ted演讲稿百度云
ted演讲稿百度云《一》
TED演讲稿
TED演讲-论生物多样性
爱德华·威尔逊
生物多样性之感
潘俞宏
I was appreciated by Edward Wilson’s on biological diversity. He introduce the biological diversity and wish we could build up the Encyclopedia of Life to preserve lift. That’s also my wish. We all know that many species disappear every years and Human-forced climate change alone again, if unabated could eliminate a quarter of surviving species during the next five decades. In normal, one specie would turn into a different form or disappear on the earth finally, but it may take a long time. However it become faster because of the environment pollution.
What I want to say is that biological diversity is a valuable wealth of all human beings and provide a good environment for the survival of mankind. It is the foundation of human society's survival and development. At the same time, people rely on the ecological system to purify air, water, etc.
All nature Creatures are interdependent and mutually restricted. The vast of one specie indicates that many species are about to die, but we could do nothing. Now it’s time for us to do something, not only the Encyclopedia of Life, just all what we can do. To search for life, to understand it and finally, above all, to preserve it.
ted演讲稿百度云《二》
世上最好的演讲：TED演讲吸引人的秘密
Why TED talks are better than the last speech you sat through
世上最好的演讲：TED演讲吸引人的秘密
Think about the last time you heard someone give a speech, or any formal presentation. Maybe it was so long that you were either overwhelmed with data, or you just tuned the speaker out. If PowerPoint was involved, each slide was probably loaded with at least 40 words or figures, and odds are that you don't remember more than a tiny bit of what they were supposed to show. 回想一下你上次聆听某人发表演讲或任何正式陈述的情形。它也许太长了，以至于你被各种数据搞得头昏脑胀，甚或干脆不理会演讲者。如果演讲者使用了PPT文档，那么每张幻灯片很可能塞入了至少40个单词或数字，但你现在或许只记得一丁点内容。
Pretty uninspiring, huh? Talk Like TED: 9 Public-Speaking Secrets of The World's Best Mindsexamines why in prose that's as lively and appealing as, well, a TED talk. Timed to coincide with the 30th anniversary in March of those now-legendary TED conferences, the book draws on current brain science to explain what wins over, and fires up, an audience -- and what doesn't. Author Carmine Gallo also studied more than 500 of the most popular TED speeches (there have been about 1,500 so far) and interviewed scores of the people who gave them.
相当平淡，是吧？《像TED那样演讲：全球顶级人才九大演讲秘诀》(Talk Like TED: 9 Public-Speaking Secrets of The World's Best Minds)一书以流畅的文笔审视了为什么TED演讲如此生动，如此引人入胜。出版方有意安排在今年3月份发行此书，以庆贺如今已成为经典的TED大会成立30周年。这部著作借鉴
当代脑科学解释了什么样的演讲能够说服听众、鼓舞听众，什么样的演讲无法产生这种效果。
Much of what he found out is surprising. Consider, for instance, the fact that each TED talk is limited to 18 minutes. That might sound too short to convey much. Yet TED curator Chris Anderson imposed the time limit, he told Gallo, because it's "long enough to be serious and short enough to hold people's attention ... By forcing speakers who are used to going on for 45 minutes to bring it down to 18, you get them to think about what they really want to say." It's also the perfect length if you want your message to go viral, Anderson says. 他挖出了不少令人吃惊的演讲策略。例如，每场TED演讲都被限制在18分钟以内。听起来太过短暂，似乎无法传达足够多讯息。然而，TED大会策办人克里斯•安德森决议推行这项时间限制规则，因为“这个时间长度足够庄重，同时又足够短，能够吸引人们的注意力。通过迫使那些习惯于滔滔不绝讲上45分钟的嘉宾把演讲时间压缩至18分钟，你就可以让他们认真思考他们真正想说的话，”他对加洛说。此外，安德森说，如果你希望你的讯息像病毒般扩散，这也是一个完美的时间长度。
Recent neuroscience shows why the time limit works so well: People listening to a presentation are storing data for retrieval in the future, and too much information leads to "cognitive overload," which gives rise to elevated levels of anxiety -- meaning that, if you go on and on, your audience will start to resist you. Even worse, they won't recall a single point you were trying to make.
最近的神经科学研究说明了为什么这项时间限制产生如此好的效果：聆听陈述的人们往往会存储相关数据，以备未来检索之用，而太多的信息会导致“认知超负荷”，进而推升听众的焦虑度。它意味着，如果你说个没完没了，听众就会开始抗拒你。更糟糕的是，他们不会记得你努力希望传递的信息点，甚至可能一个都记不住。
"Albert Einstein once said, 'If you can't explain it simply, you don't understand it well enough,'" Gallo writes, adding that the physicist would have applauded astronomer David Christian who, at TED in 2011, narrated the complete history of the universe -- and Earth's place in it -- in 17 minutes and 40 seconds.
“爱因斯坦曾经说过，‘要是你不能言简意赅地解释某种理论，那就说明你自己都还没有理解透彻，’”加罗写道。他还举例说，物理学家或许会大加赞赏天文学家大卫•克里斯蒂安在2011年TED大会上发表的演讲。克里斯蒂安在这个演讲中完整地讲述了宇宙史及地球在宇宙的地位，整场演讲用时只有17分40秒。 Gallo offers some tips on how to boil a complex presentation down to 18 minutes or so, including what he calls the "rule of three," or condensing a plethora of ideas into three main points, as many top TED talkers do. He also notes that, even if a speech just can't be squeezed down that far, the effort alone is bound to improve it: "Your presentation will be far more creative and impactful simply by going through the exercise."
