通过你的坚持，书写一个不同的故事结局。

Have compassion for yourself.We all deserve compassion, and to live both online and off in a more compassionate world.同情自己。我们都值得同情，无论线上还是线下，我们都应该生活在一个更富有同情心的世界。Thank you for listening.谢谢聆听！

第三篇：ted演讲中英对照 拖延症

TED演讲——拖延症

拖延症者的思维方式到底是什么样的？为什么有些人非要到deadline来的时候才知道打起精神做事情？是否存在执行力强的人或是说人人都有一定程度的拖延症？Tim Urban从一个被deadline赶着走的拖延症者的角度带你走进拖延症的神奇思维世界。

中英对照翻译

So in college, I was a government major, which means I had to write a lot of papers.Now, when a normal student writes a paper, they might spread the work out a little like this.So, you know--you get started maybe a little slowly, but you get enough done in the first week that, with some heavier days later on, everything gets done, things stay civil.And I would want to do that like that.That would be the plan.I would have it all ready to go, but then, actually, the paper would come along, and then I would kind of do this.在大学，我读的是政府专业。也就是说，我需要写很多的论文。一般的学生写论文时，他们可能会这样安排：(看图)你可能开头会慢一点，但第一周有这些已经足够。后期再一点点的增加，最后任务完成，非常的有条理。我也想这么做，所以一开始也是这么计划的。我做了完美的安排(看图)，但后来，实际上论文任务一直出现，我就只能这样了(看图)。

And that would happen every single paper.But then came my 90-page senior thesis, a paper you're supposed to spend a year on.And I knew for a paper like that, my normal work flow was not an option.It was way too big a project.So I planned things out, and I decided I kind of had to go something like this.This is how the year would go.So I'd start off light, and I'd bump it up in the middle months, and then at the end, I would kick it up into high gear just like a little staircase.How hard could it be to walk up the stairs? No big deal, right?

我的每一篇论文都是这种情况，直到我长达90页的毕业论文任务，这篇论文理应花一年的时间来做，我也知道这样的工作，我先前的工作方式是行不通的，这个项目太大，所以我制定了计划。决定按照这样的方式工作，这样来安排我这一年。(看图)开头我会轻松一点，中期任务逐渐增加，到最后，我再全力冲刺一下。整体是这种阶梯式安排，一层一层走楼梯有多难?所以没什么大不了的，是吧?

But then, the funniest thing happened.Those first few months? They came and went, and I couldn't quite do stuff.So we had an awesome new revised plan.And then--But then those middle months actually went by, and I didn't really write words, and so we were here.And then two months turned into one month, which turned into two weeks.但后来，好笑的事情出现了，头几个月时光匆匆而逝，我还没有来得及动工，所以我们明智的调整了计划。然后，中间的几个月也过去了，我还是一个字也没有动，眨眼就到了这里，然后两个月变成了一个月，再变成了2周。

And one day I woke up with three days until the deadline, still not having written a word, and so I did the only thing I could: I wrote 90 pages over 72 hours, pulling not one but two all-nighters--humans are not supposed to pull two all-nighters--sprinted across campus, dove in slow motion, and got it in just at the deadline.一天我醒来，发现离交稿日期只剩3天了，但我还一个字都没写。我别无选择，只能在接下来的72小时里，连续通宵两个晚上赶论文——一般人不应连续通宵两个晚上。90页赶出来后，我飞速冲过校园，像电影中的特写慢镜头一样，恰好在截止日期前的最后一刻交上。

I thought that was the end of everything.But a week later I get a call, and it's the school.And they say, “Is this Tim Urban?” And I say, “Yeah.” And they say, “We need to talk about your thesis.” And I say, “OK.” And they say, “It's the best one we've ever seen.” That did not happen.It was a very, very bad thesis.I just wanted to enjoy that one moment when all of you thought, “This guy is amazing!” No, no, it was very, very bad.我以为事情就这么完了，但一周后，我接到一个电话，是学校打来的。他们说：“你是Tim Urban吗?”我说：“是。”他们说：“我们要说一说你的毕业论文。”我说：“好啊。”他们说：“这是我见过最棒的论文。”……当然不可能。论文非常非常的差劲。我只想享受下你们对我的崇拜，想听你们说：“这老兄太厉害了。”没有，其实写的非常差劲。

Anyway, today I'm a writer-blogger guy.I write the blog Wait But Why.And a couple of years ago, I decided to write about procrastination.My behavior has always perplexed the non-procrastinators around me, and I wanted to explain to the non-procrastinators of the worldwhat goes on in the heads of procrastinators, and why we are the way we are.不管怎样，我现在成为了一个博客写手，经营着“wait but why”这个博客。几年前，我决定写写拖延这件事。我的行为方式总让身边非拖延者感到不能理解。我很想对世界上非拖延者的人解释一下，我们拖延症患者的脑子是什么样的，为什么我们会拖延。

