Last year I showed these two slides so that demonstrate that the arctic ice cap, which for most of the last three million years has been the size of the lower 48 states, has shrunk by 40 percent.

去年我给各位展示了两个 关于北极冰帽的演示 在过去三百万年中 其面积由相当于美国南方48州面积总和 缩减了40%


But this understates the seriousness of this particular problem because it doesn't show the thickness of the ice.

但这些没能完全说明这个问题的严重性 因为这没有表示出冰帽的厚度


The arctic ice cap is, in a sense, the beating heart of the global climate system.

感觉上，北极冰帽 就好象全球气候系统中跳动的心脏


It expands in winter and contracts in summer.

冬天心脏舒张，夏天心脏收缩


The next slide I show you will be a rapid fast-forward of what's happened over the last 25 years.

下面我要展示的是 在过去25年里的极剧变化


As you see, it expands to the dark blue -- that's the annual ice in winter, and it contracts in summer.

你看，它正在变成深蓝色 这是每年冬天形成的年度冰 在夏天永冻冰收缩


The so-called permanent ice, five years old or older, you can see is almost like blood, spilling out of the body here.

所谓的“永冻”，是指形成五年或更久的冰 你看，这也像血液一样 输送到身体各部位


In 25 years it's gone from this, to this.

在25年的时间里，它从这里，到了这里


This is a problem because the warming heats up the frozen ground around the Arctic Ocean, where there is a massive amount of frozen carbon which, when it thaws, is turned into methane by microbes.

值得注意的是 温室效应使得北冰洋周围的冻土层受热 而这里有大量被冻封的碳 解冻时，微生物降解碳形成甲烷


Compared to the total amount of global warming pollution in the atmosphere, that amount could double if we cross this tipping point.

如果突破顶点，温室气体排放量 将是现有大气层中的全球温室污染总量


Already in some shallow lakes in Alaska, methane is actively bubbling up out of the water.

在阿拉斯加的一些浅湖里 已经可以看到水中探头的沼气泡


Professor Katey Walter from the University of Alaska went out with another team to another shallow lake last winter.

去年冬天，University of Alaska的Katey Walter教授 结队去了一个浅湖


Video: Whoa! Al Gore: She's okay. The question is whether we will be.

哇（开心而又惊叹滴笑） 戈尔：她很好，我们怎么样呢？


And one reason is, this enormous heat sink heats up Greenland from the north.

有一个原因，北方沉积的大量热能 加热了格陵兰岛


But the volumes are much larger than ever.


This is the Kangerlussuaq River in southwest Greenland.


If you want to know how sea level rises from land-base ice melting this is where it reaches the sea.

如果你想了解陆地上的冰块融化 如何使得海平面上升 这里就是它的入海口


These flows are increasing very rapidly.


At the other end of the planet, Antarctica the largest mass of ice on the planet.

南极，地球的另一端 这个行星上最大的冰块


Last month scientists reported the entire continent is now in negative ice balance.

上个月，科学家报告整个大洲 正处于冰量减少的阶段


And west Antarctica cropped up on top some under-sea islands, is particularly rapid in its melting.

在南极洲的西部突然发现 几个低于海平面的岛屿正在加速融化


That's equal to 20 feet of sea level, as is Greenland.

这相当于海平面上20英尺，和格陵兰岛一样


In the Himalayas, the third largest mass of ice: at the top you see new lakes, which a few years ago were glaciers.

在Himalayas,第三大冰块 在顶部你可以看到新的湖泊，而几年前，这只是冰河


40 percent of all the people in the world get half of their drinking water from that melting flow.

全球40%从其融水中 获得一半的饮用水


In the Andes, this glacier is the source of drinking water for this city.

在安第斯山脉,这条冰河 是这座城市的饮用水源


But when they go away, so does much of the drinking water.

但当它们消失时，我们也将失去饮用水


In California there has been a 40 percent decline in the Sierra snowpack.


对于蓄水而言，这是一个打击


And the predictions, as you've read, are serious.

而且如你看到的，预计是非常严重的


This drying around the world has lead to a dramatic increase in fires.

全球的干燥化 正在导致火灾数量急剧增加


And the disasters around the world have been increasing at an absolutely extraordinary and unprecedented rate.

而全世界的灾害数量 也正以绝对显著的 空前的速度增加


Four times as many in the last 30 years as in the previous 75.

在过去三十年内，灾害总数达到了 更早七十五年总数的四倍


This is a completely unsustainable pattern.

这是一种完全不可持续的模式


If you look at in the context of history you can see what this is doing.

如果看下历史 你可以看到发生了些什么


In the last five years we've added 70 million tons of CO2 25 million tons every day to the oceans.

在过去的五年 我们每天 增加七千万吨二氧化碳 向海洋排放两千五百万吨二氧化碳


Look carefully at the area of the eastern Pacific, from the Americas, extending westward, and on either side of the Indian subcontinent, where there is a radical depletion of oxygen in the oceans.

注意看下东太平洋区域 从美洲向西 在印度次大陆的两边 海洋含氧量急剧减少


The biggest single cause of global warming, along with deforestation, which is 20 percent of it, is the burning of fossil fuels.

温室效应最大的原因，除了森林破坏占20%外 是燃烧石油燃料


Oil is a problem, and coal is the most serious problem.

石油很重要，煤炭最为紧要


The United States is one of the two largest emitters, along with China.

美国 正成为全球最大的两个排放国之一，和中国一起


And the proposal has been to build a lot more coal plants.

解决方案曾经是建造一个使用更多煤碳的星球


But we're beginning to see a sea change.

但我们已经开始看到海洋的变化了


Here are the ones that have been cancelled in the last few years with some green alternatives proposed.

这里是近年已经取消的一些 以及一些新的绿色替代方案


However there is a political battle And the coal industries and the oil industries spent a quarter of a billion dollars in the last calendar year promoting clean coal, which is an oxymoron.

但是，在我们国家 有一场政治战争 而煤碳和石油工业 在去年花费了两千五百万美元 来提倡清洁煤炭 这太矛盾了


Around Christmas, in my home in Tennessee, a billion gallons of coal sludge was spilled.

圣诞前后，在我的家乡田纳西 挖出了几十亿升的煤淤泥


This, all over the country, is the second largest waste stream in America.

这里，是全美第二大的废水排放


One of the coal industry's ads around Christmas was this one.

有一则这样的煤碳行业广告


Video: ♪♫ Frosty the coal man is a jolly, happy soul.

录象：♪♫煤炭酷先生是高兴和快乐的化身


He's abundant here in America, and he helps our economy grow.

在美国你可以见到他富饶多产 他还帮助我们发展经济


Frosty the coal man is getting cleaner everyday.

煤炭酷先生每天都在变得更干净


He's affordable and adorable, and workers keep their pay.

他可爱实惠，为工人们带来工作机会


Al Gore: This is the source of much of the coal in West Virginia.

戈尔：这里是West Virginia，许多煤炭的原产地


The largest mountaintop miner is the head of Massey Coal.


Video: Don Blankenship: Let me be clear about it. Al Gore, Nancy Pelosi, Harry Reid, they don't know what they're talking about.

Don Blankenship:让我来澄清事实（这个老兄是马塞能源公司总裁兼总经理，马赛能源公司被卷入一连串的法律与环境的争议当中，争议主要存在于其开采过程中没有采取相应的防污措施） Al Core, Nancy Pelosi（现任众议院议长）, Harry Reid（众议院能源和商业委员会主席）（这两个人都致力于通过国会推动一项综合性的能源与气候议案），这帮家伙完全不懂得他们在讲些什么


Al Gore: So the Alliance for Climate Protection has launched two campaigns.

戈尔：所以气候保护联盟 开展了两个项目


This is one of them, part of one of them.

这是其中的一个，其中一个的一部分


Video: Actor: At COALergy we view climate change as a very serious threat to our business.

演员：在COALergy，我们非常严肃地对待 气候变化对我们的事业威胁


That's why we've made it our primary goal to spend a large sum of money on an advertising effort to help bring out and complicate the truth about coal.

这是为什么我们花费大量金钱 制定我们的最初目标 努力挖掘并阐释 煤炭的真相


We think it's clean -- smells good, too.

我们认为，它是干净的 好闻的


因此，不必为全球变暖而担心


Video: Actor: Clean coal -- you've heard a lot about it.

演员：清洁煤炭，你已经听过关于它的许多


So let's take a tour of this state-of-the-art clean coal facility.

所以，让我们去看看如同艺术一般的清洁煤炭工厂吧


But that's the sound of clean coal technology.

但这是清洁煤炭技术的声音


And while burning coal is one of the leading causes of global warming, the remarkable clean coal technology you see here changes everything.

虽然烧煤是导致全球变暖的主要原因之一 你在这里所见到的令人折服的清洁煤炭技术 改变了一切


Take a good long look: this is today's clean coal technology.

好好看看吧！这就是如今的清洁煤炭技术


Al Gore: Finally, the positive alternative meshes with our economic challenge and our national security challenge.

戈尔：最后是这个正面的方案 可以应对经济挑战 和国家安全挑战


Video: Narrator: America is in crisis -- the economy, national security, the climate crisis.

录象：旁白:美国正处于危机 经济的、国家安全的、气候的危机


The thread that links them all: our addiction to carbon based fuels, like dirty coal and foreign oil.

将这些危机都串在一起的 是我们对于基于碳的石油产品的依赖 譬如肮脏的煤炭和进口的石油


But now there is a bold new solution to get us out of this mess.

但现在，有一种全新的解决这些难题的方案 Repower America


Repower America with 100 percent clean electricity within 10 years.

用百分百清洁的电力 用十年的时间


A plan to put America back to work, make us more secure, and help stop global warming.

让美国人全新获得工作 让我们生活得更安全，并且让地球不在变暖


Finally, a solution that's big enough to solve our problems.

最终，一个足够庞大的方案来解决我们的问题


Video: Narrator: It's about repowering America.


One of the fastest ways to cut our dependence on old dirty fuels that are killing our planet.

陈旧的肮脏石油正在谋杀我们的星球 这是让我们减少对其依赖的最快方式


Man: Future's over here. Wind, sun, a new energy grid.

男A：未来就在这里。风力、太阳能、新的能源网络


Man #2: New investments to create high-paying jobs.

男B：新的投资创造更的报酬丰厚的工作


Narrator: Repower America. It's time to get real.


Al Gore: There is an old African proverb that says, "If you want to go quickly, go alone.

戈尔：有一条古老的非洲谚语 如果想要走得快，独立前行


如果想要走得远，结伴前行


我们需要的是走得远，而且快


Last year at TED I gave an introduction to the LHC.

在去年的TED发言上我介绍了LHC


And I promised to come back and give you an update on how that machine worked.

而且我说过一定回来给大家实况更新 说说机器的运转情况


So this is it. And for those of you that weren't there, the LHC is the largest scientific experiment ever attempted -- 27 kilometers in circumference.

这就是它，如果你去年没来的话 LHC是史上最大规模的科学实验 周长27公里


Its job is to recreate the conditions that were present less than a billionth of a second after the universe began, up to 600 million times a second.

用来重塑宇宙形成 十亿分之一秒时的状态 每秒制造6亿次


这就是在日内瓦地下的机械


We take the pictures of those mini-Big Bangs inside detectors.

我们用这些探测器给迷你大爆炸照相


This is the one I work on. It's called the ATLAS detector -- 44 meters wide, 22 meters in diameter.

这个是我就职的那台，ATLAS探测器 44米长，直径22米


Spectacular picture here of ATLAS under construction so you can see the scale.

这是ATLAS建造过程中的壮观景象 可以看出规模巨大


On the 10th of September last year we turned the machine on for the first time.

去年9月10日我们第一次启动这一机器


这是一张ATLAS照下的照片


It caused immense celebration in the control room.


It's a picture of the first beam particle going all the way around the LHC, colliding with a piece of the LHC deliberately, and showering particles into the detector.

这是第一簇粒子的照片 一路沿着LHC转圈 如我们所计划地与LHC的一部分相撞 大量粒子在探测器内辐散


In other words, when we saw that picture on September 10th we knew the machine worked, which is a great triumph.

换句话说，当我们在9月10号看到这一景象时 我们知道这机器起作用了 这是个巨大的成功


I don't know whether this got the biggest cheer, or this, when someone went onto Google and saw the front page was like that.

我不知道是这个获得了满堂喝彩 还是这个——当人们登陆谷歌 看见首页图标是这样的时候


It means we made cultural impact as well as scientific impact.

这表明我们的工作造成了文化冲击 这与它的科研冲击同样意义重大


About a week later we had a problem with the machine, related actually to these bits of wire here -- these gold wires.

但是大概一周之后我们的机器出了点故障 主要跟这些导线有关——这些金色的导线


Those wires carry 13 thousand amps when the machine is working in full power.

这些导线传导1万3千安培电流 当机器全部启动


Now the engineers amongst you will look at them and say, "No they don't. They're small wires."

现在你们之中的一些工程师可能会说 “不可能，这些电线太细了”


They can do that because when they are very cold they are what's called superconducting wire.

它们能做到 因为当温度极低它们就成了超导导线


So at minus 271 degrees, colder than the space between the stars, those wires can take that current.

所以在零下271摄氏度 低于星球间宇宙空间的温度的情况下 这些导线可以传导如此强的电流


In one of the joints between over 9,000 magnets in LHC, there was a manufacturing defect.

在LHC中九千多个电磁铁里的一个接点上 有一个安装技术失误


So the wire heated up slightly, and its 13,000 amps suddenly encountered electrical resistance.