如何把一个复杂的陈述压缩至18分钟左右？加洛就这个问题提供了一些小建议，其中包括他所称的“三的法则”。具体说就是，把大量观点高度浓缩为三大要点。TED大会上的许多演讲高手就是这样做的。他还指出，即使一篇演讲无法提炼到这样的程度，单是这番努力也一定能改善演讲的效果：“仅仅通过这番提炼，你就可以大大增强陈述的创造性和影响力。”
Then there's PowerPoint. "TED represents the end of PowerPoint as we know it," writes Gallo. He hastens to add that there's nothing wrong with PowerPoint as a tool, but that most speakers unwittingly make it work against them by cluttering up their slides with way too many words (40, on average) and numbers.
另一个建议与PPT文档有关。“TED大会象征着我们所知的PPT文档正走向终结，”加洛写道。他随后又马上补充说，作为工具的PowerPoint本身并没有什么错，但大多数演讲者为他们的幻灯片塞进了太多的单词（平均40个）和数字，
让这种工具不经意间带来了消极影响。
The remedy for that, based on the most riveting TED talks: If you must use slides, fill them with a lot more images. Once again, research backs this up, with something academics call the Picture Superiority Effect: Three days after hearing or reading a set of facts, most people will remember about 10% of the information. Add a photo or a drawing, and recall jumps to 65%.
最吸引人的TED演讲为我们提供了一个补救策略：如果你必须使用幻灯片，务必记得要大量运用图像资源。这种做法同样有科学依据，它就是研究人员所称的“图优效应”(Picture Superiority Effect)：听到或读到一组事实三天后，大多数人会记得大约10%的信息。而添加一张照片或图片后，记忆率将跃升至65%。 One study, by molecular biologist John Medina at the University of Washington School of Medicine, found that not only could people recall more than 2,500 pictures with at least 90% accuracy several days later, but accuracy a whole year afterward was still at about 63%.
华盛顿大学医学院(University of Washington School of Medicine)分子生物学家约翰•梅迪纳主持的研究发现，几天后，人们能够回想起超过2,500张图片，准确率至少达到90%；一年后的准确率依然保持在63%左右。
That result "demolishes" print and speech, both of which were tested on the same group of subjects, Medina's study indicated, which is something worth bearing in mind for anybody hoping that his or her ideas will be remembered. 梅迪纳的研究表明，这个结果“完胜”印刷品和演讲的记忆效果（由同一组受试者测试）。任何一位希望自己的思想被听众铭记在心的演讲者或许都应该记住这一点。
ted演讲稿百度云《三》
28 个最精彩的TED演讲
I've watched more than 800 TED talks in the last 7 years. Last night, I went through all 1400 TED talks and picked out the talks that left long-lasting impressions.
:
Ken Robinson says schools kill creativity
(Part 1)
Sir Ken Robinson: Bring on the learning revolution!
(Part 2)
"Creativity expert Sir Ken Robinson challenges the way we're educating
our children. He champions a radical rethink of our school systems, to cultivate creativity and acknowledge multiple types of intelligence."
E.O. Wilson: Advice to young scientists
“Biologist E.O. Wilson explores the world of ants and other tiny
creatures, and writes movingly about the way all creatures great and small are interdependent.“
Ben Dunlap: The life-long learner
“Ben Dunlap is a true polymath, whose talents span poetry, opera, ballet,
literature and administration. He is the president of South Carolina’s Wofford College.”
Tim Ferriss: Smash fear, learn anything
"Tim Ferriss is author of bestsellerThe 4-Hour Workweek, a
self-improvement program of four steps: defining aspirations, managing time, creating automatic income and escaping the trappings of the 9-to-5 life."
Terry Moore: How to tie your shoes
"Terry Moore is the director of the Radius Foundation, a forum for
exploring and gaining insight from different worldviews."
JJ Abrams: The mystery box
"Writer, director and producer J.J. Abrams makes smart, addictive
dramas like TV's Lost, and films like Cloverfield and the new Star Trek."
Kenichi Ebina's magic moves
“Self-taught dancer Kenichi Ebina blends hip-hop, martial arts, modern
dance, magic and a blast of pop culture in his mesmerizing performances.”
Rives: If I controlled the Internet …
"Performance artist and storyteller Rives has been called "the first 2.0
poet," using images, video and technology to bring his words to life."
Aubrey de Grey: A roadmap to end aging
"Aubrey de Grey, British researcher on aging, claims he has drawn a
roadmap to defeat biological aging. He provocatively proposes that the first human beings who will live to 1,000 years old have already been born."
Elaine Morgan says we evolved from aquatic apes
"Elaine Morgan is an octogenarian scientist, armed with an arsenal of
television writing credits and feminist instincts, on a mission to prove humans evolved in water."
VS Ramachandran: 3 clues to understanding your brain
"Neurologist V.S. Ramachandran looks deep into the brain’s most basic
mechanisms. By working with those who have very specific mental disabilities caused by brain injury or stroke, he can map functions of the mind to physical structures of the brain."