Now, I had a hypothesisthat the brains of procrastinators were actually different than the brains of other people.And to test this, I found an MRI lab that actually let me scan both my brain and the brain of a proven non-procrastinator,so I could compare them.I actually brought them here to show you today.I want you to take a look carefully to see if you can notice a difference.I know that if you're not a trained brain expert, it's not that obvious, but just take a look, OK? So here's the brain of a non-procrastinator.Now...here's my brain.首先我假设，拖延症患者的大脑实际上和其他人的大脑不一样。为了验证这一点，我找了家核磁共振实验室，给我和另一个确定是非拖延症的人，进行了脑部扫描，我好将二者进行对比，今天我带到现场，给大家展示一下。我希望大家仔细观察，看能不能注意到差异。我知道大家并非专业的大脑专家，较难看出他们的差异，但大家不妨先看一眼，如何?这张是非拖延者的大脑，这张是我的大脑。

There is a difference.Both brains have a Rational Decision-Maker in them, but the procrastinator's brain also has an Instant Gratification Monkey.Now, what does this mean for the procrastinator? Well, it means everything's fine until this happens.[This is a perfect time to get some work done.] [Nope!] So the Rational Decision-Maker will make the rational decision to do something productive, but the Monkey doesn't like that plan, so he actually takes the wheel, and he says, “Actually, let's read the entire Wikipedia page of the Nancy Kerrigan/ Tonya Harding scandal, because I just remembered that that happened.两张是有一点不同，两个大脑都有一个理性决策人，但在拖延症患者的大脑里，还有一个及时行乐的猴子。那这对拖延症患者来说意味着什么呢? 这意味着平时没什么异样，但一旦发生了以下的情况，理性的决策人做出理性的决策，要去做一些实际的工作，但猴子不喜欢这个计划，所以他抢过方向盘，说道：“说实话，我们还是去维基百科上查一查NKTH的丑闻吧。”因为我刚想起来还发生过这件事。

Then--Then we're going to go over to the fridge, to see if there's anything new in there since 10 minutes ago.After that, we're going to go on a YouTube spiral that starts with videos of Richard Feynman talking about magnets and ends much, much later with us watching interviews with Justin Bieber's mom.然后我们会去翻冰箱，看看和十分钟前相比有没有什么新的东西。然后我们去youtobe看一连串的视频，从Richard Feynman谈论磁铁开始，一直到很久很久之后看到一个Justin Bieber妈妈的访谈才结束。以上这些事情都得花时间，所以我们今天没有时间再来工作了。

”All of that's going to take a while, so we're not going to really have room on the schedule for any work today.Sorry!“ Now, what is going on here? The Instant Gratification Monkey does not seem like a guy you want behind the wheel.He lives entirely in the present moment.He has no memory of the past, no knowledge of the future, and he only cares about two things: easy and fun.5:15Now, in the animal world, that works fine.If you're a dog and you spend your whole life doing nothing other than easy and fun things, you're a huge success!

所以，到底发生了什么?这个及时行乐的猴子并非你，希望是控制方向的人，他完全生活在当下，没有过去的记忆，也没有未来的概念。他只关注两件事情：简单和开心。在动物界，这两点完全没有问题。如果你是一条狗，一辈子只追求一些简单和快乐的事，那就是巨大的成功了。

And to the Monkey, humans are just another animal species.You have to keep well-slept, well-fed and propagating into the next generation, which in tribal times might have worked OK.But, if you haven't noticed, now we're not in tribal times.We're in an advanced civilization, and the Monkey does not know what that is.Which is why we have another guy in our brain, the Rational Decision-Maker, who gives us the ability to do things no other animal can do.We can visualize the future.We can see the big picture.We can make long-term plans.And he wants to take all of that into account.And he wants to just have us do whatever makes sense to be doing right now.但对猴子来说，人类是另外一个物种，你得正常睡眠、规律饮食、繁衍后代。在原始部落时代，这也没太大问题。但你注意到没有，现在并非原始部落时代，我们生活在一个现代文明社会中，而猴子完全不能理解这是什么意思，这也是为什么我们大脑中会有另外一个，理性的决策者，他使人类有能力做到其他动物无法做到的事情。我们能设想未来，可以从大局出发，制定长期计划，他可以把所有这些事考虑在内。希望让我们做出最合理的事情.Now, sometimes it makes sense to be doing things that are easy and fun, like when you're having dinner or going to bed or enjoying well-earned leisure time.That's why there's an overlap.Sometimes they agree.But other times, it makes much more senseto be doing things that are harder and less pleasant, for the sake of the big picture.And that's when we have a conflict.And for the procrastinator, that conflict tends to end a certain way every time, leaving him spending a lot of time in this orange zone, an easy and fun place that's entirely out of the Makes Sense circle.I call it the Dark Playground.有时，做一些简单开心的事情是很合理的，比如吃饭睡觉、享受赢得的休闲时光，所以二者也有重叠的部分。有时二者是一致的，但有些时候，从长远的角度来看，一些更困难不开心的事情，才是合理的事情，所以就出现了冲突。对拖延症患者来说，每次这种冲突到最后的结果都一样，都让他在这片橙色区域里耗费大量时间，这里很简单很开心，但完全不在合理圈的范围内，我将这个区域称为黑暗操场。