于是导线温度微微升高了一点 导致它传导的1万3千安培电流忽然受到电阻


Now that's more impressive when you consider those magnets weigh over 20 tons, and they moved about a foot.

非常令人震惊 因为那些磁铁重达20吨 它们移动了大约一英尺


一共大概有50个磁铁受损


必须得把它们卸下来，这些工作已经完成


我们给它们排除故障，修理好


They're all on their way back underground now.

现在就等着它们重新回到地下了


By the end of March the LHC will be intact again.

在三月底左右LHC被重新接通


We will switch it on, and we expect to take data in June or July, and continue with our quest to find out what the building blocks of the universe are.

我们将会启动它 并且希望在六七月的时候得到数据 然后继续我们的使命 找出宇宙形成的最基本单位


Now of course, in a way those accidents reignite the debate about the value of science and engineering at the edge. It's easy to refute.

很明显现在，一方面 这些事故重新激化了关于 前沿科学和工程学的辩论，但这些很容易被反驳


I think that the fact that it's so difficult, the fact that we're overreaching, is the value of things like the LHC.

我认为这任务过于艰难却仍令 我们执着追求的事实本身，就是LHC的价值所在


I will leave the final word to an English scientist, Humphrey Davy, who, I suspect, when defending his protege's useless experiments -- his protege was Michael Faraday -- said this, "Nothing is so dangerous to the progress of the human mind than to assume that our views of science are ultimate, that there are no mysteries in nature, that our triumphs are complete, and that there are no new worlds to conquer."

最后我愿复述一位英国科学家戴维翰弗瑞的话 我记得他 在为自己学徒无意义的实验辩护时 ——他的学徒是迈克尔法拉第—— 说过：对于人类头脑发展来说 没有什么比这想法更为危险： 认为我们已经理解了科学之所有 一切谜团尽已揭开 人类已经大获全胜 而停止对新知的探索


I want to start out by asking you to think back to when you were a kid, playing with blocks.

首先，我想请大家回忆一下你们在孩提时代 玩过的积木。


As you figured out how to reach out and grasp, pick them up and move them around, you were actually learning how to think and solve problems by understanding and manipulating spatial relationships.

当你构思着怎么去搭建积木 并且去动手操作的时候， 其实是你正在学习怎样思考和解决问题。 这即是对物体的空间结构的理解和感知。


Spatial reasoning is deeply connected to how we understand a lot of the world around us.

理解物体的空间结构非常有助于 我们对很多周围事物的学习。


So, as a computer scientist inspired by this utility of our interactions with physical objects -- along with my adviser Pattie, and my collaborator Jeevan Kalanithi -- I started to wonder -- what if when we used a computer, instead of having this one mouse cursor that was a like a digital fingertip moving around a flat desktop, what if we could reach in with both hands and grasp information physically,

因此，作为一个计算机领域的科学家， 在这种手动思考方式的启发下， 以及在我的导师Pattie和我的合作伙伴Jeevan Kalanithi的帮助下， 我开始思考--要是我们能用一种新型计算机 来代替鼠标移动光标，就好比一种数字化的手指尖 在桌面移动--那样会如何呢？ 要是我们能用手来直接感知信息，


按我们的思路来组合信息--那样会如何呢？


This question was so compelling that we decided to explore the answer, by building Siftables.

这样的疑问不断萦绕在我的脑海中，于是我们决定去探寻答案， 所以才有了这款Siftables。


In a nutshell, a Siftable is an interactive computer the size of a cookie.

简单地说，Siftable是一款互动计算机， 体积如饼干般大小。


They're able to be moved around by hand, they can sense each other, they can sense their motion, and they have a screen and a wireless radio.

Siftables可以用手随意移动， 每块Siftable可以互相感知彼此的移动， 每块Siftable还有显示屏和无线电装置。


Most importantly, they're physical, so like the blocks, you can move them just by reaching out and grasping.

最重要的是，每块Siftable都是独立的， 就像积木一样，可以随意搭配。


And Siftables are an example of a new ecosystem of tools for manipulating digital information.

而且Siftables代表了一种新的生态系统 --即数字化信息的操作工具。


And as these tools become more physical, more aware of their motion, aware of each other, and aware of the nuance of how we move them, we can start to explore some new and fun interaction styles.

这种操作工具更加独立， 更加灵敏，能彼此感知， 感知任何细微的移动， 所以我们可以使用这种工具尝试一些新的有趣的互动。


So, I'm going to start with some simple examples.

现在，我就来演示一些简单的。


This Siftable is configured to show video, and if I tilt it in one direction, it'll roll the video this way; if I tilt it the other way it rolls it backwards.

这块Siftable有映像配置， 如果我把它向一侧倾斜，那么它所显示的画面也朝这边倾斜， 如果我把它朝反方向倾斜，那么图像也朝反方向倾斜。


And these interactive portraits are aware of each other.

而且这些Siftables能互相感知。


So if I put them next to each other, they get interested.

如果把它们一个挨一个摆好，有趣的现象就会发生。


If they get surrounded, they notice that too, they might get a little flustered.

如果把它们随意一堆，他们也会察觉到， 那就会有点儿混乱。


And they can also sense their motion and tilt.

它们还能感知彼此的移动和倾斜。


One of the interesting implications on interaction, we started to realize, was that we could use everyday gestures on data, like pouring a color the way we might pour a liquid.

我们发现一个有趣的互动-- 我们可以通过一些常用的手势和Siftables进行互动， 比如象倒液体那样把颜色从一块Siftable倒入另一块Siftable.


So in this case, we've got three Siftables configured to be paint buckets and I can use them to pour color into that central one, where they get mixed.

我们来看这个演示，这有三块设置成油漆桶模式的Siftables, 我们可以把这些桶里的颜色倒入中间的那个， 把颜色混在一起.


If we overshoot, we can pour a little bit back.

如果倒多了，可以再倒回去一些。


There are also some neat possibilities for education, like language, math and logic games where we want to give people the ability to try things quickly, and view the results immediately.

Siftables还有学习机的功能， 可以用来学语言、算算术等-- 我们希望通过这些功能让学习变得快捷， 更快看到结果。


So here I'm -- This is a Fibonacci sequence that I'm making with a simple equation program.

这也是我来这里展示Siftables的原因-- 这是我用一个简单方程式做成的斐波那契数列。


Here we have a word game that's kind of like a mash-up between Scrabble and Boggle.


Basically, in every round you get a randomly assigned letter on each Siftable, and as you try to make words it checks against a dictionary.

这种拼字游戏的玩法大致如下， 你随意拿一块带有字母的Siftable, 当你把几块带有字母的Siftables拼在一起组成单词时，Siftables会在字典里自动查找单词。


Then, after about 30 seconds, it reshuffles, and you have a new set of letters and new possibilities to try.

大约30秒后Siftables会自动根据正确的单词拼写顺序改变原来显示的字母，组成正确的单词， 你还可以尝试用其他的字母拼出新的单词。


So these are some kids that came on a field trip to the Media Lab, and I managed to get them to try it out, and shoot a video.

现在，屏幕上显示的是一些孩子正在Media Lab 里参与Siftables的试用体验， 我把孩子们的体验过程拍了下来。


And, one of the interesting things about this kind of application is that you don't have to give people many instructions.

而且有趣的是在玩这个拼字游戏的时候 我们并不需要向他们解释什么。


All you have to say is, "Make words," and they know exactly what to do.

只要跟他们说这是个“拼字”游戏时， 他们就知道该怎么做了。


So here's another few people trying it out.

现在屏幕上显示的是另一些人在体验Siftables。


That's our youngest beta tester, down there on the right.

右下角这位是年龄最小的体验者。


Turns out, all he wanted to do was to stack the Siftables up.

他只是想把Siftables堆在一起。


在他看来，Siftables只是积木。


Now, this is an interactive cartoon application.

现在屏幕上显示的是一种动画功能的互动尝试。


And we wanted to build a learning tool for language learners.

我们希望Siftables能成为学习语言的帮手。


画面上的这个孩子叫Felix。


And he can bring new characters into the scene, just by lifting the Siftables off the table that have that character shown on them.

他能把一些新元素添加到动画图像上， 他所做的就是把桌上的Siftables拿起来朝着动画图像投一下影，就可以把这些新元素加到动画上了。


David Merrill: Now he's brought a tractor into the scene.

大卫·梅若：现在他把拖拉机加上去了。


DM: So by shaking the Siftables and putting them next to each other he can make the characters interact -- Video: Woof!

把Siftables朝动画图像晃一下就可以把新元素加到画面上 他把新元素加上去了-- 视频：狗吠声


梅若：他在编写属于他的动画故事。


DM: It's an open-ended story, and he gets to decide how it unfolds.

梅若：这是个开放式结局的故事， 他在计划怎样展开故事情节。.


视频：猫坐着热气球飞走了。


DM: So, the last example I have time to show you today is a music sequencing and live performance tool that we've built recently, in which Siftables act as sounds like lead, bass and drums.

梅若：下面我要给大家进行最后一个展示 这个功能可以编排、演奏音乐 是我们最近研发的， Siftables的这种功能体现在声音方面， 能发出像超载音、贝斯及鼓的声音。


Each of these has four different variations, you get to choose which one you want to use.

每个模块有四档可供调节， 任君选择。


And you can inject these sounds into a sequence that you can assemble into the pattern that you want.

你可以把声音模块的Siftable里的声音加入编辑模块的Siftable 按你喜欢的方式。 加入声音只需把声音模块靠近编辑模块。


And you inject it by just bumping up the sound Siftable against a sequence Siftable.

还有类似混响器、滤声器作用的Siftable模块。


There are effects that you can control live, like reverb and filter.

把这类模块靠近声音模块就可以调整声音了。


You attach it to a particular sound and then tilt to adjust it.

接下来，可以用控制总体节奏和音量的Siftable模块


And then, overall effects like tempo and volume So let's have a look.

靠近编辑模块的Siftable来调整节奏和音量。 我们来看一下。


Video: DM: We'll start by putting a lead into two sequence Siftables, arrange them into a series, extend it, add a little more lead.

视频： 梅若：开始先把超载音 注入两个编辑模块， 再加一些超载音。


Video: DM: Now I'll put some percussion in.

视频： 梅若：现在加入一些打击乐器的声音。


Video: DM: And now I'll attach the filter to the drums, so I can control the effect live.

视频： 梅若：现在把滤声模块靠近鼓声模块，这样可以调整声音。


Video: DM: I can speed up the whole sequence by tilting the tempo one way or the other.

视频： 梅若：我来把节奏加快些 只需把节奏模块靠近编辑模块。


Video: DM: And now I'll attach the filter to the bass for some more expression.

视频： 梅若：现在再把滤声模块靠近贝斯模块滤声。


Video: DM: I can rearrange the sequence while it plays.

视频： 梅若：在音乐演奏的过程中还可以重新编排。


So I don't have to plan it out in advance, but I can improvise, making it longer or shorter as I go.

所以并不需要提前编排，而是在演奏时随时改编， 可长可短。


And now, finally, I can fade the whole sequence out using the volume Siftable, tilted to the left.

最后，我来结束整个演奏， 用音量模块靠近编辑模块，用左边这个档。


So, as you can see, my passion is for making new human-computer interfaces that are a better match to the ways our brains and bodies work.

正如大家看到的， 我的理想就是研发一款新型的能够人机互动的媒介 更好地配合人体大脑的运作。


And today, I had time to show you one point in this new design space, and a few of the possibilities that we're working to bring out of the laboratory.

今天，我在这给大家展示了Siftable， 我们的后续研究正在实验室中进行。


So the thought I want to leave you with is that we're on the cusp of this new generation of tools for interacting with digital media that are going to bring information into our world on our terms.

我想跟大家交流的想法就是 我们在研发新一代尖端科技产品 --可以和数字媒体接轨的科技产品， 它将给世界带来变化 这样的革新在我们这一代就会看到。


I look forward to talking with all of you.

我期待着和大家共同探讨。


我是个作家，写作不仅仅是我的职业，更是我一辈子的挚爱与迷恋


Writing books is my profession but it's more than that, of course.

我是个作家，写作不仅仅是我的职业，更是我一辈子的挚爱与迷恋


It is also my great lifelong love and fascination.

我是个作家，写作不仅仅是我的职业，更是我一辈子的挚爱与迷恋


And I don't expect that that's ever going to change.

我认为这是永远不会改变的事情


But, that said, something kind of peculiar has happened recently in my life and in my career, which has caused me to have to recalibrate my whole relationship with this work.

尽管如此，最近在我的生活工作中，发生了一个特殊事件 尽管如此，最近在我的生活工作中，发生了一个特殊事件 使我不得不重新思考我与我的工作之间的关系


And the peculiar thing is that I recently wrote this book, this memoir called "Eat, Pray, Love" which, decidedly unlike any of my previous books, went out in the world for some reason, and became this big, mega-sensation, international bestseller thing.

这个特殊事件就是：我最新出版的那本回忆录《美食、祈祷、爱》 这个特殊事件就是：我最新出版的那本回忆录《美食、祈祷、爱》 与我以前那些普普通通的作品大不一样 不知怎么的，成了一本轰动一时、令人激动的国际畅销书 不知怎么的，成了一本轰动一时、令人激动的国际畅销书


The result of which is that everywhere I go now, people treat me like I'm doomed.

结果是，现在不论我到哪里，人们都觉得我这一辈子就这样了 结果是，现在不论我到哪里，人们都觉得我这一辈子就这样了


真的，就这样了，彻底地，没救了，玩完了！


Like, they come up to me now, all worried, and they say, "Aren't you afraid you're never going to be able to top that?