Stephen Petranek counts down to Armageddon
“When he was editor-in-chief ofDiscover magazine, Stephen Petranek
tangled with questions as big as the universe. Here he confronts the biggest question on the planet: What are the 10 most likely ways that life on the Earth could end?”
:
Simon Sinek: How great leaders inspire
action"In 2009, Simon Sinek released the book "Start With Why" -- a synopsis of the theory he has begun using to teach others how to become effective leaders and inspire change."
Derek Sivers: How to start a movement
"Through his new project, MuckWork, Derek Sivers wants to lessen the
burdens (and boredom) of creative people."
Jane McGonigal: Gaming can make a better world
"Reality is broken, says Jane McGonigal, and we need to make it work
more like a game. Her work shows us how."
Temple Grandin: The world needs all kinds of minds
"Through groundbreaking research and the lens of her own autism,
Temple Grandin brings startling insight into two worlds."
Seth Godin: How to get your ideas to spread
"Seth Godin is an entrepreneur and blogger who thinks about the
marketing of ideas in the digital age. His newest interest: the tribes we lead."
Jonas Eliasson: How to solve traffic jams“Jonas Eliasson is dedicated to researching transportation flow, analyzing how people think about their commutes and what can influence their travel decisions.”
Larry Lessig: Laws that choke creativity
"The U.S. Congress is broken, and law professor and legal activist
Lawrence Lessig wants you to help him fix it. In "Republic, Lost," he tells you how."
Malcolm Gladwell: Choice, happiness and spaghetti sauce"Detective of fads and emerging subcultures, chronicler of jobs-you-never-knew-existed, Malcolm Gladwell's work is toppling the popular understanding of bias, crime, food, marketing, race, consumers and intelligence."
Jason Fried: Why work doesn't happen at
work"Jason Fried thinks deeply about collaboration, productivity and the nature of work. He's the co-founder of 37signals, makers of Basecamp and other web-based collaboration tools, and co-author of Rework."{ted演讲稿百度云}.
Thulasiraj Ravilla: How low-cost eye care can be world-class
"Thulasiraj Ravilla is the executive director of the Lions Aravind Institute
of Community Ophthalmology, helping eye-care hospitals around the world build capacity to prevent blindness."
Amos Winter: The cheap all-terrain wheelchair
”Amos Winter and his team at MIT built the Leveraged Freedom Chair, a cheap lever-powered wheelchair whose design and develop put the user first.“
ted演讲稿百度云《四》
TED演讲稿{ted演讲稿百度云}.
When we're designing new products, services or businesses, the only time you'll know if they're any good, if the designs are good, is to see how they're used in the real world, in context.
I'm reminded of that every time I walk past Highbury Fields in north London. It's absolutely beautiful.There's a big open green space. There's Georgian buildings around the side. But then there's this mud trap that cuts across the middle. People clearly don't want to walk all the way around the edge. Instead, they want to take the shortcut, and that shortcut is self-reinforcing.
Now, this shortcut is called a desire path, and it's often the path of least resistance. I find them fascinating, because they're often the point where design and user experience diverge.
Now at this point, I should apologize, because you guys are going to start seeing these everywhere. But today, I'm going to pick three I find interesting and share what actually it reminds me about launching new products and services. The first is in the capital city of Brazil -- Brasilia. And it reminds me that sometimes, you have to just focus on designing for a real need at low friction. Now, Brasilia is fascinating. It was designed by Niemeyer in the '50s. It was the golden age of flying, so he laid it out like a plane, as you can see there. Slightly worryingly, he put most of the important government buildings in the cockpit. But if you zoom in, in the very center of Brasilia, just where the point is there, you see it's littered with desire paths. They're absolutely everywhere.
Now, they thought that they had future-proofed this design. They thought in the future we wouldn't need to walk anywhere -- we'd be able to drive -- so there was little need for walkways or pavements. But as you can see, there's a real need. These are very dangerous desire paths. If we just pick one, in the middle, you can see it crosses 15 lanes of traffic. It won't surprise you guys that Brasilia has five times the pedestrian accident rate of your average US city. People are resourceful. They'll always find the low-friction route to save money, save time.
Not all these desire paths are dangerous, I was reminded flying here when I was in Heathrow. Many of us get frustrated when we're confronted with the obligatory walk through duty-free. It was amazing to me how many people refused to take the long, meandering path to the left, and just cut through to the right, cut through the desire path.
The question that's interesting is: What do designers think when they see our behavior here? Do they think we're stupid? Do they think we're lazy? Or do they accept that this is the only truth? This is their product. We're effectively
co-designing their product. So our job is to design for real needs at low friction, because if you don't, the customer will, anyway.
The second desire path I wanted to share is at the University of California. And it reminds me that sometimes the best way to come up with a great design is just to launch it. Now, university campuses are fantastic for spotting desire paths. I think it's because students are always late and they're pretty smart. So they're dashing to lectures. They'll always find the shortcut. And the designers here knew that. So they built the buildings and then they waited a few months for the paths to form. They then paved them. (Laughter) Incredibly smart approach. In fact, often, just launching the straw man of a service can teach you what people really want.