Now, the Dark Playground is a place that all of you procrastinators out there know very well.It's where leisure activities happen at times when leisure activities are not supposed to be happening.The fun you have in the Dark Playground isn't actually fun, because it's completely unearned, and the air is filled with guilt, dread, anxiety, self-hatred--all of those good procrastinator feelings.And the question is, in this situation, with the Monkey behind the wheel, how does the procrastinator ever get himself over here to this blue zone, a less pleasant place, but where really important things happen?

这个黑暗操场，所有的拖延者患者都应该很熟悉，在这里发生了许多，本不应该在此时进行的休闲活动。你在黑暗操场获得的乐趣，实际并不有趣，因为这并非你应得的。这里的空气充满了内疚、恐惧、焦虑和自我憎恨——这些都是拖延症患者常有的情绪。所以问题是，在猴子掌握方向盘的情况下，拖延症患者如何进入这边的蓝色区域呢?这里虽然没有这么舒适，但进行的事情都非常重要。

And they were all writing, saying the same thing: ”I have this problem too." But what struck me was the contrast between the light tone of the post and the heaviness of these emails.These people were writing with intense frustration about what procrastination had done to their lives, about what this Monkey had done to them.And I thought about this, and I said, well, if the procrastinator's system works, then what's going on? Why are all of these people in such a dark place?

他们都在写同一句话：“我也有这个问题。”但真正让我感到触动的，是我博客的轻描淡写，和邮件的沉重文风之间的强烈对比。这些读者以非常沮丧的语言，告诉我拖延对他们的生活造成了哪些影响，告诉我猴子对他们都做了些什么。我思考了一下，问道，既然拖延症患者的系统是有效果的，那到底哪不对呢?为什么这些人都置身黑暗之中呢?

Well, it turns out that there's two kinds of procrastination.Everything I've talked about today, the examples I've given, they all have deadlines.And when there's deadlines, the effects of procrastination are contained to the short term because the Panic Monster gets involved.But there's a second kind of procrastination that happens in situations when there is no deadline.So if you wanted a career where you're a self-starter--something in the arts, something entrepreneurial--there's no deadlines on those things at first, because nothing's happening, not until you've gone out and done the hard work to get momentum, get things going.原来，拖延分为两种，我今天所说的拖延和所举的例子，都是有截止日期的。一旦有了截止日期，拖延的影响会被限制在一定时期内，因为后期惊慌怪兽会出现，但还有第二种拖延，这种拖延是没有截止日期的，所以如果你想在一些领域内自学成才——比如学个艺术或者创个业——这些事情开始都是没有截止日期的，因为开始不会有什么变化，直到你拼尽全力，辛勤投入，才会有一点起色，你才能看到进展。

There's also all kinds of important things outside of your career that don't involve any deadlines, like seeing your family or exercising and taking care of your health, working on your relationship or getting out of a relationship that isn't working.Now if the procrastinator's only mechanism of doing these hard things is the Panic Monster, that's a problem, because in all of these non-deadline situations, the Panic Monster doesn't show up.He has nothing to wake up for, so the effects of procrastination, they're not contained;they just extend outward forever.除了工作之外，还有很多其他重要的事情，也是没有截止日期的，比如看望家人、锻炼身体、保持健康、维系感情，或者从一段不合适的感情中抽身。如果说拖延症患者处理这些困难的唯一机制，是惊慌怪兽的话，那就有问题了，因为在这些没有截止日期的情况下，惊慌怪兽是不会现身的，没有唤醒他的条件，所以这一类拖延的后果是没有限制的，他们会不断地肆意延伸。