他们会非常忧虑地过来跟我说： “你不怕吗? 不怕你这辈子都超越不了那本书了吗?”


Aren't you afraid you're going to keep writing for your whole life and you're never again going to create a book that anybody in the world cares about at all, ever again?"

“你不怕你会这样写一辈子，却永远再也写不出世人热爱的作品了吗？” “你不怕你会这样写一辈子，却永远再也写不出世人热爱的作品了吗？” “你不怕你会这样写一辈子，却永远再也写不出世人热爱的作品了吗？” “你不怕你会这样写一辈子，却永远再也写不出世人热爱的作品了吗？”


But it would be worse, except for that I happen to remember that over 20 years ago, when I was a teenager, when I first started telling people that I wanted to be a writer, I was met with this same sort of fear-based reaction.

我的日子本来会很难熬，幸运的是，我想起了20年前决定成为作家的事情 我的日子本来会很难熬，幸运的是，我想起了20年前决定成为作家的事情 那时我才十几岁 我当时遭遇到了同样的质疑，人们说：你不怕永远都不会成功吗？


And people would say, "Aren't you afraid you're never going to have any success?

我当时遭遇到了同样的质疑，人们说：你不怕永远都不会成功吗？


Aren't you afraid the humiliation of rejection will kill you?

你不怕持续的拒绝会把你击垮吗？ 你不怕努力终身却一无所成吗？ 你不怕努力终身却一无所成吗？


Aren't you afraid that you're going to work your whole life at this craft and nothing's ever going to come of it and you're going to die on a scrap heap of broken dreams with your mouth filled with bitter ash of failure?" Like that, you know.

你最后会在支离破碎的梦想中绝望死去，满含着失败的痛楚 你最后会在支离破碎的梦想中绝望死去，满含着失败的苦痛 你最后会在支离破碎的梦想中绝望死去，满含着失败的苦痛 我当时一直得到诸如此类的质疑


The answer -- the short answer to all those questions is, "Yes."

对于这些质疑，最简单的回答是：“怕”


是的，这种种一切都让人害怕，直到今天也一样


And I'm afraid of many, many more things besides that people can't even guess at, like seaweed and other things that are scary.

其实除了这些，我还害怕很多别人猜不到的东西 其实除了这些，我还害怕很多别人猜不到的东西 比方说海草，还有其他吓人的东西


But, when it comes to writing, the thing that I've been sort of thinking about lately, and wondering about lately, is why?

但是，说到害怕写作，我最近一直在想，我为什么要害怕写作呢？ 但是，说到害怕写作，我最近一直在想，我为什么要害怕写作呢？


这难道是一种理性的想法吗？


Is it logical that anybody should be expected to be afraid of the work that they feel they were put on this Earth to do.

人们害怕从事自己命中注定的工作？这符合逻辑吗？ 人们害怕从事自己命中注定的工作？这符合逻辑吗？


And what is it specifically about creative ventures that seems to make us really nervous about each other's mental health in a way that other careers kind of don't do, you know?

创造性工作究竟有着怎样的特殊性，以至于让我们为彼此的心智健康担心起来了呢？ 创造性工作究竟有着怎样的特殊性，以至于让我们为彼此的心智健康担心起来了呢？ 别的行业可不太会这样，不是吗？


Like my dad, for example, was a chemical engineer and I don't recall once in his 40 years of chemical engineering anybody asking him if he was afraid to be a chemical engineer, you know?

比方说，我爸爸是个化学工程师 在他40年的化学工程生涯中，我不曾记得有人问他是否害怕成为化学工程师 在他40年的化学工程生涯中，我不曾记得有人问他是否害怕成为化学工程师


"That chemical-engineering block, John, how's it going?"

没人说：“约翰，化学工作遇到瓶颈了吗？怎么样了？”


It just didn't come up like that, you know?


But to be fair, chemical engineers as a group haven't really earned a reputation over the centuries for being alcoholic manic-depressives. We writers, we kind of do have that reputation, and not just writers, but creative people across all genres, it seems, have this reputation for being enormously mentally unstable.

当然，平心而论，化学工程师这一群体 并没有在过去几个世纪里，因酗酒吸毒、狂躁抑郁而享誉全球 并没有在过去几个世纪里，因酗酒吸毒、狂躁抑郁而享誉全球 并没有在过去几个世纪里，因酗酒吸毒、狂躁抑郁而享誉全球 而我们作家，倒确确实实有着那样的名声 不仅作家，各个领域的创作人才似乎都有着情绪极不稳定的恶名 不仅作家，各个领域的创作人才似乎都有着情绪极不稳定的恶名


And all you have to do is look at the very grim death count in the 20th century alone, of really magnificent creative minds who died young and often at their own hands, you know?

只需看看上个世纪，各个领域伟大创作天才们英年早逝的案例 只需看看上个世纪，各个领域伟大创作天才们英年早逝的案例 常常是年纪轻轻死于自杀


And even the ones who didn't literally commit suicide seem to be really undone by their gifts, you know.

即使那些没有自杀的，往往也没有完全展现出他们的才华 即使那些没有自杀的，往往也没有完全展现出他们的才华


Norman Mailer, just before he died, last interview, he said, "Every one of my books has killed me a little more."

诺曼梅勒，在去世前的最后一次采访中说： “我的每一本书都蚕食了一部分的我”


An extraordinary statement to make about your life's work.

对于你毕生的作品，这是多么激进的说法啊


But we don't even blink when we hear somebody say this, because we've heard that kind of stuff for so long and somehow we've completely internalized and accepted collectively this notion that creativity and suffering are somehow inherently linked and that artistry, in the end, will always ultimately lead to anguish.

但我们对此类说法却视若无睹，因为我们早已见怪不怪了 但我们对此类说法却视若无睹，因为我们早已见怪不怪了 且不知为何,人们都已经完全内化接受了这一观念 这种观念就是：创造力和痛苦息息相关，艺术创造最终一定会导致极度苦闷 这种观念就是：创造力和痛苦息息相关，艺术创造最终一定会导致极度苦闷


And the question that I want to ask everybody here today is are you guys all cool with that idea?

我今天想问在座各位的是：你们大家都对此毫无异议吗？ 我今天想问在座各位的是：你们大家都对此毫无异议吗？


你们都觉得这一观点毫无问题吗?


Because you look at it even from an inch away and, you know -- I'm not at all comfortable with that assumption.

哪怕稍稍离远点看这个观点，我也不能同意这种臆断 哪怕稍稍离远点看这个观点，我也不能同意这种臆断


这个观点不但可憎，而且可怕，我不希望这样的想法一直延续到下个世纪


And I also think it's dangerous, and I don't want to see it perpetuated into the next century.

这个观点不但可憎，而且可怕，我不希望这样的想法一直延续到下个世纪 这个观点不但可憎，而且可怕，我不希望这样的想法一直延续到下个世纪


I think it's better if we encourage our great creative minds to live.

我觉得鼓励我们伟大的创作天才们继续活下去会更加好


And I definitely know that, in my case -- in my situation -- it would be very dangerous for me to start sort of leaking down that dark path of assumption, particularly given the circumstance that I'm in right now in my career.

而且就我自己来说，持这一观点必然将我引入黑暗的绝境 而且就我自己来说，持这一观点必然将我引入黑暗的绝境 尤其是在我目前的事业阶段 尤其是在我目前的事业阶段


Which is -- you know, like check it out, I'm pretty young, I'm only about 40 years old.

你看，我还年轻，我才四十来岁 你看，我还年轻，我才四十来岁


I still have maybe another four decades of work left in me.

我今后还有大约四十年的创作生涯


And it's exceedingly likely that anything I write from this point forward is going to be judged by the world as the work that came after the freakish success of my last book, right?

而且很有可能的是，从这一刻起，我所写的每一部作品 都会被用来和我上一本轰动一时的巨作进行比较，不是吗？ 都会被用来和我上一本轰动一时的巨作进行比较，不是吗？


I should just put it bluntly, because we're all sort of friends here now -- it's exceedingly likely that my greatest success is behind me.

坦率地说吧，看在我们都聊了这么久，我就说句朋友间的掏心话吧 极有可能的是，我这辈子最大成功已经过去了


That's the kind of thought that could lead a person to start drinking gin at nine o'clock in the morning, and I don't want to go there.

就是这种想法，让人踏上了一大清早就喝琴酒的不归路啊 就是这种想法，让人踏上了一大清早就喝琴酒的不归路啊 我可不想变成那样


I would prefer to keep doing this work that I love.

我可不想变成那样 我希望继续从事我所热爱的写作事业，所以问题就变成：我应该怎么办呢？


我希望继续从事我所热爱的写作事业，所以问题就变成：我应该怎么办呢？


And so, it seems to me, upon a lot of reflection, that the way that I have to work now, in order to continue writing, is that I have to create some sort of protective psychological construct, right?

经过一番深入思考，在我看来 要想继续写作，我必须要创造出某种心理保护机制 要想继续写作，我必须要创造出某种心理保护机制


I have to sort of find some way to have a safe distance between me, as I am writing, and my very natural anxiety about what the reaction to that writing is going to be, from now on.

我必须以某种方式，建立起一个安全距离 区别开写作本身，以及我对于作品反响的极度焦虑 区别开写作本身，以及我对于作品反响的极度焦虑


And, as I've been looking, over the last year, for models for how to do that, I've been sort of looking across time, and I've been trying to find other societies to see if they might have had better and saner ideas than we have about how to help creative people sort of manage the inherent emotional risks of creativity.

前一年，我到处找寻可以参考的模式，在历史中找，也在不同文化中找 前一年，我到处找寻可以参考的模式，在历史中找，也在不同文化中找 前一年，我到处找寻可以参考的模式，在历史中找，也在不同文化中找 看他们是否有比我们更好、更理智的观点 来帮助艺术工作者处理艺术创作所固有的内在情感风险 来帮助艺术工作者处理艺术创作所固有的内在情感风险


And that search has led me to ancient Greece and ancient Rome.

这一寻找最后把我带到了古希腊和古罗马


So stay with me, because it does circle around and back.

所以请耐心听我讲，因为最后会绕回到我们的问题


But, ancient Greece and ancient Rome -- people did not happen to believe that creativity came from human beings back then, OK?

在古希腊和古罗马，人们并不认为创造力来自于人类本身 在古希腊和古罗马，人们并不认为创造力来自于人类本身 在古希腊和古罗马，人们并不认为创造力来自于人类本身


People believed that creativity was this divine attendant spirit that came to human beings from some distant and unknowable source, for distant and unknowable reasons.

人们相信，创造力是一种神圣的守护精灵 从遥远而不可知的地方来到艺术家身边，带着某种遥远而不可知的目的 从遥远而不可知的地方来到艺术家身边，带着某种遥远而不可知的目的


The Greeks famously called these divine attendant spirits of creativity "daemons."

希腊人普遍地称这种伴随着创造力的守护精灵为“守护神”


Socrates, famously, believed that he had a daemon who spoke wisdom to him from afar.

当时人们普遍地认为苏格拉底就有这样一个守护神，从远处赋予他智慧 当时人们普遍地认为苏格拉底就有这样一个守护神，从远处赋予他智慧


The Romans had the same idea, but they called that sort of disembodied creative spirit a genius.

古罗马人有着相似的观点，他们把这种无形的创造精灵称为“天才” 古罗马人有着相似的观点，他们把这种无形的创造精灵称为“天才”


Which is great, because the Romans did not actually think that a genius was a particularly clever individual.

这种观点很妙，因为罗马人并没有认为“天才”是某个特别聪慧的个人 这种观点很妙，因为罗马人并没有认为“天才”是某个特别聪慧的个人


They believed that a genius was this, sort of magical divine entity, who was believed to literally live in the walls of an artist's studio, kind of like Dobby the house elf, and who would come out and sort of invisibly assist the artist with their work and would shape the outcome of that work.

他们认为“天才”是某种奇妙的神圣存在 他们甚至认为“天才”居住在艺术家工作室的墙壁中，就像小精灵多比一样 他们甚至认为“天才”居住在艺术家工作室的墙壁中，就像小精灵多比一样 它们会悄悄地钻出来，无形地帮助艺术家创作，并影响作品成败 它们会悄悄地钻出来，无形地帮助艺术家创作，并影响作品成败


So brilliant -- there it is, right there, that distance that I'm talking about -- that psychological construct to protect you from the results of your work.

这个观点简直绝了，这就是我在找寻的那个安全距离 这就是让人免受作品成败影响的心理保护机制


And everyone knew that this is how it functioned, right?

我们都可以理解它的运作模式，不是吗？


So the ancient artist was protected from certain things, like, for example, too much narcissism, right?

古代艺术家由这个观点而得到保护，避免了过度自恋 古代艺术家由这个观点而得到保护，避免了过度自恋


If your work was brilliant, you couldn't take all the credit for it, everybody knew that you had this disembodied genius who had helped you.

如果你的作品很伟大，那可不能完全归功于你 因为大家都知道你是在一个无形的“天才”帮助下完成作品的


If your work bombed, not entirely your fault, you know?

如果你的作品很烂，同样也不全是你的错


Everyone knew your genius was kind of lame. And this is how people thought about creativity in the West for a really long time.

人人都知道那是因为你的“天才”很差劲 这就是西方人在过去很长一段时间里看待创作力的方式


And then the Renaissance came and everything changed, and we had this big idea, and the big idea was, let's put the individual human being at the center of the universe above all gods and mysteries, and there's no more room for mystical creatures who take dictation from the divine. And it's the beginning of rational humanism, and people started to believe that creativity came completely from the self of the individual.