For example, Ayr Muir in Boston knew he wanted to open a restaurant. But where should it be? What should the menu be? He launched a service, in this case a food truck, and he changed the location each day. He'd write a different menu on the side in a whiteboard marker to figure out what people wanted. He now has a chain of restaurants. So it can be incredibly efficient to launch something to spot the desire paths.
The third and final desire path I wanted to share with you is the UNIH. It reminds me that the world's in flux, and we have to respond to those changes. So as you'll guess, this is a hospital. I've marked for you on the left the Oncology Department. The patients would usually stay in the hotels down on the bottom right. This was a patient-centered organization, so they laid on cars for their patients. But what they realized when they started offering chemotherapy is the patients rarely wanted to get in cars. They were too nauseous, so they'd walk back to their hotels. This desire path that you see diagonally, formed. The patients even called it "The Chemo Trail." Now, when the hospital saw this originally, they tried to lay turf back over it, ignore it. But after a while, they realized it was an important need they were meeting for their patients, so they paved it.
And I think our job is often to pave these emerging desire paths. If we look back at the one in North London again, that desire path hasn't always been there. The reason it sprung up is people were traveling to the mighty Arsenal Football Club stadium on game days, from the Underground station you see on the bottom right. So you see the desire path. If we just wind the clock back a few years, when the stadium was being constructed, there is no desire path.
So our job is to watch for these desire paths emerging, and, where appropriate, pave them, as someone did here. Someone installed a barrier, people started walking across and round the bottom as you see, and they paved it.
(Laughter)
But I think this is a wonderful reminder as well, that, actually, the world is in flux. It's constantly changing, because if you look at the top of this image, there's another desire path forming.
So these three desire paths remind me we need to design for real human needs. I think empathy for what your customers want is probably the biggest leading indicator of business success. Design for real needs and design them in low friction, because if you don't offer them in low friction, someone else will, often the customer.
Secondly, often the best way to learn what people really want is to launch your service. The answer is rarely inside the building. Get out there and see what people really want.
And finally, in part because of technology, the world is incredibly flux at the moment. It's changing constantly. These desire paths are going to spring up faster than ever. Our job is to pick the appropriate ones and pave over them. (Applause)
ted演讲稿百度云《五》
TED演讲稿
Hi. I'm here to talk to you about the importance of praise, admiration and thank you, and having it be specific and genuine.
嗨。我在这里要和大家谈谈 向别人表达赞美，倾佩和谢意的重要性。 并使它们听来真诚，具体。
And the way I got interested in this was, I noticed in myself, when I was growing up, and until about a few years ago, that I would want to say thank you to someone, I would want to praise them, I would want to take in their praise of me and I'd just stop it. And I asked myself, why? I felt shy, I felt embarrassed. And then my question became, am I the only one who does this? So, I decided to investigate.
之所以我对此感兴趣 是因为我从我自己的成长中注意到 几年前， 当我想要对某个人说声谢谢时， 当我想要赞美他们时， 当我想接受他们对我的赞扬， 但我却没有说出口。 我问我自己，这是为什么？ 我感到害羞，我感到尴尬。 接着我产生了一个问题 难道我是唯一一个这么做的人吗？ 所以我决定做些探究。
I'm fortunate enough to work in the facility, so I get to see people who are facing life and death with addiction. And sometimes it comes down to something as simple as, their core wound is their father died without ever saying he's proud of them. But then, they hear from all the family and friends that the father told everybody else that he was proud of him, but he never told the son. It's because he didn't know that his son needed to hear it.
我非常幸运的在一家康复中心工作， 所以我可以看到那些因为上瘾而面临生与死的人。 有时候这一切可以非常简单地归结为， 他们最核心的创伤来自于他们父亲到死都未说过“他为他们而自豪”。 但他们从所有其它家庭或朋友那里得知 他的父亲告诉其他人为他感到自豪， 但这个父亲从没告诉过他儿子。 因为他不知道他的儿子需要听到这一切。
So my question is, why don't we ask for the things that we need? I know a gentleman, married for 25 years, who's longing to hear his wife say, "Thank you for being the breadwinner, so I can stay home with the kids," but won't ask. I know a woman who's good at this. She, once a week, meets with her husband and says, "I'd really like you to thank me for all these things I did in the house and with the kids." And he goes, "Oh, this is great, this is great." And praise really does have to be genuine, but she takes responsibility for that. And a friend of mine, April, who I've had since kindergarten, she thanks her children for doing their . And she said, "Why wouldn't I thank it, even though they're supposed to do it?"
因此我的问题是，为什么我们不索求我们需要的东西呢？ 我认识一个结婚25年的男士 渴望听到他妻子说， “感谢你为这个家在外赚钱，这样我才能在家陪伴着孩子，” 但他从来不
去问。 我认识一个精于此道的女士。 每周一次，她见到丈夫后会说， “我真的希望你为我对这个家和孩子们付出的努力而感谢我。” 他会应和到“哦，真是太棒了，真是太棒了。” 赞扬别人一定要真诚， 但她对赞美承担了责任。 一个从我上幼儿园就一直是朋友的叫April的人， 她会感谢她的孩子们做了家务。 她说：“为什么我不表示感谢呢，即使他们本来就要做那些事情？”
So, the question is, why was I blocking it? Why were other people blocking it? Why can I say, "I'll take my steak , I need size six shoes," but I won't say, "Would you praise me this way?" And it's because I'm giving you critical data about me. I'm telling you where I'm insecure. I'm telling you where I need your help. And I'm treating you, my inner circle, like you're the enemy. Because what can you do with that data? You could neglect me. You could abuse it. Or you could actually meet my need.