And it's this long-term kind of procrastination that's much less visible and much less talked about than the funnier, short-term deadline-based kind.It's usually suffered quietly and privately.And it can be the source of a huge amount of long-term unhappiness, and regrets.和有截止日期的好笑的短期拖延相比，这种长时期的拖延，更不易被人察觉，也更少被谈论到，他常常在无声无息中折磨着人们，可以说是大部分长期抑郁和悔恨的根源。

And I thought, that's why those people are emailing, and that's why they're in such a bad place.It's not that they're cramming for some project.It's that long-term procrastination has made them feel like a spectator, at times, in their own lives.The frustration is not that they couldn't achieve their dreams;it's that they weren't even able to start chasing them.我想，这也是为什么这些人会写信，为什么状态这么差的原因吧。他们并非在为某个项目临时抱佛脚，这种长期拖延使他们有时感觉，自己只是生活的旁观者，让他们沮丧的不是他们没有实现梦想，而是他们甚至还没有开始追寻梦想。

So I read these emails and I had a little bit of an epiphany--that I don't think non-procrastinators exist.That's right--I think all of you are procrastinators.Now, you might not all be a mess, like some of us, and some of you may have a healthy relationship with deadlines, but remember: the Monkey's sneakiest trick is when the deadlines aren't there.我读着这些来信，忽然有一种顿悟——我觉得非拖延者是不存在的，没错，我认为你们所有人都是拖延者，当然你们可能不像，我们有些人这么混乱。你们有些人可能与截止日期保持着良性的关系。但记住：猴子最狡猾的伎俩，发生在没有截止日期的时候。

Now, I want to show you one last thing.I call this a Life Calendar.That's one box for every week of a 90-year life.That's not that many boxes, especially since we've already used a bunch of those.So I think we need to all take a long, hard look at that calendar.We need to think about what we're really procrastinating on, because everyone is procrastinating on something in life.We need to stay aware of the Instant Gratification Monkey.That's a job for all of us.And because there's not that many boxes on there, it's a job that should probably start today.Well, maybe not today, but...You know.Sometime soon.最后我想给大家看一个东西，我称之为“生命日历”。这里的每一个格子都代表90年生命中的一周，格子数并不是很多，尤其我们已经用掉了许多。我想我们需要好好花时间，认真看看这个日历。我们需要想一下，我们真正在拖延的是什么，因为每个人在生命中都有拖延一些东西，我们需要警惕及时行乐的猴子，这是我们所有人的任务。因为这里的格子数并不多，所以或许我们今天就应该行动起来，或许不一定是今天，而是尽快。Thank you.

第四篇：TED演讲中英对照1

At every stage of our lives we make decisions that will profoundly influence the lives of the people we're going to become, and then when we become those people, we're not always thrilled with the decisions we made.So young people pay good money to get tattoos removed that teenagers paid good money to get.Middle-aged people rushed to divorce people who young adults rushed to marry.Older adults work hard to lose what middle-aged adults worked hard to gain.On and on and on.The question is, as a psychologist, that fascinates me is, why do we make decisions that our future selves so often regret? 在我们生命的每个阶段，我们都会做出一些决定，这些决定会深刻影响未来我们自己的生活，当我们成为未来的自己时，我们并不总是对过去做过的决定感到高兴。所以年轻人花很多钱洗去当还是青少年时花了很多钱做上的纹身。中年人急着跟年轻时迫不及待想结婚的人离婚。老年人很努力的挥霍着作为中年人时不停工作所赚的钱。如此没完没了。作为一个心理学家，让我感兴趣的问题是，为什么我们会做出让自己将来常常后悔的决定？

Now, I think one of the reasons--I'll try to convince you today — is that we have a fundamental misconception about the power of time.Every one of you knows that the rate of change slows over the human lifespan, that your children seem to change by the minute but your parents seem to change by the year.But what is the name of this magical point in life where change suddenly goes from a gallop to a crawl? Is it teenage years? Is it middle age? Is it old age? The answer, it turns out, for most people, is now, wherever now happens to be.What I want to convince you today is that all of us are walking around with an illusion, an illusion that history, our personal history, has just come to an end, that we have just recently become the people that we were always meant to be and will be for the rest of our lives.我认为其中一个原因——而我今天想说服你们的——就是我们对时间的力量有个基本的错误概念。你们每个人都知道变化的速度随着人的年龄增长不断放慢，孩子们好像每分钟都有变化，而父母们的变化则要慢得多。那么生命中这个让变化突然间从飞速变得缓慢的神奇转折点应该叫什么呢？是青少年时期吗？是中年时期吗？是老年阶段吗？其实对大多数人来说，答案是，现在，无论现在发生在什么。今天我想让大家明白的是，我们所有人都在围绕着一种错觉生活，这种错觉就是，我们每个人的过去，都已经结束了，我们已经成为了我们应该成为的那种人，在余下的生命中也都会如此。