接着文艺复兴来临，一切都变了，人们产生了一个伟大的想法： 接着文艺复兴来临，一切都变了，人们产生了一个伟大的想法： “让我们把人类置于宇宙中心，超越众神和神秘未知” “让我们把人类置于宇宙中心，超越众神和神秘未知” 于是再也没有空间留给传递神圣意志的小精灵 这就是理性人文主义的开端，人们开始相信创造力完全来源于人类个体本身 这就是理性人文主义的开端，人们开始相信创造力完全来源于人类个体本身 这就是理性人文主义的开端，人们开始相信创造力完全来源于人类个体本身


And for the first time in history, you start to hear people referring to this or that artist as being a genius, rather than having a genius.

有史以来，人们第一次将某个艺术家称为“天才”，而非拥有一个“天才” 有史以来，人们第一次将某个艺术家称为“天才”，而非拥有一个“天才” 有史以来，人们第一次将某个艺术家称为“天才”，而非拥有一个“天才”


And I got to tell you, I think that was a huge error.

而我要说的是，我认为那是一个巨大的错误


You know, I think that allowing somebody, one mere person to believe that he or she is like, the vessel, you know, like the font and the essence and the source of all divine, creative, unknowable, eternal mystery is just a smidge too much responsibility to put on one fragile, human psyche.

让一个人，区区一个个体 去相信他是承载着神圣、创造、未知和永恒这些事物的源泉与圣器 去相信他是承载着神圣、创造、未知和永恒这些事物的源泉与圣器 去相信他是承载着神圣、创造、未知和永恒这些事物的源泉与圣器 无异于要求他吞下太阳，这对于脆弱的个体而言，是太大的责任


It's like asking somebody to swallow the sun.

无异于要求他吞下太阳，这对于脆弱的个体而言，是太大的责任


It just completely warps and distorts egos, and it creates all these unmanageable expectations about performance.

这彻底地扭曲了一个人的自我认知，并导致对于个人成就无比膨胀的预期 这彻底地扭曲了一个人的自我认知，并导致对于个人成就无比膨胀的预期


And I think the pressure of that has been killing off our artists for the last 500 years.

我认为就是这种压力，在过去的500年间扼杀了无数艺术家 我认为就是这种压力，在过去的500年间扼杀了无数艺术家


And, if this is true, and I think it is true, the question becomes, what now?

如果真是这样 至少我认为是这样的 那么我们的问题就是：现在该怎么办？我们能够改变这种状况吗？


那么我们的问题就是：现在该怎么办？我们能够改变这种状况吗？


Maybe go back to some more ancient understanding about the relationship between humans and the creative mystery.

也许我们应回到更古老的过去，去参考他们对于人类与创造力的理解？ 也许我们应回到更古老的过去，去参考他们对于人类与创造力的理解？


Maybe we can't just erase 500 years of rational humanistic thought in one 18 minute speech.

我们无法用一个短短18分钟的演讲，抹杀掉发展了500多年的理性人文思想 我们无法用一个短短18分钟的演讲，抹杀掉发展了500多年的理性人文思想


And there's probably people in this audience who would raise really legitimate scientific suspicions about the notion of, basically, fairies who follow people around rubbing fairy juice on their projects and stuff.

况且或许今天的听众中，就有人能够提出有理有据的科学质疑 况且或许今天的听众中，就有人能够提出有理有据的科学质疑 批驳这种童话精灵跟着艺术家主人，给作品上点上神仙水的可笑想法 批驳这种童话精灵跟着艺术家主人，给作品上点上神仙水的可笑想法


I'm not, probably, going to bring you all along with me on this.

也许，我无法说服你们大家都同意我的看法


But the question that I kind of want to pose is -- you know, why not?

但我想说的是：为何不呢？为什么不换个角度思考呢？ 但我想说的是：为何不呢？为什么不换个角度思考呢？


但我想说的是：为何不呢？为什么不换个角度思考呢？


Because it makes as much sense as anything else I have ever heard in terms of explaining the utter maddening capriciousness of the creative process.

就各种解释人类变化无常的创作过程的理论而言 这个精灵理论和我听过的所有其他理论一样地合理 这个精灵理论和我听过的所有其他理论一样地合理


A process which, as anybody who has ever tried to make something -- which is to say basically everyone here --- knows does not always behave rationally.

这个过程，对于任何一个曾试图创作的人来说 相信在坐各位都曾有这方面的经历 都会知道创作过程并不总是理性的


And, in fact, can sometimes feel downright paranormal.

实际上，创作过程有时简直就是超乎常理


I had this encounter recently where I met the extraordinary American poet Ruth Stone, who's now in her 90s, but she's been a poet her entire life and she told me that when she was growing up in rural Virginia, she would be out working in the fields, and she said she would feel and hear a poem coming at her from over the landscape.

比方说，我最近见到杰出的美国诗人露丝.斯通 露丝已经九十多岁，她一直是一位诗人 她对我说她少年时生活在弗吉尼亚乡间的事情 她会在田间劳作着，然后突然听到并感觉到一首诗，从远处冲她而来 她会在田间劳作着，然后突然听到并感觉到一首诗，从远处冲她而来 她会在田间劳作着，然后突然听到并感觉到一首诗，从远处冲她而来


And she said it was like a thunderous train of air.

像一股雷鸣般的气息，朝她倾泻而下


And it would come barreling down at her over the landscape.

她可以感受到它的来临，因为这股力量会撼动她脚下的大地


And she felt it coming, because it would shake the earth under her feet.

她可以感受到它的来临，因为这股力量会撼动她脚下的大地


She knew that she had only one thing to do at that point, and that was to, in her words, "run like hell."

每当此时，她唯一能做的只有一件事 用她的话说，就是“死命地狂奔”


And she would run like hell to the house and she would be getting chased by this poem, and the whole deal was that she had to get to a piece of paper and a pencil fast enough so that when it thundered through her, she could collect it and grab it on the page.

她会狂奔回家里，这首诗则会一路追逐着她 她会狂奔回家里，这首诗则会一路追逐着她 她需要飞快地找到纸笔，从而在这股力量穿过她时，捕捉住那首诗，把它记在纸上 她需要飞快地找到纸笔，从而在这股力量穿过她时，捕捉住那首诗，把它记在纸上 她需要飞快地找到纸笔，从而在这股力量穿过她时，捕捉住那首诗，把它记在纸上


And other times she wouldn't be fast enough, so she'd be running and running, and she wouldn't get to the house and the poem would barrel through her and she would miss it and she said it would continue on across the landscape, looking, as she put it "for another poet."

有些时候她则不够快 她拼命地跑，还没到家，那首诗已经奔腾而过，于是她便错过了那首诗 她拼命地跑，还没到家，那首诗已经奔腾而过，于是她便错过了那首诗 她说那首诗会继续在田野间穿行，寻找“下一位诗人” 她说那首诗会继续在田野间穿行，寻找“下一位诗人”


And then there were these times -- this is the piece I never forgot -- she said that there were moments where she would almost miss it, right?

在另一些时候，这是最叫我难忘的部分： 在另一些时候，这是最叫我难忘的部分： 她说有些时候她几乎就要错过一首诗了


So, she's running to the house and she's looking for the paper and the poem passes through her, and she grabs a pencil just as it's going through her, and then she said, it was like she would reach out with her other hand and she would catch it.

她飞奔回家，寻找纸笔 而那首诗即将穿越她而去，她在它正要穿过之际抓住了笔 而那首诗即将穿越她而去，她在它正要穿过之际抓住了笔 然后她会伸出另一只手，抓住那首诗的尾巴 然后她会伸出另一只手，抓住那首诗的尾巴


She would catch the poem by its tail, and she would pull it backwards into her body as she was transcribing on the page.

然后她会伸出另一只手，抓住那首诗的尾巴 把它顺势拉回来，另一只手则一边将诗句誊写在纸上 把它顺势拉回来，另一只手则一边将诗句誊写在纸上


And in these instances, the poem would come up on the page perfect and intact but backwards, from the last word to the first.

每当这种时候，诗会完好无缺地呈现在纸上 只不过顺序是颠倒的，从最后那个词开始，由后往前，一直到第一个词 只不过顺序是颠倒的，从最后那个词开始，由后往前，一直到第一个词


So when I heard that I was like -- that's uncanny, that's exactly what my creative process is like. That's not at all what my creative process is -- I'm not the pipeline!

我听了她的故事后，心想：太不可思议了，这和我的创作过程一模一样！ 我听了她的故事后，心想：太不可思议了，这和我的创作过程一模一样！ 当然这并非我创作过程的全部，我不是管道，我的工作方式更像是一头骡子


I'm a mule, and the way that I have to work is I have to get up at the same time every day, and sweat and labor and barrel through it really awkwardly.

当然这并非我创作过程的全部，我不是管道，我的工作方式更像是一头骡子 我必须每天同一时间起床，然后笨拙地，勤恳地工作 我必须每天同一时间起床，然后笨拙地，勤恳地工作


But even I, in my mulishness, even I have brushed up against that thing, at times.

不过即使古板如我，偶尔也会意外地得到不可思议的灵感 不过即使古板如我，偶尔也会意外地得到不可思议的灵感


And I would imagine that a lot of you have too.

在坐很多人或许也有类似经历


You know, even I have had work or ideas come through me from a source that I honestly cannot identify.

你想，即使像我这样墨守成规的人，也会遇到不知何处而来的灵感 你想，即使像我这样墨守成规的人，也会遇到不知何处而来的灵感


And how are we to relate to it in a way that will not make us lose our minds, but, in fact, might actually keep us sane?

我们要以怎样的方式看待它，才不会丧失理智呢？ 我们要以怎样的方式看待它，才不会丧失理智呢？


And for me, the best contemporary example that I have of how to do that is the musician Tom Waits, who I got to interview several years ago on a magazine assignment.

就我所知的当代艺术家中，将这一问题处理得最好的是音乐家汤姆威兹 就我所知的当代艺术家中，将这一问题处理得最好的是音乐家汤姆威兹 几年前，我就一个杂志工作采访过他，当时我们谈及了这一问题


And we were talking about this, and you know, Tom, for most of his life, he was pretty much the embodiment of the tormented contemporary modern artist, trying to control and manage and dominate these sort of uncontrollable creative impulses that were totally internalized.

几年前，我就一个杂志工作采访过他，当时我们谈及了这一问题 汤姆是备受创作压力折磨的现代艺术家的典型 汤姆是备受创作压力折磨的现代艺术家的典型 大半生时间，他都在努力地控制,管理并主宰那不可控的内在创作灵感 大半生时间，他都在努力地控制,管理并主宰那不可控的内在创作灵感 大半生时间，他都在努力地控制,管理并主宰那不可控的内在创作灵感


But then he got older, he got calmer, and one day he was driving down the freeway in Los Angeles, and this is when it all changed for him.

但随着年纪渐长，他变得沉静内敛了 他告诉我说：一天他在洛杉矶高速公路开车，这时发生了一件改变他一生的事情 他告诉我说：一天他在洛杉矶高速公路开车，这时发生了一件改变他一生的事情


And he's speeding along, and all of a sudden he hears this little fragment of melody, that comes into his head as inspiration often comes, elusive and tantalizing, and he wants it, it's gorgeous, and he longs for it, but he has no way to get it.

他正在加速前行，突然，他隐约听到了一小段优美的旋律♪♪♫♪♫♪ 他正在加速前行，突然，他隐约听到了一小段优美的旋律♪♪♫♪♫♪ 这旋律莫名地进入他的脑海，就像灵感来临时那样，捉摸不定而诱人心弦 这旋律莫名地进入他的脑海，就像灵感来临时那样，捉摸不定而诱人心弦 他急切地想要捕捉它，但是没有办法，他既没有纸笔，也没有录音机 他急切地想要捕捉它，但是没有办法，他既没有纸笔，也没有录音机


He doesn't have a piece of paper, or a pencil, or a tape recorder.

他急切地想要捕捉它，但是没有办法，他既没有纸笔，也没有录音机


So he starts to feel all of that old anxiety start to rise in him like, "I'm going to lose this thing, and I'll be be haunted by this song forever.

他感觉到那种熟悉的创作焦虑又在他体内集聚 “我就要失去这个灵感了，然后这首曲子会永世阴魂不散地折磨我” “我就要失去这个灵感了，然后这首曲子会永世阴魂不散地折磨我”


I'm not good enough, and I can't do it."

“我根本不行，我做不到” 突然，他奇异般地停止了继续抓狂和焦躁情绪，然后做了一件不寻常的事情


And instead of panicking, he just stopped.

突然，他奇异般地停止了继续抓狂和焦躁情绪，然后做了一件不寻常的事情


He just stopped that whole mental process and he did something completely novel.

突然，他奇异般地停止了继续抓狂和焦躁情绪，然后做了一件不寻常的事情


He just looked up at the sky, and he said, "Excuse me, can you not see that I'm driving?"

他抬头望向天空，对它说道：“不好意思，您没看到我正在开车吗？” 他抬头望向天空，对它说道：“不好意思，您没看到我正在开车吗？” 他抬头望向天空，对它说道：“不好意思，您没看到我正在开车吗？”


"Do I look like I can write down a song right now?

我看上去像是能立马记下一首曲子的样子吗？


If you really want to exist, come back at a more opportune moment when I can take care of you.