因此我的问题是，为什么我不说呢？ 为什么其它人不说呢？ 为什么我能说：“我要一块中等厚度的牛排， 我需要6号尺寸的鞋子，” 但我却不能说：“你可以赞扬我吗？” 因为这会使我把我的重要信息与你分享。 会让我告诉了你我内心的不安。 会让你认为我需要你的帮助。 虽然你是我最贴心的人， 我却把你当作是敌人。 你会用我托付给你的重要信息做些什么呢？ 你可以忽视我。 你可以滥用它。 或者你可以满足我的要求。
And I took my bike into the bike store-- I love this -- same bike, and they'd do something called "truing" the wheels. The guy said, "You know, when you true the wheels, it's going to make the bike so much better." I get the same bike back, and they've taken all the little warps out of those same wheels I've had for two and a half years, and my bike is like new. So, I'm going to challenge all of you. I want you to true your wheels: be honest about the praise that you need to hear. What do you need to hear? Go home to your wife -- go ask her, what does she need? Go home to your husband -- what does he need? Go home and ask those questions, and then help the people around you.
我把我的自行车拿到车行－－我喜欢这么做－－ 同样的自行车，他们会对车轮做整形。 那里的人说：“当你对车轮做整形时， 它会使自行车变成更好。” 我把这辆自行车拿回来， 他们把有小小弯曲的铁丝从轮子上拿走 这辆车我用了2年半，现在还像新的一样。 所以我要问在场的所有人， 我希望你们把你们的车轮整形一下： 真诚面对对你们想听到的赞美。 你们想听到什么呢？ 回家问问你们的妻子，她想听到什么？ 回家问问你们的丈夫，他想听到什么？ 回家问问这些问题，并帮助身边的人实现它们。
And it's simple. And why should we care about this? We talk about world peace. How can we have world peace with different cultures, different languages? I think it starts household by household, under the same roof. So, let's make it right in our own backyard. And I want to thank all of you in the audience for
being great husbands, great mothers, friends, daughters, sons. And maybe somebody's never said that to you, but you've done a really, really good job. And thank you for being here, just showing up and changing the world with your ideas.
非常简单。 为什么要关心这个呢？ 我们谈论世界和平。 我们怎么用不同的文化，不同的语言来保持世界和平？ 我想要从每个小家庭开始。 所以让我们在家里就把这件事情做好。 我想要感谢所有在这里的人们 因为你们是好丈夫，好母亲， 好伙伴，好女儿和好儿子。 或许有些人从没跟你们说过 但你们已经做得非常非常得出色了。
界显示着你们的智慧，并用它们改变着世界。 感谢你们来到这里， 向世
ted演讲稿百度云《六》
TED演讲稿
我是个说书之人。在这里，我想和大家分享一些我本人的故事。一些关于所谓的“单一故事的危险性”的经历。我成长在尼日利亚东部的一所大学校园里。我母亲常说我从两岁起就开始读书。不过我认为“四岁起”比较接近事实。所以我从小就开始读书，读的是英国和美国的儿童书籍。
我也是从小就开始写作，当我在七岁那年，开始强迫我可怜的母亲阅读我用铅笔写好的故事，外加上蜡笔描绘的插图时，我所写的故事正如我所读的故事那般，我故事里的人物们都是白皮肤、蓝眼睛的。常在雪中嬉戏，吃着苹果。而且他们经常讨论天气，讨论太阳出来时，一切都多么美好。我一直写着这样故事，虽然说我当时住在尼日利亚，并且从来没有出过国。虽然说我们从来没见过雪，虽然说我们实际上只能吃到芒果；虽然说我们从不讨论天气，因为根本没这个必要。
我故事里的人物们也常喝姜汁啤酒，因为我所读的那些英国书中的人物们常喝姜汁啤酒。虽然说我当时完全不知道姜汁啤酒是什么东西。时隔多年，我一直都怀揣着一个深切的渴望，想尝尝姜汁啤酒的味道。不过这要另当别论了。
这一切所表明的，正是在一个个的故事面前，我们是何等的脆弱，何等的易受影响，尤其当我们还是孩子的时候，因为我当时读的所有书中只有外国人物，我因而坚信：书要想被称为书，就必须有外国人在里面，就必须是关于我无法亲身体验的事情，而这一切都在我接触了非洲书籍之后发生了改变。当时非洲书并不多，而且他们也不像国外书籍那样好找。 不过因为！和！之类的作家，我思维中对于文学的概念，产生了质的改变。我意识到像我这样的人---有着巧克力般的肤色和永远无法梳成马尾辫的卷曲头发的女孩们，也可以出现在文学作品中。
我开始撰写我所熟知的事物，但这并不是说我不喜爱那些美国和英国书籍，恰恰相反，那些书籍激发了我的想象力，为我开启了新的世界。但随之而来的后果就是，我不知道原来像我这样的人，也是可以存在于文学作品中的，而与非洲作家的结缘，则是将我从对于书籍的单一故事中拯救了出来。