Let me give you some data to back up that claim.So here's a study of change in people's personal values over time.Here's three values.Everybody here holds all of them, but you probably know that as you grow, as you age, the balance of these values shifts.So how does it do so? Well, we asked thousands of people.We asked half of them to predict for us how much their values would change in the next 10 years, and the others to tell us how much their values had changed in the last 10 years.And this enabled us to do a really interesting kind of analysis, because it allowed us to compare the predictions of people, say, 18 years old, to the reports of people who were 28, and to do that kind of analysis throughout the lifespan.我想给你们展示一些数据来支持这个观点。这是一项关于人们的个人价值观随时间变化的研究。这里有3种价值观。每个人的生活都与这三个价值观相关，但是你们可能知道，随着你们慢慢长大，变老，这三个价值观的平衡点会不断变化。到底是怎么回事呢？我们询问了数千人。我们让他们当中一半的人预测了一下在未来10年中，他们的价值观会发生多大的改变，让另一半人告诉我们在过去的10年中，他们的价值观发生了多大的变化。这项调查可以让我们做一个很有趣的分析，因为它可以让我们将大约18岁左右的人的预测同大约28岁左右的人的答案相比较，这项分析可以贯穿人的一生。

Here's what we found.First of all, you are right, change does slow down as we age, but second, you're wrong, because it doesn't slow nearly as much as we think.At every age, from 18 to 68 in our data set, people vastly underestimated how much change they would experience over the next 10 years.We call this the “end of history” illusion.To give you an idea of the magnitude of this effect, you can connect these two lines, and what you see here is that 18-year-olds anticipate changing only as much as 50-year-olds actually do.这是我们的发现。首先，你们是对的，随着我们年龄的增长，变化会减缓。第二，你们错了，因为这种变化并不像我们想象的那么慢。在我们的数据库从18岁到68岁的每一个年龄段中，人们大大的低估了在未来的10年他们会经历多少变化。我们把这叫做“历史终止”错觉。为了让你们了解这种影响有多大，你们可以把这两条线连接起来，你们现在看到的是18岁的人群预期的改变仅仅和50岁的人群实际经历的一样。

Now it's not just values.It's all sorts of other things.For example, personality.Many of you know that psychologists now claim that there are five fundamental dimensions of personality: neuroticism, openness to experience, agreeableness, extraversion, and conscientiousness.Again, we asked people how much they expected to change over the next 10 years, and also how much they had changed over the last 10 years, and what we found, well, you're going to get used to seeing this diagram over and over, because once again the rate of change does slow as we age, but at every age, people underestimate how much their personalities will change in the next decade.现在不仅仅是价值观了。其他的方面都也有变化。比如说，人格。你们当中的很多人知道现在心理学家们认为人格可以分为五个基本维度：神经质性，经验汲取度，协调性，外向性和道德感。回到原来的话题，我们问人们他们期待未来的10年中自己会有多大的变化，以及他们在过去的10年中发生了多少变化，我们发现了，你们会习惯不断地看到这个图表，因为又一次，变化速率随着我们的年龄增长减慢了。但是在每一个年龄阶段，人们都低估了在未来的十年中他们的人格会发生多大的改变。

And it isn't just ephemeral things like values and personality.You can ask people about their likes and dislikes, their basic preferences.For example, name your best friend, your favorite kind of vacation, what's your favorite hobby, what's your favorite kind of music.People can name these things.We ask half of them to tell us, “Do you think that that will change over the next 10 years?” and half of them to tell us, “Did that change over the last 10 years?” And what we find, well, you've seen it twice now, and here it is again: people predict that the friend they have now is the friend they'll have in 10 years, the vacation they most enjoy now is the one they'll enjoy in 10 years, and yet, people who are 10 years older all say, “Eh, you know, that's really changed.” 而且不光是像价值观和人格这样的临时性的特质。你们可以问问人们关于他们喜好和厌恶的事，他们基本的偏好。比如说，说出你最好朋友的名字，你最喜欢什么样的假期，你最大的爱好是什么，你最喜欢什么样的音乐。人们可以说出这些事情。我们让他们当中的一半人告诉我们，“你认为这在未来10年内会改变吗？”让另一半告诉我们，“这个在过去十年内变化了吗？”我们的发现是，嗯，这个图你们已经看过2次了，再展示一次：人们推测他们现在的朋友在未来10年中还会是他们的朋友，他们喜欢的度假之地在未来10年内还会是他们喜欢的地方，然而，年长10岁的人都会说：“嗯，你知道，这确实不一样了。”