如果你真想在世上流传，另挑个合适的时间再来吧，在我方便的时候 如果你真想在世上流传，另挑个合适的时间再来吧，在我方便的时候


Otherwise, go bother somebody else today.

或者，你可以今天去骚扰别人，去找莱昂纳德·科恩去


或者，你可以今天去骚扰别人，去找莱昂纳德·科恩去


And his whole work process changed after that.

自从那件事以后，汤姆的整个创作过程改变了


Not the work, the work was still oftentimes as dark as ever.

不是作品变了，他的作品仍是一如既往的黑暗


But the process, and the heavy anxiety around it was released when he took the genie, the genius out of him where it was causing nothing but trouble, and released it back where it came from, and realized that this didn't have to be this internalized, tormented thing.

但当他把创作天才从自身剥离开来时，伴随着创作过程的严重焦虑也被化解了 但当他把创作天才从自身剥离开来时，伴随着创作过程的严重焦虑也被化解了 将创作灵感归于自我，只是带来痛苦与麻烦，将它解放出来，倒像是放归原处 同时他也意识到，他原本无需将创作灵感内化于自身，自我折磨


It could be this peculiar, wondrous, bizarre collaboration, kind of conversation between Tom and the strange, external thing that was not quite Tom.

创作灵感可以是他和这一外部未知存在之间奇异、奇妙又奇怪的合作关系 创作灵感可以是他和这一外部未知存在之间奇异、奇妙又奇怪的合作关系 那是一个自身以外的存在


When I heard that story, it started to shift a little bit the way that I worked too, and this idea already saved me once.

这个故事潜移默化地改变了我的工作方式，这一转变已经拯救了我一次 这个故事潜移默化地改变了我的工作方式，这一转变已经拯救了我一次


It saved me when I was in the middle of writing "Eat, Pray, Love," and I fell into one of those sort of pits of despair that we all fall into when we're working on something and it's not coming and you start to think this is going to be a disaster, the worst book ever written.

那是在写《美食、祈祷、爱》的时候，我陷入了一个焦虑绝望的无底洞 那是在写《美食、祈祷、爱》的时候，我陷入了一个焦虑绝望的无底洞 那种不断努力却毫无灵感的绝望低潮状态 然后你渐渐觉得这部作品将成为一个彻底的失败 成为有史以来最烂的一本书 不仅是烂，而且是彻底的糟糕透顶，我开始觉得我应该放弃写这本书


Not just bad, but the worst book ever written.

不仅是烂，而且是彻底的糟糕透顶，我开始觉得我应该放弃写这本书


And I started to think I should just dump this project.

这时我想起了汤姆对着天空喊话的事情，然后我试了试


But then I remembered Tom talking to the open air and I tried it.

这时我想起了汤姆对着天空喊话的事情，然后我试了试


So I just lifted my face up from the manuscript and I directed my comments to an empty corner of the room.

我从手稿中抬起头，转向房间中的一个空角落 我从手稿中抬起头，转向房间中的一个空角落


And I said aloud, "Listen you, thing, you and I both know that if this book isn't brilliant that is not entirely my fault, right?

然后大声宣布道：“你这个家伙，给我听着” “咱俩都知道，如果这本书不怎么样，那可不是我一个人的错，不是吗？” “咱俩都知道，如果这本书不怎么样，那可不是我一个人的错，不是吗？”


Because you can see that I am putting everything I have into this, I don't have any more than this.

“因为你可以看到，我已经为之倾尽全力毫无保留了” “因为你可以看到，我已经为之倾尽全力毫无保留了”


If you want it to be better, you've got to show up and do your part of the deal.

“你若是想要这本书更好一些，现在轮到你出面，做你那部分工作了”


But if you don't do that, you know what, the hell with it.

“你要是不来帮忙，那就见你的鬼去吧”


I'm going to keep writing anyway because that's my job.

"我还是会继续写下去的，因为这是我的工作" 我希望今天的历史记录证明：我尽责地坚守了我的岗位€


And I would please like the record to reflect today that I showed up for my part of the job."

我希望今天的历史记录证明：我尽责地坚守了我的岗位 我希望今天的历史记录证明：我尽责地坚守了我的岗位


Because -- Because in the end it's like this, OK -- centuries ago in the deserts of North Africa, people used to gather for these moonlight dances of sacred dance and music that would go on for hours and hours, until dawn.

因为 因为 最后就是这样的 在几个世纪前的北非沙漠里，人们会在月色下举行神圣的歌舞聚会 在几个世纪前的北非沙漠里，人们会在月色下举行神圣的歌舞聚会 聚会持续数个小时直至天亮


They were always magnificent, because the dancers were professionals and they were terrific, right?

那些表演很精彩，因为他们都是很棒的专业舞者 那些表演很精彩，因为他们都是很棒的专业舞者


But every once in a while, very rarely, something would happen, and one of these performers would actually become transcendent.

偶尔的时候，虽然很少见，但确确实实会发生 某一位舞者会超越当下，超然出世


And I know you know what I'm talking about, because I know you've all seen, at some point in your life, a performance like this.

你们应该都知道我说的这种情况 因为大家都曾在某个时刻，见识过那样的表演


It was like time would stop, and the dancer would sort of step through some kind of portal and he wasn't doing anything different than he had ever done, 1,000 nights before, but everything would align.

时间似乎停止了，舞者仿佛穿越了 时间似乎停止了，舞者仿佛穿越了 他所做的动作和之前的1000场表演并没有什么不同 但所有的一切却奇迹般地统一起来了


And all of a sudden, he would no longer appear to be merely human.

刹那间，他不再是个普通的凡人，他的生命从内部点燃，从心底发光


He would be lit from within, and lit from below and all lit up on fire with divinity.

刹那间，他不再是个普通的凡人，他的生命从内部点燃，从心底发光 他被神圣之火照耀


And when this happened, back then, people knew it for what it was, you know, they called it by its name.

当时的人们，清楚地知道这是什么，他们能叫出它的名字 当时的人们，清楚地知道这是什么，他们能叫出它的名字


They would put their hands together and they would start to chant, "Allah, Allah, Allah, God, God, God."

他们会拍起手来，开始吟唱：阿拉，阿拉，阿拉，神啊，神啊，神啊 他们会拍起手来，开始吟唱：阿拉，阿拉，阿拉，神啊，神啊，神啊


人人都知道：那是神迹显现


Curious historical footnote: when the Moors invaded southern Spain, they took this custom with them and the pronunciation changed over the centuries from "Allah, Allah, Allah," to "Olé, olé, olé," which you still hear in bullfights and in flamenco dances.

有趣的野史是，当摩尔帝国入侵南西班牙时，他们带去了这一习俗 于是几世纪来，颂词的发音渐渐改变，从“阿拉,阿拉”变成“欧嘞,欧嘞” 于是几世纪来，颂词的发音渐渐改变，从“阿拉,阿拉”变成“欧嘞,欧嘞” 如今你仍能在斗牛比赛和弗拉明戈舞中听到这一喝彩声


In Spain, when a performer has done something impossible and magic, "Allah, olé, olé, Allah, magnificent, bravo," incomprehensible, there it is -- a glimpse of God.

在西班牙，当一个表演者完成了某种不可思议的神奇之举时 人们就会喝彩：“阿拉，欧嘞，欧嘞，阿拉，真伟大，太棒了，不可思议” 那就是神迹显现


这种方式很好，因为这正是我们需要的


But, the tricky bit comes the next morning, for the dancer himself, when he wakes up and discovers that it's Tuesday at 11 a.m., and he's no longer a glimpse of God.

对艺术家来说，最棘手的是第二天早上，舞者悠悠转醒 对艺术家来说，最棘手的是第二天早上，舞者悠悠转醒 发现已经是周二上午11点了，他不再是神迹的显现


He's just an aging mortal with really bad knees, and maybe he's never going to ascend to that height again.

而只是那个腰腿不好，终将老去的凡人 而且，他或许再也无法达到昨晚那样的高度了


And maybe nobody will ever chant God's name again as he spins, and what is he then to do with the rest of his life?

也许再也不会有人在他跳舞时喝彩神迹显现 他该如何自处呢？


这是个很棘手的问题，也是创作生涯中最痛苦的自我认知之一


This is one of the most painful reconciliations to make in a creative life.

这是个很棘手的问题，也是创作生涯中最痛苦的自我认知之一 这是个很棘手的问题，也是创作生涯中最痛苦的自我认知之一


But maybe it doesn't have to be quite so full of anguish if you never happened to believe, in the first place, that the most extraordinary aspects of your being came from you.

但也许,我们原本无需如此痛苦 如果你本来就从不曾认为，那无与伦比的艺术作品完全来源于你 如果你本来就从不曾认为，那无与伦比的艺术作品完全来源于你


But maybe if you just believed that they were on loan to you from some unimaginable source for some exquisite portion of your life to be passed along when you're finished, with somebody else.

如果你认为它们是某种神奇的存在，只是暂时借你一用，给你带来精美绝伦的作品 如果你认为它们是某种神奇的存在，只是暂时借你一用，给你带来精美绝伦的作品 在你完成作品后，继续传递给其他人


And, you know, if we think about it this way, it starts to change everything.

如果我们这样看待这一问题，一切就都改变了


This is how I've started to think, and this is certainly how I've been thinking in the last few months as I've been working on the book that will soon be published, as the dangerously, frighteningly over-anticipated follow up to my freakish success.

在过去的几个月中，我开始以这种方式看待这一问题 在过去的几个月中，我开始以这种方式看待这一问题 同时从事着我下一本书的写作 那本危险的，骇人的，被过度预期的，继我的畅销大作之后的作品 那本危险的，骇人的，被过度预期的，继我的畅销大作之后的作品 而我需要做的，就是不断告诉自己，尤其是在我忧郁焦躁的时候：


And what I have to sort of keep telling myself when I get really psyched out about that is don't be afraid.

而我需要做的，就是不断告诉自己，尤其是在我忧郁焦躁的时候： “不要害怕，不要气馁，只需做好你的那部分工作” “不要害怕，不要气馁，只需做好你的那部分工作”


“不要害怕，不要气馁，只需做好你的那部分工作”


Continue to show up for your piece of it, whatever that might be.

坚守在你的岗位上，无论你的岗位是什么：如果你是舞者，那就跳舞


坚守在你的岗位上，无论你的岗位是什么：如果你是舞者，那就跳舞


If the divine, cockeyed genius assigned to your case decides to let some sort of wonderment be glimpsed, for just one moment through your efforts, then "Olé!"

如果那个属于你的，神圣却又邪门的精灵决定通过你让神迹显现，哪怕只是短短一瞬 如果那个属于你的，神圣却又邪门的精灵决定通过你让神迹显现，哪怕只是短短一瞬 那么，让我们喝彩：欧嘞！


如果没有，那就请继续跳舞，坚守你的岗位，我依然为你喝彩：欧嘞！


I believe this and I feel that we must teach it.

我坚信我们必须传授这一理念


"Olé!" to you, nonetheless, just for having the sheer human love and stubbornness to keep showing up.

只要你出于热爱与执着，坚守岗位，那你就值得喝彩：欧嘞！ 只要你出于热爱与执着，坚守岗位，那你就值得喝彩：欧嘞！ 只要你出于热爱与执着，坚守岗位，那你就值得喝彩：欧嘞！


You know, I've talked about some of these projects before -- about the human genome and what that might mean, and discovering new sets of genes.

在这之前我已经讨论过这些项目中的一部分 关于人类基因组和它们的意义。 以及发现新的基因组。


We're actually starting at a new point: we've been digitizing biology, and now we're trying to go from that digital code into a new phase of biology with designing and synthesizing life.

这次我们要从一个新的角度来看： 我们在从事数字化生物学的工作。 并且现在我们正尝试从那些数字代码走向 一个生物学的全新阶段, 设计与人工合成生命。


So, we've always been trying to ask big questions.

我们经常试图提出一些较大的问题。


"What is life?" is something that I think many biologists have been trying to understand at various levels.

“生命是什么”我想是许多生物学家 不断地尝试在 在不同层面去理解的问题。


We've tried various approaches, paring it down to minimal components.

我们尝试了许多方法， 把它分解到最小的组成部分。


We've been digitizing it now for almost 20 years; when we sequenced the human genome, it was going from the analog world of biology into the digital world of the computer.

到目前我们几乎已经用了20年来将其数字化。 当我们在排序人类基因组的时候， 它从生物学的模拟分析世界 走进了计算机的数字世界。


Now we're trying to ask, "Can we regenerate life or can we create new life out of this digital universe?"

现在我们在尝试提问，我们是否能够再造生命， 或者我们是否从这个数字世界中 能创造新的生命?


This is the map of a small organism, Mycoplasma genitalium, that has the smallest genome for a species that can self-replicate in the laboratory, and we've been trying to just see if we can come up with an even smaller genome.

这是一种微生物的基因序列图, 生殖支原体, 它有着对于一个物种来说最小的基因组 能使其在实验室中自我复制。 并且我们在尝试了解是否 我们能找到一种更小的基因组。


We're able to knock out on the order of 100 genes out of the 500 or so that are here.

我们能够从500组基因中 分离出一百组就是我们眼前的这些。


When we look at its metabolic map, it's relatively simple compared to ours -- trust me, this is simple -- but when we look at all the genes that we can knock out one at a time, it's very unlikely that this would yield a living cell.

但当我们来看它的新陈代谢的时候， 这其实是相对简单的 相对我们的来说。 相信我，这算简单的。 但当我们在看所有这些 我们能一个一个分离出的基因组的时候， 很难相信它们能产生出 一个活生生的细胞。


So we decided the only way forward was to actually synthesize this chromosome so we could vary the components to ask some of these most fundamental questions.