我来自一个传统的尼日利亚中产家庭，我的父亲是一名教授，我的母亲是一名大学管理员。因此我们和很多其他家庭一样，都会从附近的村庄中雇佣一些帮手来打理家事。在我八岁那一年，我们家招来了一位新的男仆。他的名字叫做FIDE.我父亲只告诉我们说，他是来自一个非常穷苦的家庭，我母亲会时不时的将山芋、大米，还有我们穿旧的衣服送到他的家里。每当我剩下晚饭的时候，我的母亲就会说：吃净你的食物！难道你不知道吗？像FIDE家这样的人可是一无所有。因此我对他们家人充满了怜悯。
后来的一个星期六，我们去FIDE的村庄拜访，他的母亲向我们展示了一个精美别致的草篮----用FIDE的哥哥用染过色的酒椰叶编制的。我当时完全被震惊了。我从来没有想过FIDE的家人居然有亲手制造东西的才能。在那之前，我对FIDE家唯一的了解就是他们是何等的穷困，正因为如此，他们在我脑中的印象只是一个字------“穷”。他们的贫穷是我赐予他们的单一故事。
多年以后，在我离开尼日利亚前往美国读大学的时候，我又想到了这件事。我那时19岁，我的美国室友当时完全对我感到十分惊讶了。他问我是从哪里学的讲一口如此流利的英语，而当我告知她尼日利亚刚巧是以英语作为官方语言的时候，她的脸上则是写满了茫然。她问我是否可以给她听听她所谓的“部落音乐”，可想而知，当我拿出玛丽亚凯莉的磁带时，她是何等的失望，她断定我不知道如何使用电炉。
我猛然意识到“在他见到我之前，她就已经对我充满了怜悯之心。她对我这个非洲人的预设心态是一种充满施恩与好意的怜悯之情。我那位室友的脑中有一个关于非洲的单一故事。一个充满了灾难的单一故事。在这个单一的故事中，非洲人是完全没有可能在任何方面和她有所相似的；没有可能接收到比怜悯更复杂的感情；没有可能以一个平等的人类的身份与她
沟通。
我不得不强调，在我前往美国之前，我从来没有有意识的把自己当做个非洲人。但在美国的时候，每当人们提到”非洲“时，大家都会转向我，虽然我对纳米比亚之类的地方一无所知。但我渐渐的开始接受这个新的身份，现在很多时候我都是把自己当做一个非洲人来看待。不过当人们把非洲当做一个国家来讨论的时候，我还是觉得挺反感的。最近的一次例子就发生在两天前，我从拉各斯搭乘航班，旅程原本相当愉快，直到广播里开始介绍在”印度、非洲以及其他国家”所进行的慈善事业。
当我以一名非洲人的身份在美国读过几年之后，我开始理解我那位室友当时对我的反应。如果我不是在尼日利亚长大，如果我对非洲的一切认识都是来自于大众流行的影像，我相信我眼中的非洲也同样是充满了美丽的地貌、美丽的动物，以及一群难以理解的人们进行着毫无意义的战争、死于艾滋和贫穷、无法为自己辩护，并且等待着一位慈悲的、白种的外国人的救赎，我看待非洲的方式将会和我儿时看待FIDE一家的方式是一样的。
我认为关于非洲的这个单一故事从根本上来自于西方的文学。这是来自伦敦商人John Locke的一段话。他在1561年的时候，曾游历非洲西部，并且为他的航行做了翻很有趣的记录。他先是把黑色的非洲人称为“没有房子的野兽”，随后又写道：“他们也是一群无头脑的人，他们的嘴和眼睛都长在了他们的胸口上。”
我每次读到这一段的时候，都不禁大笑起来。他的想象力真的是让人敬佩。但关于他的作品极其重要的一点是它昭示着西方社会讲述非洲故事的一个传统，在这个传统中，撒哈拉以南的非洲充满了消极、差异以及黑暗，是伟大的诗人Rudyard Kipling笔下所形容的“半恶魔、半孩童”的奇异人种。
正因为如此，我开始意识到我的那位美国室友一定在她的成长过程中，看到并且听过关于这个单一故事的不同版本，就如同之前一位曾经批判我的小说缺乏“真实的非洲感”的教授一样。话说我倒是甘愿承认我的小说有几处写的不好的地方，有几处败笔，但我很难想象我的小说既然会缺乏“真实的非洲感”。事实上，我甚至不知道真实的非洲感到底是个什么东西。那位教授跟我说我书中的人物都和他太相近了，都是受过教育的中产人物。我的人物会开车，他们没有受到饥饿的困扰。正因此，他们缺乏了真实的非洲感。
我在这里不得不指出，我本人也常常被单一的故事蒙蔽双眼。几年前，我从美国探访墨西哥，当时美国的政治气候比较紧张。关于移民的辩论一直在进行着。而在美国，“移民”和“墨西哥人”常常被当做同义词来使用。关于墨西哥人的故事是源源不绝，讲的都是欺诈医疗系统、偷渡边境、在边境被捕之类的事情。
我还记得当我到达瓜达拉哈拉的第一天，看着人们前往工作，在市集上吃着墨西哥卷、抽着烟、大笑着，我记得我刚看到这一切时是何等的惊讶，但随后我的心中便充满了羞耻感。我意识到我当时完全被沉浸在媒体上关于墨西哥人的报道，以致于他们在我的脑中幻化成一个单一的个体---卑贱的移民。我完全相信了关于墨西哥人的单一故事，对此我感到无比的羞愧。这就是创造单一故事的过程，将一群人一遍又一遍地呈现为一个事物，并且只是一个事物，时间久了，他们就变成了那个事物。
而说到单一的故事，就自然而然地要讲到权力这个问题。每当我想到这个世界的权力结构的时候，我都会想起一个伊傅语中的单词，叫做“nkali”,它是一个名词，可以在大意上被翻译成”比另一个人强大。”就如同我们的经济和政治界一样，我们所讲的故事也是建立在它的原则上的。这些故事是怎样被讲述的、由谁来讲述、何时被讲述、有多少故事被讲述，这一切都取决于权力。
ted演讲稿百度云《七》
ted演讲稿
At 7:45 a.m., I open the doors to a building dedicated to building, yet only breaks me down. I march down hallways cleaned up after me every day by regular janitors, but I never have the decency to honor their names. Lockers left open like teenage boys' mouths when teenage girls wear clothes that covers their insecurities but exposes
everything else. Masculinity mimicked by men who grew up with no fathers, camouflage worn by bullies who are dangerously armed but need hugs. Teachers paid less than what it costs them to be here. Oceans of adolescents come here to receive lessons but never learn to swim, part like the Red Sea when the bell rings.