Does any of this matter? Is this just a form of mis-prediction that doesn't have consequences? No, it matters quite a bit, and I'll give you an example of why.It bedevils our decision-making in important ways.Bring to mind right now for yourself your favorite musician today and your favorite musician 10 years ago.I put mine up on the screen to help you along.Now we asked people to predict for us, to tell us how much money they would pay right now to see their current favorite musician perform in concert 10 years from now, and on average, people said they would pay 129 dollars for that ticket.And yet, when we asked them how much they would pay to see the person who was their favorite 10 years ago perform today, they say only 80 dollars.Now, in a perfectly rational world, these should be the same number, but we overpay for the opportunity to indulge our current preferences because we overestimate their stability.这有什么关系吗？这只是一种并不会有什么后果的错误的预测吗？不，这有很大的关系，我会举例告诉你们为什么。它在很多重要的方面困扰着我们做决定。现在想想你们此时此刻最喜欢的音乐人，还有10年前你们最喜欢的音乐人。我把我的答案放在大屏幕上作为提示。现在我们让人们预测一下，告诉我们他们现在愿意付多少钱来参加他们现在最喜欢的音乐人从现在起10年后的音乐会，平均来讲，人们会说他们会付129美元买票。然而，当我们问他们愿意付多少钱去看他们10年前喜欢的人现在的演出，他们说只有80块。那么，在一个完全理性的世界里，这两个数字应该是相同的，但是我们为沉浸于当前喜好中的机会付了更多的钱，因为我们高估了它们的持久性。

Why does this happen? We're not entirely sure, but it probably has to do with the ease of remembering versus the difficulty of imagining.Most of us can remember who we were 10 years ago, but we find it hard to imagine who we're going to be, and then we mistakenly think that because it's hard to imagine, it's not likely to happen.Sorry, when people say “I can't imagine that,” they're usually talking about their own lack of imagination, and not about the unlikelihood of the event that they're describing.为什么会发生这样的变化呢？我们也不是很确定，不过这可能与记忆的消逝和想象的难度相关。我们中的大多数人都能记得10年前的我们是什么样子，但是要想像我们会成为什么样的人就困难了，然后我们会错误地认为因为很难想象，就不太可能会发生。很遗憾，当人们说“我可想象不出来”，他们通常是在表达他们缺乏想象力，而不是他们所描述的不可能发生的事情。

The bottom line is, time is a powerful force.It transforms our preferences.It reshapes our values.It alters our personalities.We seem to appreciate this fact, but only in retrospect.Only when we look backwards do we realize how much change happens in a decade.It's as if, for most of us, the present is a magic time.It's a watershed on the timeline.It's the moment at which we finally become ourselves.Human beings are works in progress that mistakenly think they're finished.The person you are right now is as transient, as fleeting and as temporary as all the people you've ever been.The one constant in our life is change.总而言之，时间是一种强大的力量。它改变了我们的喜好。它重塑了我们的价值观。它改变了我们的人格。我们似乎会感激这个事实，但是只在回想过去的时候。只有在我们回首过去的时候我们才会认识到在过去的十年里发生了多么大的变化。好像，对我们大多数人来说，当前是个有魔力的时刻。它是时间轴上的分水岭。它是一个使我们最终成为我们自己的时刻。人类还处在发展变化的过程中，却错误地以为他们不会发生任何改变了。现在的你只是处于过渡中，转瞬即逝，暂时的的状态而已，就像所有那些过去的你。在我们的生命中唯一不变的就是，变化。

Thank you.

第五篇：Ted中英对照演讲稿..

Ted中英对照演讲稿

Rita Pierson: Every kid needs a champion

每个孩子都需要一个冠军

I have spent my entire life either at the schoolhouse, on the way to the schoolhouse, or talking about what happens in the schoolhouse.Both my parents were educators, my maternal grandparents were educators, and for the past 40 years I've done the same thing.And so, needless to say, over those years I've had a chance to look at education reform from a lot of perspectives.Some of those reforms have been good.Some of them have been not so good.And we know why kids drop out.We know why kids don't learn.It's either poverty, low attendance, negative peer influences.We know why.But one of the things that we never discuss or we rarely discuss is the value and importance of human connection, relationships.我这辈子，要么是在学校，要么在去学校的路上，要么是在讨论学校里发生了什么事。我的父母都是教育家，我的外祖父母也都是搞教育的，过去40年我也在从事同样的事业。所以，很显然，过去的这些年里，我有机会从各个角度 审视教育改革。一些改革是有成效的。而另一些却收效甚微。我们知道孩子们为什么掉队辍学。我们知道孩子们为什么学不下去。原因无非是贫穷，低出席率，同龄人的坏影响。我们知道为什么。但是我们从未讨论 或者极少讨论的是 人和人之间的那种联系的价值和重要性，这就是“关系”。