所以，我们认为唯一能继续研究的方法 就是人工合成这些染色体 以便我们能改变它的组成部分 来继续提问这些最基本的问题。


And so we started down the road of: can we synthesize a chromosome?

于是我们开始沿着这条路走下去 “我们能人工合成染色体吗？”


Can chemistry permit making these really large molecules where we've never been before?

化学原则真的允许我们制造 这些我们从未实现过的 超大分子吗？


And if we do, can we boot up a chromosome?

而且，就算我们可以，我们能激活它吗？


A chromosome, by the way, is just a piece of inert chemical material.

一对染色体，顺便说下，只是一些无活性的化学物质。


So, our pace of digitizing life has been increasing at an exponential pace.

我们数字化生命的速度不断地 以指数速度加快。


Our ability to write the genetic code has been moving pretty slowly but has been increasing, and our latest point would put it on, now, an exponential curve.

我们写基因编码的能力 进步地却非常慢， 不过也还是在增加的。 我们最近的状况将会把速度提升到指数曲线。


我们于15年前开始这项工作。


It took several stages, in fact, starting with a bioethical review before we did the first experiments.

实际上它经过了好几个阶段。 在我们做最初的试验前，先进行了一次生物伦理学的评估。


But it turns out synthesizing DNA is very difficult.

但结果是人工合成DNA 是非常困难的。


There are tens of thousands of machines around the world that make small pieces of DNA -- 30 to 50 letters in length -- and it's a degenerate process, so the longer you make the piece, the more errors there are.

全世界有十几万台设备 在制造小片断的DNA， 长度在30到50个字符， 并且这是一个会倒退的过程，制造的片断越是长， 产生的错误就越是多。


So we had to create a new method for putting these little pieces together and correct all the errors.

所以我们不得不创造一种新的方法 把这些小的片断排放在一起并纠正所有的错误。


And this was our first attempt, starting with the digital information of the genome of phi X174.

这是我们的第一次尝试，从Phi X 174基因组 的数字信息开始。


是一种能杀死细菌的小型病毒。


We designed the pieces, went through our error correction and had a DNA molecule of about 5,000 letters.

我们设计了它的基因片断，经过了错误纠正， 就拥有了一条 5000字符长度的DNA。


The exciting phase came when we took this piece of inert chemical and put it in the bacteria, and the bacteria started to read this genetic code, made the viral particles.

最另人兴奋的阶段是当我们把这段没有活性的化学物质 放进细菌内， 细菌开始读取基因编码， 制造了病毒粒子。


The viral particles then were released from the cells and came back and killed the E. coli.

接着细胞释放出病毒粒子， 再返回来杀死了E.coli。


I was talking to the oil industry recently and I said they clearly understood that model.

我最近与石油行业有一些交流， 我觉得他们对这个模式理解的非常透彻。


They laughed more than you guys are. And so, we think this is a situation where the software can actually build its own hardware in a biological system.

他比你们笑的大声多了。 因此我们认为这种情况实际上 是软件能在一个生物系统内 打造自己的硬件。


But we wanted to go much larger: we wanted to build the entire bacterial chromosome -- it's over 580,000 letters of genetic code -- so we thought we'd build them in cassettes the size of the viruses so we could actually vary the cassettes to understand what the actual components of a living cell are.

但我们还想再扩大规模。 我们希望制造整条细菌染色体， 一条超过580，000字符长度的基因编码。 我们认为应该在以病毒大小的“盒”中制造它们 这样我们可以改变这些“盒” 来理解 一个活的细胞的实际组成部分是什么？


Design is critical, and if you're starting with digital information in the computer, that digital information has to be really accurate.

设计是非常重要的， 并且如果你在计算机上开始使用数字信息。 那这些数字信息必须十分准确。


When we first sequenced this genome in 1995, the standard of accuracy was one error per 10,000 base pairs.

当我们在1995年第一次对这组基因排序时， 准确率的标准是每10000个基本对一个错误。


We actually found, on resequencing it, 30 errors; had we used that original sequence, it never would have been able to be booted up.

实际上我们发现，在重新排序时， 平均是30个错误。如果我们使用原先的序列， 这组基因永远不可能被启动。


Part of the design is designing pieces that are 50 letters long that have to overlap with all the other 50-letter pieces to build smaller subunits we have to design so they can go together.

设计工作的一部分是设计 50个字符长度的片断 并和其他的50字符长的片段叠加 以构建更小的次单元。 我们要设计过他们才能聚到一起。


其中有我们设计过的独特部分。


You may have read that we put watermarks in.

你们可能听说过我们在其中加入了水印


Think of this: we have a four-letter genetic code -- A, C, G and T.

想想看 基因编码有四个字符：A,C,G和T。


Triplets of those letters code for roughly 20 amino acids, such that there's a single letter designation for each of the amino acids.

这些字符的三联体 - 以及这些字符 编成了大约20种氨基酸 这样每个氨基酸就有了 一个字符标记


So we can use the genetic code to write out words, sentences, thoughts.

所以我们能使用基因编码来书写言语 句子，想法。


最初，我们所做的就是用它来签名。


Some people were disappointed there was not poetry.

有些人有点失望我们没用它来做首诗。


We designed these pieces so we can just chew back with enzymes; there are enzymes that repair them and put them together.

我们设计了这些片断 并能使用酶来裁切。 有些酶是用来修复他们并把他们放到一起的。


And we started making pieces, starting with pieces that were 5,000 to 7,000 letters, put those together to make 24,000-letter pieces, then put sets of those going up to 72,000.

接着我们开始制造片断， 从7000字符长度的片断开始 把他们拼在一起制造24，000字符长度的片断 再把几组片断合并，变成了72，000长的片断


At each stage, we grew up these pieces in abundance so we could sequence them because we're trying to create a process that's extremely robust that you can see in a minute.

在每个阶段，我们大量培养了这些片断 因此我们可以给他们排序 因为我们希望创造一个异常可靠的过程 一分钟内你就将看见


We're trying to get to the point of automation.

我们试着达到自动化的层面


So, this looks like a basketball playoff.

这看起来就像是一场篮球赛的对阵图


When we get into these really large pieces over 100,000 base pairs, they won't any longer grow readily in E. coli -- it exhausts all the modern tools of molecular biology -- and so we turned to other mechanisms.

当这些非常大的片断超过 100，000基本对时 他们就很难继续在E.coil里长的更长了。 在试尽了各种现代分子生物学的工具后 我们转向其他的途径。


We knew there's a mechanism called homologous recombination that biology uses to repair DNA that can put pieces together.

我们知道有个方法叫同源重组， 生物学上用来修复DNA， 它能把片断组合到一起


Here's an example of it: there's an organism called Deinococcus radiodurans that can take three millions rads of radiation.

这里有一个例子 有一种微生物叫 耐辐射球菌 能够承受三百万度的辐射量。


You can see in the top panel, its chromosome just gets blown apart.

你能看到在顶部的视图里，它的染色体四散在各个地方


Twelve to 24 hours later, it put it back together exactly as it was before.

12到24小时以后，它将自己 又组合回之前的原状。


We have thousands of organisms that can do this.

我们有数千种微生物有这种能耐


These organisms can be totally desiccated; they can live in a vacuum.

这些微生物能够完全脱离水。 他们能存活在真空中


I am absolutely certain that life can exist in outer space, move around, find a new aqueous environment.

我完全确信外层空间存在着生命， 四处移动，遇到一个新的有水的环境


In fact, NASA has shown a lot of this is out there.

实际上，NASA已经展示过很多这样的例子。


Here's an actual micrograph of the molecule we built using these processes, actually just using yeast mechanisms with the right design of the pieces we put them in; yeast puts them together automatically.

这里有一组我们拍摄的这个分子的显微图像。 通过这些过程，其实就是前面所提到的酵母的方法 同时放入经过我们正确设计的片断。 酵母自动地将他们聚合。


This is not an electron micrograph; this is just a regular photomicrograph.

这并不是电子显微图像； 它仅仅是普通的光学显微镜。


It's such a large molecule we can see it with a light microscope.

这是如此之大的一个分子 我们能用一个光学显微镜观察它。


These are pictures over about a six-second period.

这些是时长约为六秒的图像。


So, this is the publication we had just a short while ago.

这是我们所公开的最近的试验成果。


This is over 580,000 letters of genetic code; it's the largest molecule ever made by humans of a defined structure.

这是超过580000字符长的基因编码。 这也是由人类设定结构并制造的最大的分子。


If we printed it out at a 10 font with no spacing, it takes 142 pages just to print this genetic code.

如果我们以10号字体不间隔地将其打印出来。 总共需要142页 来打印这些基因编码


Well, how do we boot up a chromosome? How do we activate this?

那我们该如何来启动一段染色体，我们该如何激活它?


Obviously, with a virus it's pretty simple; it's much more complicated dealing with bacteria.

显然处理一个病毒非常简单 处理一个细菌就复杂多了


into eukaryotes like ourselves: you can just pop out the nucleus and pop in another one, and that's what you've all heard about with cloning.

处理像我们自身这样的 真核生物也相对简单 你能取出一个细胞核 然后塞进另一个细胞中， 这就是大家听到的关于克隆的手法


With bacteria and Archaea, the chromosome is integrated into the cell, but we recently showed that we can do a complete transplant of a chromosome from one cell to another and activate it.

对于古细菌，它们的染色体与整个细胞连成一体， 但最近我们也明确了我们能完成一个完整的移植 将染色体从一个细胞转移到另一个细胞中 并激活它。


We purified a chromosome from one microbial species -- roughly, these two are as distant as human and mice -- we added a few extra genes so we could select for this chromosome, we digested it with enzymes to kill all the proteins, and it was pretty stunning when we put this in the cell -- and you'll appreciate our very sophisticated graphics here.

我们从一个种群的微生物中提取出染色体。 基本上，这两个的差别就如同人类和老鼠般。 我们加上了一些新的基因 这样我们就能选择这些染色体。 我们用酶来分解它们 去除所有的蛋白质 当我们将它放入细胞时发生的情形非常惊人 你们应该会喜欢 我们所制作的非常精密的演示图像 --


In fact, we thought this might be as far as it went, but we tried to design the process a little bit further.

实际上我们原以为这个过程就到此为止了。 但是我们试图将这个过程设计得更深入一些。


This is a major mechanism of evolution right here.

这是一个重大的进化机制。


We find all kinds of species that have taken up a second chromosome or a third one from somewhere, adding thousands of new traits in a second to that species.

我们发现所有接受了 第二段染色体的物种 或来自其他地方的第三方染色体， 在一秒钟内增加了 数千种新特征到其自身。


So, people who think of evolution as just one gene changing at a time have missed much of biology.

原本人们所持有的在进化的过程中 每次只会有一个基因发生变化 的观念忽略了生物的许多实际情况。


There are enzymes called restriction enzymes that actually digest DNA.

有一种酶叫做限制酶 是能够消化DNA的


The chromosome that was in the cell doesn't have one; the chromosome we put in does.

原先细胞中的染色体没有这种酶 没有这种酶 而当我们置入一段拥有这种酶的染色体


It got expressed and it recognized the other chromosome as foreign material, chewed it up, and so we ended up just with a cell with the new chromosome.

它表现了出来，并且辨认出 另一段染色体是外来物质， 它就将其消化，最后我们就有了 一个包含有新的DNA的细胞


It turned blue because of the genes we put in it.

我们放入的基因导致它变成了蓝色。


And with a very short period of time, all the characteristics of one species were lost and it converted totally into the new species based on the new software that we put in the cell.

在非常短的一段时间里， 所有的原先物种的特征全部消失了， 并且完全转化成了一个新物种， 基于我们放入细胞的新“软件”。


All the proteins changed, the membranes changed; when we read the genetic code, it's exactly what we had transferred in.

所有的蛋白质都改变了， 细胞膜也改变了 -- 当我们读取它的基因编码，实际上就是我们植入的那种。


So, this may sound like genomic alchemy, but we can, by moving the software of DNA around, change things quite dramatically.

这可能听起来像基因炼金术， 但我们的确能通过转移DNA， 来急剧地改变事物。


Now I've argued, this is not genesis; this is building on three and a half billion years of evolution.

现在，我要声明这不是创世纪 -- 这是建立在35亿年的进化上的


And I've argued that we're about to perhaps create a new version of the Cambrian explosion, where there's massive new speciation based on this digital design.

并且我认为我们可能 会创造新一版的寒武纪生命大爆发 出现大量基于这种数字化设计


的新物种 为什么要这样做？


I think this is pretty obvious in terms of some of the needs.

我认为出于一些需求我们这样做的原因是非常明显的。


We're about to go from six and a half to nine billion people over the next 40 years.

我们的人口将在接下来的40年中从 65亿变成90亿


To put it in context for myself: I was born in 1946.

以我自己的例子来说 我出生于1946年


There are now three people on the planet for every one of us that existed in 1946; within 40 years, there'll be four.

现在世界上就变成了三个人 相对于我们中每一个从1946年就存在的人； 在接下来的四十年内，就变成了四个。


We have trouble feeding, providing fresh, clean water, medicines, fuel for the six and a half billion.

我们在为65亿人提供食物，洁净的淡水， 医药，燃料上 都十分困难。


It's going to be a stretch to do it for nine.

换作90亿人那真是捉襟见肘了。


We use over five billion tons of coal, 30 billion-plus barrels of oil -- that's a hundred million barrels a day.