1:06This is a training ground. My high school is Chicago, diverse and segregated on
purpose. Social lines are barbed wire. Labels like "Regulars" and "Honors" resonate. I am an Honors but go home with Regular students who are soldiers in territory that owns them. This is a training ground to sort out the Regulars from the Honors, a reoccurring cycle built to recycle the trash of this system.
1:40Trained at a young age to capitalize, letters taught now that capitalism raises you but you have to step on someone else to get there. This is a training ground where one
group is taught to lead and the other is made to follow. No wonder so many of my people spit bars, because the truth is hard to swallow. The need for degrees has left so many people frozen.
2:05Homework is stressful, but when you go home every day and your home is work, you don't want to pick up any assignments. Reading textbooks is stressful, but reading does not matter when you feel your story is already written, either dead or getting
booked. Taking tests is stressful, but bubbling in a Scantron does not stop bullets from bursting.
2:27I hear education systems are failing, but I believe they're succeeding at what they're built to do --to train you, to keep you on track, to track down an American dream that has failed so many of us all.
2:44(Applause)
清晨7点45分，我打开那扇门， 那扇通往建筑楼的门， 即便它只能让我失望。 我走过门廊， 清洁工每日在我的身后打扫， 但我从未高尚地记住他们的名字。 储物柜敞开着，就像青春期的男生们看到女生们穿着暴露的衣服——那种除了掩饰她们的不安全感， 其实什么都没有遮住的衣服时，他们张大的嘴一样。 处处彰显着自己的男子气概的， 是成长在没有父亲的家庭中的男人； 恃强凌弱、横行霸道的， 是需要拥抱的持枪者。 老师们拿着不足以维持生计的薪水， 孩子们如潮水一般涌来聆听教诲， 却从未学会游泳。 下课铃一响，孩子们便像红海分开一样，彼此说再会。
1:06这就是我们的训练场。 我的高中，芝加哥， 在那里，学生被蓄意分隔成不同类别。 像有一张铁丝网横在我们中间一样。 “普通学生”和“优等生”的标签不绝于耳。 我是一个优等生，
却混杂在普通学生中一道回家。 那些普通学生，就像战士站在统治他们的领地上一样。 这就是我们的训练场： 永无止境地从优等生中寻找平庸者， 只是为了回收体系的垃圾。 1:40从小接受的资本化训练告诉你， 虽然资本主义养育了你， 但你还必须踩在别人的肩膀上才能实现自己的目标。 这就是我们的训练场： 在这里，一部分人被训练成领导者， 另一部分人被训练如何去服从。 为什么我们中很多人去饶舌， 因为真相很难下咽。 对学位的需求让许多人感到害怕。
2:05家庭作业让人抓狂， 每当你回到家中，你的家就是作业， 你根本不想拿起作业本。 读课本也让人抓狂， 但有时，读书也没有用：那就是当你觉得 你的命运已被决定—— 不是死亡，就是被征用的时候。 考试更让人抓狂， 但是在答题卡上填涂得再多， 也无法阻止枪声响起，子弹爆炸。
2:27我听到我们的教育正在走向失败， 但我以为， 我们的教育正是成功实现了它的预期目标—— 训练你在已有的轨道上前行， 去追寻一个对于我们很多人来说 已经失败的美国梦。 2:44（掌声）
This is a guy named Bob McKim. He was a creativity researcher in the '60s and '70s, and also led the Stanford Design Program. And in fact, my friend and IDEO founder, David Kelley, who’s out there somewhere, studied under him at Stanford. And he liked to do an exercise with his studentswhere he got them to take a piece of paper and draw the person who sat next to them, their neighbor, very quickly, just as quickly as they could. 0:48And in fact, we’re going to do that exercise right now. You all have a piece of
cardboard and a piece of paper. It’s actually got a bunch of circles on it. I need you to turn that piece of paper over; you should find that it’s blank on the other side. And there should be a pencil. And I want you to pick somebody that’s seated next to you, and when I say, go, you’ve got 30 seconds to draw your neighbor, OK? So, everybody ready? OK. Off you go. You’ve got 30 seconds, you’d better be fast. Come on: those masterpieces ... OK? Stop. All right, now.