James Comer says that no significant learning can occur without a significant relationship.George Washington Carver says all learning is understanding relationships.Everyone in this room has been affected by a teacher or an adult.For years, I have watched people teach.I have looked at the best and I've look at some of the worst.James Comer(美国著名儿童精神科医师）说过，没有强有力的联系，学习就不会有显著的进步。George Washington Carver（美国著名教育学家）说过，学习就是理解各种关系。在座的各位都曾经被一位老师 或者一个成年人影响过。这么多年，我都在看人们怎么教学。我看过最好的也看过最差的。

A colleague said to me one time, “They don't pay me to like the kids.They pay me to teach a lesson.The kids should learn it.I should teach it.They should learn it.Case closed.” 一次有个同事跟我说，“我的职责不是喜欢那些孩子们。我的职责是教书。孩子们就该去学。我管教课，他们管学习。就是这么个理儿。”

Well, I said to her, “You know, kids don't learn from people they don't like.” 然后，我就跟她说，“你知道，孩子们可不跟他们讨厌的人学习。”

(Laughter)(Applause)（笑声）（掌声）

She said, “That's just a bunch of hooey.”她接着说，“一派胡言。” And I said to her, “Well, your year is going to be long and arduous, dear.” 然后我对她说，“那么，亲爱的，你这一年会变得 十分漫长和痛苦。”

Needless to say it was.Some people think that you can either have it in you to build a relationship or you don't.I think Stephen Covey had the right idea.He said you ought to just throw in a few simple things, like seeking first to understand as opposed to being understood, simple things like apologizing.You ever thought about that? Tell a kid you're sorry, they're in shock.事实也果真如此。有些人认为 一个人或者天生可以建立一种关系 或者不具有这种能力。我认为Stephen Covey（美国教育家）是对的。他说你只需要做一些简单的事情，比如试着首先理解他人，而不是想要被理解，比如道歉。你想过吗？ 跟一个孩子说你很对不起，他们都惊呆了。

I taught a lesson once on ratios.I'm not real good with math, but I was working on it.And I got back and looked at that teacher edition.I'd taught the whole lesson wrong.(Laughter)我有一次讲比例。我数学不是很好，但是我当时在教数学。然后我下了课，翻看了教师用书。我完全教错了。（笑声）So I came back to class the next day, and I said, “Look, guys, I need to apologize.I taught the whole lesson wrong.I'm so sorry.” 所以我第二天回到班上说，“同学们，我要道歉。我昨天的课都教错了。我非常抱歉。”

They said, “That's okay, Ms.Pierson.You were so excited, we just let you go.”(Laughter)(Applause)他们说，“没关系，Pierson老师。你当时教得非常投入，我们就让你继续了。”（笑声）（掌声）

I have had classes that were so low, so academically deficient that I cried.I wondered, how am I going to take this group in nine months from where they are to where they need to be? And it was difficult.It was awfully hard.How do I raise the self-esteem of a child and his academic achievement at the same time? 我曾经教过程度非常低的班级，学术素养差到我都哭了。我当时就想，我怎么能在9个月之内 把这些孩子 提升到他们必须具备的水平？ 这真的很难，太艰难了。我怎么能让一个孩子重拾自信的同时 他在学术上也有进步？

One year I came up with a bright idea.I told all my students, “You were chosen to be in my class because I am the best teacher and you are the best students, they put us all together so we could show everybody else how to do it.” 有一年我有了一个非常好的主意。我告诉我的学生们，“你们进了我的班级，因为我是最好的老师，而你们是最好的学生，他们把我们放在一起来给其他人做个好榜样。”

One of the students said, “Really?”(Laughter)一个学生说，“真的吗？”（笑声）

I said, “Really.We have to show the other classes how to do it, so when we walk down the hall, people will notice us, so you can't make noise.You just have to strut.” And I gave them a saying to say: “I am somebody.I was somebody when I came.I'll be a better somebody when I leave.I am powerful, and I am strong.I deserve the education that I get here.I have things to do, people to impress, and places to go.” 我说，“当然是真的。我们要给其他班级做个榜样，当我们走在楼道里，因为大家都会注意到我们，我们不能吵闹。大家要昂首阔步。” 我还给了他们一个口号：“我是个人物。我来的时候是个人物。我毕业的时候会变成一个更好的人物。我很有力，很强大。我值得在这里受教育。我有很多事情要做，我要让人们记住我，我要去很多地方。”

And they said, “Yeah!”然后他们说：“是啊！”