我们使用超过50亿顿的煤， 300多亿桶的石油。 也就是每天一千万桶。


When we try to think of biological processes or any process to replace that, it's going to be a huge challenge.

当我们尝试思考这个生物程序 或者任何能替代它的程序， 这会是一个巨大的挑战。


Then of course, there's all that CO2 from this material that ends up in the atmosphere.

接下来，当然，是这份材料 中所显示的被排放在大气层中 的二氧化碳。


We now, from our discovery around the world, have a database with about 20 million genes, and I like to think of these as the design components of the future.

我们现在从全球各地的发现 有了一个包含约两千万组基因的数据库， 并且我乐于把它们看作是未来的设计组件。


The electronics industry only had a dozen or so components, and look at the diversity that came out of that.

电气行业只有十来种组件， 再看看从中能得到的多样性。


We're limited here primarily by a biological reality and our imagination.

目前我们主要的限制来自于 生物学的现实情况 以及我们的想像力。


We now have techniques, because of these rapid methods of synthesis, to do what we're calling combinatorial genomics.

我们现在拥有这样的技术， 是因为这些能制造我们称之为“混合染色体组”的 快速的人工合成方法。


We have the ability now to build a large robot that can make a million chromosomes a day.

我们现在所拥有的制造一个大型机器人的能力 能让我们每天制造一百万个染色体。


When you think of processing these 20 million different genes or trying to optimize processes to produce octane or to produce pharmaceuticals, new vaccines, we can just with a small team, than the last 20 years of all science.

当你想着加工这两千万组不同的基因， 并尝试去优化这个步骤 以产生辛烷或者制造药物制剂， 以及新的疫苗， 我们就能改变，即使是一个小团队， 也能做比过去20年科学史所做过的 更多的分子生物学工作。


And it's just standard selection: we can select for viability, chemical or fuel production, vaccine production, etc.

并且这只是标准选择。 我们可以以生存能力来选择， 化学或燃料生产， 疫苗生产等等。


This is a screen snapshot of some true design software that we're working on to actually be able to sit down and design species in the computer.

这是一张屏幕截图 截取的是一些我们 实际坐下来工作时在电脑中 真正用来设计物种的设计软件。


You know, we don't know necessarily what it'll look like: we know exactly what their genetic code looks like.

我们并不一定要知道它看起来是怎样。 我们确切地知道它们的基因编码究竟是什么样的。


We're focusing on now fourth-generation fuels.

我们目前把注意力放在“第四代燃料”上。


You've seen recently, corn to ethanol is just a bad experiment.

你们最近看到了将谷物转化成乙醇 只是一个糟糕的试验。


We have second- and third-generation fuels that will be coming out relatively soon that are sugar, to much higher-value fuels like octane or different types of butanol.

很快我们将会拥有 第二及第三代燃料。 就是糖转化成更高价值的燃料 例如辛烷或不同种类的丁醇。


But the only way we think that biology can have a major impact without further increasing the cost of food and limiting its availability is if we start with CO2 as its feedstock, and so we're working with designing cells to go down this road.

但我们认为生物学唯一能 产生一个巨大影响的同时又不 增加食物的支出与限制其可利用性的方法 是在于我们是否能开始用二氧化碳作为它的原料。 所以我们正在进行设计新的细胞能朝这条路发展下去。


And we think we'll have the first fourth-generation fuels in about 18 months.

并且我们认为在18个月里我们会取得 第一份第四代燃料。


阳光和二氧化碳是其中一个方法 --


but in our discovery around the world, we have all kinds of other methods.

-- 但我们从全世界各地的发现中， 我们还有许多种其他方法。


This is an organism we described in 1996.

这是一种微生物,1996年被记载


It lives in the deep ocean, about a mile and a half deep, almost at boiling-water temperatures.

它生活在深海。 大约1.5英里深， 几乎是在沸腾的水温中。


It takes CO2 to methane using molecular hydrogen as its energy source.

它将二氧化碳转化成甲烷 使用氢分子最为它的能量来源。


We're looking to see if we can take captured CO2, which can easily be piped to sites, convert that CO2 back into fuel to drive this process.

我们在看是否能把 收集到的二氧化染, ，它们非常方便就能被引进处理站， 转化成燃料， 来驱动这个过程。


So, in a short period of time, we think that we might be able to increase what the basic question is of "What is life?"

因此在很短的时间内， 我们觉得我们或许可以增加对于"生命是什么?" 的基本问题的理解。


We truly, you know, have modest goals of replacing the whole petrol-chemical industry -- Yeah. If you can't do that at TED, where can you? -- become a major source of energy ...

我们的确 有着替换整个 石油化工行业的小小目标。 如果你不能在TED做到这些,哪里还有可能呢? 成为一项主要的能源。


But also, we're now working on using these same tools to come up with instant sets of vaccines.

并且我们也在使用同样的工具 制造了几组即时疫苗。


You've seen this year with flu; we're always a year behind and a dollar short when it comes to the right vaccine.

你们都看到今年出现的流感， 我们总是要慢上一年的时间并且在缺乏资金的情况下 才等到有用的疫苗。


I think that can be changed by building combinatorial vaccines in advance.

我认为这情形是可以通过 预先制造混合疫苗来改变的。


Here's what the future may begin to look like with changing, now, the evolutionary tree, with synthetic bacteria, Archaea and, eventually, eukaryotes.

这是未来可能会呈现的情况 伴随着改变,目前,进化树 随着人造细菌，古物种 最后是真核生物 而加速进化


We're a ways away from improving people: our goal is just to make sure that we have a chance to survive long enough to maybe do that. Thank you very much.

我们正在一条离改善人类生活越来越远的路上。 我们的目标就是确保我们能有机会活到 足够长的时间或许就能做到这件事了。非常感谢大家。


What I'm going to show you first, as quickly as I can, is some foundational work, some new technology that we brought to Microsoft as part of an acquisition almost exactly a year ago.

首先，我要用最快的速度为大家演示 一些新技术的基础研究成果。 正好是一年前，微软收购了我们公司，


This is Seadragon, and it's an environment in which you can either locally or remotely interact with vast amounts of visual data.

而我们为微软带来了这项技术，它就是Seadragon。 Seadragon是一个软件环境，你可以通过它以近景或远景的方式 浏览浩瀚的可视化数据。


We're looking at many, many gigabytes of digital photos here and kind of seamlessly and continuously zooming in, panning through it, rearranging it in any way we want.

我们这里看到的是许多许多GB级别的数码照片， 对它们可以进行持续并且平滑的放大， 可以通过全景的方式浏览它们，还可以对它们进行重新排列。


And it doesn't matter how much information we're looking at, how big these collections are or how big the images are.

不管所见到的数据有多少、 图像集有多大以及图像本身有多大，Seadragon都拥有这样的处理能力。


Most of them are ordinary digital camera photos, but this one, for example, is a scan from the Library of Congress, and it's in the 300 megapixel range.

以上展示的图片大部分都是由数码相机拍摄的照片， 但这个例子则不同，它是一张来自国会图书馆的扫描图片， 拥有3亿个像素。


It doesn't make any difference because the only thing that ought to limit the performance of a system like this one is the number of pixels on your screen at any given moment.

然而，浏览它并没有什么区别， 因为限制系统性能的唯一因素只是： 你所使用的屏幕的像素数。


Seadragon同时也是一个非常灵活的架构。


This is an entire book, so this is an example of non-image data.

举个例子，这是一本完整的书，它的数据是非图像的。


This is "Bleak House" by Dickens. Every column is a chapter.

这是狄更斯所著的《荒凉山庄》，一列就是一章的内容。


To prove to you that it's really text, and not an image, we can do something like so, to really show that this is a real representation of the text; it's not a picture.

我给大家证明一下这真的是文本而非图片， 我们可以这样操作， 大家可以看出这真的是文本，而不是一幅图片。


Maybe this is an artificial way to read an e-book.

也许这会是一种阅读电子书的方式，


This is a more realistic case, an issue of The Guardian.

接下来是一个更加实际的例子，这是一期《卫报》。


Every large image is the beginning of a section.

每一张大图片是一版开篇，


And this really gives you the joy and the good experience of reading the real paper version of a magazine or a newspaper, which is an inherently multi-scale kind of medium.

而报纸或者杂志的纸质版本本身就包含了多种比例的图片， 在阅读的时候，读者会得到更好的阅读体验， 从而享受阅读的乐趣。


We've done something with the corner of this particular issue of The Guardian.

我们在这里做了小小的改动 在这一期《卫报》得角上。


We've made up a fake ad that's very high resolution -- much higher than in an ordinary ad -- and we've embedded extra content.

我们虚构了一个高分辨率的广告图片—— 这比你平常看到的普通广告的分辨率要高很多， 在图片中嵌入了额外的内容。


If you want to see the features of this car, you can see it here.

如果你希望看到这辆车的特性，你可以看这里。


Or other models, or even technical specifications.

你还能看到其他的型号，甚至技术规格。


And this really gets at some of these ideas about really doing away with those limits on screen real estate.

这种方式在一定程度上 避免了屏幕实际使用面积的限制。


We hope that this means no more pop-ups and other rubbish like that -- shouldn't be necessary.

我们希望这个技术能够减少不必要的弹出窗口 以及类似的垃圾信息。


Of course, mapping is one of those obvious applications for a technology like this.

显然，对于这项技术的应用， 数字地图也是显而易见的应用之一。


And this one I really won't spend any time on, except to say that we have things to contribute to this field as well.

对此，我真的不想花费太多的时间进行介绍， 我只想告诉大家我们已经对这个领域做出了自己的贡献。


这些只是在NASA的地理空间图片基础上


superimposed on top of a NASA geospatial image.

进行叠加处理而得到的美国的道路地图。


现在，我们先放下这些，看看其他的。


This is actually live on the Web now; you can go check it out.

实际上，这项技术已经放到网上了，大家可以自己去体验一下。


This is a project called Photosynth, which marries two different technologies.


One of them is Seadragon and the other is some very beautiful computer-vision research done by Noah Snavely, a graduate student at the University of Washington, co-advised by Steve Seitz at U.W.

它实际上融合了两个不同的技术： 一个是Seadragon， 而另一个则是源自华盛顿大学的研究生Noah Snavely 所进行的计算机视觉研究的成果。


and Rick Szeliski at Microsoft Research.

这项研究还得到了华盛顿大学Steve Seitz


和微软研究院Rick Szeliski的协助。这是一个非常漂亮的合作成果。


And so this is live on the Web. It's powered by Seadragon.

这个项目在互联网上已经得到应用了，它是基于Seadragon技术构建的。


You can see that when we do these sorts of views, where we can dive through images and have this kind of multi-resolution experience.

你可以看到，我们轻松地对图片进行多种方式的查看， 从而能够对图片进行细致的剖析 并且拥有多分辨率的浏览体验。


But the spatial arrangement of the images here is actually meaningful.

不过，这些图片在三维空间的排列事实上是非常有意义的。


The computer vision algorithms have registered these images together so that they correspond to the real space in which these shots -- all taken near Grassi Lakes in the Canadian Rockies -- all these shots were taken.

计算机视觉算法将这些图片联系到一起， 那么这些图片就能够将真实空间呈现出来了， 而我们正是在这个空间里拍下了上述的照片——这些照片都是在 加拿大落基山脉的格拉西湖附近拍下的——（所有照片）都是在这里拍下的。


So you see elements here of stabilized slide-show or panoramic imaging, and these things have all been related spatially.

因此你可以看到这里的元素是稳定的幻灯放映或者全景成像， 而这些内容在空间上都是关联的。


I'm not sure if I have time to show you any other environments.

我不确定我们是否有时间来展示更多的环境全景。


有很多例子比这个的空间感还要强。


I would like to jump straight to one of Noah's original data-sets -- this is from an early prototype that we first got working this summer -- to show you what I think is really the punch line behind the Photosynth technology, It's not necessarily so apparent from looking at the environments we've put up on the website.

下面让我们来看一下去年夏天， 我们利用Noah早期的数据库之一 所Photosynth的初期模型的建立。 我认为 这可谓是我们这项技术的最抢眼之处。 这项技术不单单像我们在 网站上展示得那么简单明了。


We had to worry about the lawyers and so on.

主要因为我们制作网站时，要顾及到很多法律问题。


This is a reconstruction of Notre Dame Cathedral that was done entirely computationally from images scraped from Flickr.

这里是利用Flickr网站上 的图像重建的巴黎圣母院。


You just type Notre Dame into Flickr, and you get some pictures of guys in T-shirts, and of the campus and so on.

你所要做的只是在Flickr网站上输入“巴黎圣母院” 然后便能看到很多图片，包括留影的游人等等。


And each of these orange cones represents an image that was discovered to belong to this model.

所有这些橘黄颜色的锥形都代表了一张 用来建立模型的图片。


And so these are all Flickr images, and they've all been related spatially in this way.

这些全部是来自Flickr的图片， 被这样在空间里被串联起来。


We can just navigate in this very simple way.

接着，我们便可如此自如的进行浏览。


You know, I never thought that I'd end up working at Microsoft.

（鼓掌） 说实话，我从来没想过我会最后来为微软工作


It's very gratifying to have this kind of reception here.

受到这样欢迎，真挺令人高兴的。


I guess you can see this is lots of different types of cameras: it's everything from cell-phone cameras to professional SLRs, quite a large number of them, stitched together in this environment.