1:38(Laughter)
1:40Yes, lot’s of laughter. Yeah, exactly. Lots of laughter, quite a bit of embarrassment. 1:46(Laughter)
1:47Am I hearing a few "sorry’s"? I think I’m hearing a few sorry’s. Yup, yup, I think I probably am.And that’s exactly what happens every time, every time you do this with adults. McKim found this every time he did it with his students. He got exactly the same response: lots and lots of sorry’s.
2:07(Laughter)
2:08And he would point this out as evidence that we fear the judgment of our peers, and that we’re embarrassed about showing our ideas to people we think of as our peers, to those around us.And this fear is what causes us to be conservative in our thinking. So we might have a wild idea,but we’re afraid to share it with anybody else.
2:35OK, so if you try the same exercise with kids, they have no embarrassment at
all. They just quite happily show their masterpiece to whoever wants to look at it. But as they learn to become adults, they become much more sensitive to the opinions of others, and they lose that freedom and they do start to become embarrassed. And in studies of kids playing, it’s been shown time after time that kids who feel secure, who are in a kind of trusted environment -- they’re the ones that feel most free to play.
3:15And if you’re starting a design firm, let’s say, then you probably also want to create a place where people have the same kind of security. Where they have the same kind of security to take risks.Maybe have the same kind of security to play.
3:32Before founding IDEO, David said that what he wanted to do was to form a company where all the employees are my best friends. Now, that wasn’t just self-indulgence. He knew that friendship is a short cut to play. And he knew that it gives us a sense of trust, and it allows us then to take the kind of creative risks that we need to take as
designers. And so, that decision to work with his friends -- now he has 550 of them -- was what got IDEO started.
4:14And our studios, like, I think, many creative workplaces today, are designed to help people feel relaxed: familiar with their surroundings, comfortable with the people that they’re working with. It takes more than decor, but I think we’ve all seen that creative companies do often have symbols in the workplace that remind people to be playful, and that it’s a permissive environment. So, whether it’s this microbus meeting room that we have in one our buildings at IDEO; or at Pixar, where the animators work in wooden huts and decorated caves; or at the Googleplex, where it’s famous for its [beach] volleyball courts, and even this massive dinosaur skeleton with pink flamingos on it. Don’t know the reason for the pink flamingos, but anyway, they’re there in the garden. Or even in the Swiss office of Google, which perhaps has the most wacky ideas of all.And my theory is, that’s so the Swiss can prove to their Californian colleagues that they’re not boring. So they have the slide, and they even have a fireman’s pole. Don’t know what they do with that, but they have one.
5:16So all of these places have these symbols. Now, our big symbol at IDEO is
actually not so much the place, it’s a thing. And it’s actually something that we invented a few years ago, or created a few years ago. It’s a toy; it’s called a "finger blaster." And I forgot to bring one up with me. So if somebody can reach under the chair that’s next to
them, you’ll find something taped underneath it. That’s great. If you could pass it up. Thanks, David, I appreciate it.
5:41So this is a finger blaster, and you will find that every one of you has got one taped under your chair. And I’m going to run a little experiment. Another little experiment. But before we start, I need just to put these on. Thank you. All right. Now, what I’m going to do is, I’m going to see how -- I can’t see out of these, OK. I’m going to see how many of you at the back of the room can actually get those things onto the stage. So the way they work is, you know, you just put your finger in the thing, pull them back, and off you go. So, don’t look backwards. That’s my only recommendation here. I want to see how many of you can get these things on the stage. So come on! There we go, there we go. Thank you. Thank you. Oh. I have another idea. I wanted to -- there we go.
6:26(Laughter)
6:30There we go.
6:31(Laughter)
6:35Thank you, thank you, thank you. Not bad, not bad. No serious injuries so far. 6:40(Laughter)
6:44Well, they’re still coming in from the back there; they’re still coming in. Some of you haven’t fired them yet. Can you not figure out how to do it, or something? It’s not that hard. Most of your kids figure out how to do this in the first 10 seconds, when they pick it up. All right. This is pretty good; this is pretty good. Okay, all right. Let’s -- I suppose we'd
better... I'd better clear these up out of the way; otherwise, I’m going to trip over them. All right. So the rest of you can save them for when I say something particularly boring, and then you can fire at me.
7:16(Laughter){ted演讲稿百度云}.
7:18All right. I think I’m going to take these off now, because I can’t see a damn thing when I’ve -- all right, OK. So, ah, that was fun.
7:27(Laughter)
7:29All right, good.
7:31(Applause)
7:33So, OK, so why? So we have the finger blasters. Other people have dinosaurs, you know. Why do we have them? Well, as I said, we have them because we think maybe playfulness is important.But why is it important? We use it in a pretty pragmatic way, to be honest. We think playfulness helps us get to better creative solutions. Helps us do our jobs better, and helps us feel better when we do them.
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