You say it long enough, it starts to be a part of you.如果你长时间的这么说，它就会开始变成事实。

And so —(Applause)I gave a quiz, 20 questions.A student missed 18.I put a “+2” on his paper and a big smiley face.所以 －（掌声）我做了一个小测验，20道题。一个孩子错了18道。我在他了卷子上写了个“＋2”和一个大的笑脸。

He said, “Ms.Pierson, is this an F?”他说，“Pierson老师，这是不及格吗？” I said, “Yes.”我说，“是的。”

He said, “Then why'd you put a smiley face?”他接着说，“那你为什么给我一个笑脸？”

I said, “Because you're on a roll.You got two right.You didn't miss them all.” I said, “And when we review this, won't you do better?” 我说，“因为你正渐入佳境。你没有全错，还对了两个。” 我说，“我们复习这些题的时候，难道你不会做得更好吗？”

He said, “Yes, ma'am, I can do better.”他说，“是的，老师。我可以做得更好。” You see, “-18” sucks all the life out of you.“+2” said, “I ain't all bad.”(Laughter)(Applause)大家看，“－18”让人感觉想死。“＋2”意味着，“我没有那么糟。”（笑声）（掌声）

For years I watched my mother take the time at recess to review, go on home visits in the afternoon, buy combs and brushes and peanut butter and crackers to put in her desk drawer for kids that needed to eat, and a washcloth and some soap for the kids who didn't smell so good.See, it's hard to teach kids who stink.And kids can be cruel.And so she kept those things in her desk, and years later, after she retired, I watched some of those same kids come through and say to her, “You know, Ms.Walker, you made a difference in my life.You made it work for me.You made me feel like I was somebody, when I knew, at the bottom, I wasn't.And I want you to just see what I've become.” 好多年了，我看着我妈妈利用课间休息时间批改作业，下午去家访，买梳子、刷子、花生酱和饼干，把他们放在自己的抽屉里给那些饿了的孩子们吃，还有为那些脏孩子们准备了一条毛巾和一些肥皂。看吧，教那些发臭的孩子是困难的一件事。而孩子们有时也是比较“残忍”的。所以她把这些东西都放在她的抽屉里，然后过了很多年，在她退休以后，我看到一些当年的孩子们回来告诉她，“您知道，Walker老师，您改变了我的生活。您让它有了意义。您让我觉得我是个人物，虽说在心底我知道我不是。我就是想让您看看我现在成为了个什么样的人。”

And when my mama died two years ago at 92, there were so many former students at her funeral, it brought tears to my eyes, not because she was gone, but because she left a legacy of relationships that could never disappear.当我妈妈两年前以92岁高龄去世的时候，有好多好多的以前的学生来参加了她的葬礼，我哭了，不是因为她去世了，而是因为她留下了这些永远不会消失的各种联系。

Can we stand to have more relationships? Absolutely.Will you like all your children? Of course not.And you know your toughest kids are never absent.(Laughter)Never.You won't like them all, and the tough ones show up for a reason.It's the connection.It's the relationships.And while you won't like them all, the key is, they can never, ever know it.So teachers become great actors and great actresses, and we come to work when we don't feel like it, and we're listening to policy that doesn't make sense, and we teach anyway.We teach anyway, because that's what we do.我们真的可以有更多的关系吗？当然可以。你会喜欢你所有的学生吗？当然不。你也知道那些最难搞的孩子总是很难甩掉。（笑声）永远不会。你不会喜欢每一个人，然而难搞的那几个的出现也是有理由的。这就是联系，是关系。当你不会喜欢他们每一个人的时候，关键就是他们永远也不会知道这一点。所以老师们变成伟大的演员，我们得强迫自己工作，我们得听从那些毫无道理的政策，我们还得上课。我们还得上课，因为这是我们的责任。

Teaching and learning should bring joy.How powerful would our world be if we had kids who were not afraid to take risks, who were not afraid to think, and who had a champion? Every child deserves a champion, an adult who will never give up on them, who understands the power of connection, and insists that they become the best that they can possibly be.教学和学习应该是让人愉快的事情。我们的世界会变得多么的强大 如果我们的孩子都不害怕接受挑战，不害怕思考，都赢得了一个冠军？ 每个孩子都可以成为一个冠军，一个成年人要永远不放弃他们，懂得联系的强大力量，坚信他们可以变成那个最好的自己。

Is this job tough? You betcha.Oh God, you betcha.But it is not impossible.We can do this.We're educators.We're born to make a difference.这个职业很艰巨不？当然。上帝，毫无疑问。但是这不是不可能的。我们可以的，因为我们是教育家。我们天生就是重塑他人的。

Thank you so much.非常感谢大家。(Applause)（掌声）