我想你们可以看出 这些图片原自很多不同的相机： 从手机摄像头到专业单反。 如此大量的不同质量的照片，全被在这个环境下 拼合在了一起


If I can find some of the sort of weird ones -- So many of them are occluded by faces, and so on.

让我来找些比较诡异的图片。 看，不少照片包含了游客的大头照等等。


Somewhere in here there is actually a series of photographs -- here we go.

我记得这儿应该有 一个系列的照片 - 啊，在这儿。


This is actually a poster of Notre Dame that registered correctly.

这个是巴黎圣母院的海报。


We can dive in from the poster to a physical view of this environment.

我们可以钻到海报里 去看整个重建的环境。


What the point here really is is that we can do things with the social environment.

这里的重点呢便是我们可以 有效地利用网络社区。我们可以从每个人那里得到数据


This is now taking data from everybody -- from the entire collective memory, visually, of what the Earth looks like -- and link all of that together.

将每个人对不同环境 的记忆收集在一起， 共建成模型。


Those photos become linked, and they make something emergent that's greater than the sum of the parts.

当所有这些图片交织在一起时， 所衍生出的 要远远超过单单收集起全部。


You have a model that emerges of the entire Earth.

这个模型所衍生出的，是整个地球。


Think of this as the long tail to Stephen Lawler's Virtual Earth work.

这如同是Stephen Lawler的《虚拟地球》的长尾市场。


And this is something that grows in complexity as people use it, and whose benefits become greater to the users as they use it.

这类模型，会随着人们的 使用而不断变的复杂， 变得更加有价值。


Their own photos are getting tagged with meta-data that somebody else entered.

用户的照片，会被大家 注上标签。


If somebody bothered to tag all of these saints and say who they all are, then my photo of Notre Dame Cathedral suddenly gets enriched with all of that data, and I can use it as an entry point to dive into that space, into that meta-verse, using everybody else's photos, and do a kind of a cross-modal and cross-user social experience that way.

如果有人愿意为所有这些圣母院里的圣贤注上标签， 表明他们是谁，那我们的圣母院照片便会 一下子丰富起来， 然后呢，我们便能以这张照片为起点，进入这个空间， 这个由很多人的照片所搭建的虚拟世界， 从而得到一种跨越模型， 跨越用户的交互体验。


And of course, a by-product of all of that is immensely rich virtual models of every interesting part of the Earth, collected not just from overhead flights and from satellite images and so on, but from the collective memory.

当然了，这一切所带来另外一个宝贵产物便是 一个非常丰富的模型 - 充斥 这地球每个角落里有趣的景观。这些景观不再 局限于航空和卫星图片， 而是实实在在的人们按下快门一刻所收藏的记忆的集合。


Chris Anderson: Do I understand this right? What your software is going to allow, is that at some point, really within the next few years, all the pictures that are shared by anyone across the world are going to link together?

Chris Anderson: 如果我理解正确的话，你们的这个软件将能够 在未来的几年内 将来自全球的图片 接合在一起？


BAA: Yes. What this is really doing is discovering, creating hyperlinks, if you will, between images.

BAA:是的。这个软件的真正意义便是去探索。 它在图片间构建起超链接。 这个接合的过程


It's doing that based on the content inside the images.


And that gets really exciting when you think about the richness of the semantic information a lot of images have.

更令人兴奋的 在于图片所包含的大量文字语义信息。


Like when you do a web search for images, you type in phrases, and the text on the web page is carrying a lot of information about what that picture is of.

比如，你在网上所以一张图片， 键入关键词后，网页上的文字内容 将包含大量与这个图片相关的信息。


What if that picture links to all of your pictures?

现在，假设这些图片全都与你的图片相连，那将会怎样？


The amount of semantic interconnection and richness that comes out of that is really huge.

那时，所以这些语义信息的相互链接 以及内容量将是


巨大的。这将是非常典型的网络效应。


CA:Blaise，太难以置信了。祝贺你们！ BAA:非常感谢各位！


You know, one of the intense pleasures of travel and one of the delights of ethnographic research is the opportunity to live amongst those who have not forgotten the old ways, who still feel their past in the wind, touch it in stones polished by rain, taste it in the bitter leaves of plants.

对我来说 在世界各地旅行 和从事人类学研究的生涯中 最大的乐趣之一莫过于 体验那些没有忘记传统的族群的生活 沐浴在微风中 触摸被雨水冲洗得晶莹光亮的石头 尝着苦叶的味道 你能感受到他们的历史


Just to know that Jaguar shamans still journey beyond the Milky Way, or the myths of the Inuit elders still resonate with meaning, or that in the Himalaya, the Buddhists still pursue the breath of the Dharma, is to really remember the central revelation of anthropology, and that is the idea that the world in which we live does not exist in some absolute sense, but is just one model of reality,

在萨满教的传说中 老虎要跨越银河 因纽特老人的神话仍然引起后人的共鸣 或者在喜马拉雅山 佛教徒还在追随法门 这让我们想起人类学的核心揭示 它的思想要义是 我们生活的世界 不是存在于一个绝对的意识之中 而只是一个现实模型


the consequence of one particular set of adaptive choices that our lineage made, albeit successfully, many generations ago.

只是一种适应性选择的结果 我们的祖先在很多世代以前就成功地做出了这种选择


And of course, we all share the same adaptive imperatives.

当然 我们所有都遵守同一种适应性规则


We're all born. We all bring our children into the world.

我们都出生于母腹 并且在这个世上生儿育女


We have to deal with the inexorable separation of death, so it shouldn't surprise us that we all sing, we all dance, we all have art.

必须面对残酷的生离死别 因此 我们要歌唱和舞蹈 以排遣生活中的苦楚 我们创造了艺术


But what's interesting is the unique cadence of the song, the rhythm of the dance in every culture.

但是 你会发现 每种文化的歌曲韵律 和舞蹈节奏有着独一无二的特色


And whether it is the Penan in the forests of Borneo, or the Voodoo acolytes in Haiti, or the warriors in the Kaisut desert of Northern Kenya, the Curandero in the mountains of the Andes, or a caravanserai in the middle of the Sahara -- this is incidentally the fellow that I traveled into the desert with a month ago -- or indeed a yak herder in the slopes of Qomolangma,

无论是生活在婆罗 丛林的伯南人 还是海地的巫毒教侍僧 抑或是北肯尼亚凯苏特沙漠的武士 安迪斯山区的巫医 或撒哈拉沙漠中部的围帐客栈 一个月 我曾经与这个人一起结伴 前往沙漠 他是一位牦牛牧养人 生活在世界之巅


Everest, the goddess mother of the world.


All of these peoples teach us that there are other ways of being, other ways of thinking, other ways of orienting yourself in the Earth.

所有这些族群向我们展现了不同的生存方式和 不同的思维方式 以及不同的人生观


And this is an idea, if you think about it, can only fill you with hope.

如果你认真思考 你发会现 这种不同的思维会让你看到希望


Now, together the myriad cultures of the world make up a web of spiritual life and cultural life that envelops the planet, and is as important to the well-being of the planet as indeed is the biological web of life that you know as a biosphere.

这个世界五彩缤纷的文化 犹如一张由精神生活和文化生活交织而成的网 覆盖整个地球 它对于地球的芸芸众生有着十分重要的意义 如同我们称为生物圈的生态之网一样重要


And you might think of this cultural web of life as being an ethnosphere, and you might define the ethnosphere as being the sum total of all thoughts and dreams, myths, ideas, inspirations, intuitions brought into being by the human imagination since the dawn of consciousness.

你可以把这种生命的文化之网 看作是一个种族圈 这个种族圈可以被定义为 一个人类自从有自我意识以来通过想像力 创造的所有思想和梦想、神话、直觉 的全部之和


The ethnosphere is humanity's great legacy.

这个种族圈是人类的伟大遗产


It's the symbol of all that we are and all that we can be as an astonishingly inquisitive species.

它是我们的身份标志 也是我们作为具有很强的探究能力的物种的标志


And just as the biosphere has been severely eroded, so too is the ethnosphere -- and, if anything, at a far greater rate.

如同生物圈受到严重的侵蚀一样 种族圈也面临着同样的厄运 而且 它的毁灭速度更快


No biologists, for example, would dare suggest that 50 percent of all species or more have been or are on the brink of extinction because it simply is not true, in the realm of biological diversity -- scarcely approaches what we know to be the most optimistic scenario in the realm of cultural diversity.

没有任何一位生物学家敢断言 50% 或更多的物种已经灭绝 或者正处在灭绝的边缘 因为真相并非如此 生物多样性的 最悲观的状况 也要远胜于 文化多样性的最乐观的状况


And the great indicator of that, of course, is language loss.

这其中的一个最重要的标志 就是语言的


When each of you in this room were born, there were 6,000 languages spoken on the planet.

在我们生活的这个星球上 原本有 6:00 种语言


Now, a language is not just a body of vocabulary or a set of grammatical rules.

语言不仅仅是发音 和语法规则


A language is a flash of the human spirit.


It's a vehicle through which the soul of each particular culture comes into the material world.

它是各个独特文化的精神实质 在这个物质世界上的承载体


Every language is an old-growth forest of the mind, a watershed, a thought, an ecosystem of spiritual possibilities.

每一种语言都是一种思想 一种意识和一种精神生态系统的长期沉淀和积累


And of those 6,000 languages, as we sit here today in Monterey, fully half are no longer being whispered into the ears of children.

我们知道地球上有 6:00 种语言 这和我们在座的观众数量一样多 在这些语言中 有一半已经不再向孩子们传授


They're no longer being taught to babies, which means, effectively, unless something changes, they're already dead.

这些语言已经没有传人 也就是说 除非采取有效的措施 它们将会彻底消失


What could be more lonely than to be enveloped in silence, to be the last of your people to speak your language, to have no way to pass on the wisdom of the ancestors or anticipate the promise of the children?

想象一下 当你有口难言 或者，你是最后一个会说本族语言的人 没有办法传承祖先的智慧 也无许预言孩子们的未来 这会是多么的孤独和可怕


And yet, that dreadful fate is indeed the plight of somebody somewhere on Earth roughly every two weeks, because every two weeks, some elder dies and carries with him into the grave the last syllables of an ancient tongue.

另外 一个可怕的事实是 在地球上 大约每两个星期 就会有一位年长者仙逝 与之伴随的是 一种古老语言的消失


And I know there's some of you who say, "Well, wouldn't it be better, wouldn't the world be a better place if we all just spoke one language?" And I say, "Great, let's make that language Yoruba. Let's make it Cantonese.

我知道你们有人会说 那样岂不是更好吗 如果世界上只有一种语言 那不是更好吗 那么我要说 假设这种唯一的语言是约鲁巴语 或者是粤语


And you'll suddenly discover what it would be like to be unable to speak your own language.

你就会发现 你不会说自己的母语了


And so, what I'd like to do with you today is sort of take you on a journey through the ethnosphere, a brief journey through the ethnosphere, to try to begin to give you a sense of what in fact is being lost.

因此 今天我要做的事情 就是带领你们去探索这个种族圈 让你们对种族圈有大致的了解 并且让你们切身感受到正在灭亡的文明


Now, there are many of us who sort of forget that when I say "different ways of being," I really do mean different ways of being.

可能有很多人已经忘了 前面我说过的“不同的生存方式” 前面我说过的“不同的生存方式”


Take, for example, this child of a Barasana in the Northwest Amazon, the people of the anaconda who believe that mythologically they came up the milk river from the east in the belly of sacred snakes.

举个例子 这个小孩生活在亚玛逊西北部的巴拉撒拉地区 他们被称为森蚺之族 因为他们相信一个传说 即他们来自米尔克河东岸 诞生于神圣的蛇腹


Now, this is a people who cognitively do not distinguish the color blue from the color green because the canopy of the heavens is equated to the canopy of the forest upon which the people depend. They have a curious language and marriage rule which is called "linguistic exogamy:" you must marry someone who speaks a different language.

这个族群的人不能区分 蓝色和绿色 因为丛林是他们的栖身之地 所以在他们看来 天穹与森林的树冠并没有区别 他们说着一种奇怪的语言 并且遵守一种独特的通婚规则 这称为语言学异族通婚 一位族人必须与操一种不同语言的人结婚


And this is all rooted in the mythological past, yet the curious thing is in these long houses, where there are six or seven languages spoken because of intermarriage, you never hear anyone practicing a language.

这都是根据神话传说的历史传承下来的 你可以看到一个奇怪的现象 由于异族同婚的缘故 一个大家族往往有六七种语言 你从不会看到有人操练一种语言


They simply listen and then begin to speak.

他们只要会听 就会说一种语言了


Or, one of the most fascinating tribes I ever lived with, the Waorani of northeastern Ecuador, an astonishing people first contacted peacefully in 1958.

在我曾经接触过的众多种族 厄瓜多尔东北部的华拉尼族人是最奇妙的种族之一 早在 1958 年，我曾经与他们有过和平友好的接触


In 1957, five missionaries attempted contact and made a critical mistake.

1957 年 五名传教士试图接近他们 但是这些人犯了一个致命的错误


They dropped from the air 8 x 10 glossy photographs of themselves in what we would say to be friendly gestures, forgetting that these people of the rainforest had never seen anything two-dimensional in their lives.

他们从空中丢下 八到十张他们本人的照片 在我们看来 这是友好的表示 但是他们却没有想到 这些生活在雨林中的人 从来没有见过二维的照片


They picked up these photographs from the forest floor, tried to look behind the face to find the form or the figure, found nothing, and concluded that these were calling cards from the devil, so they speared the five missionaries to death.

他们从林地上捡起这些照片 然后把照片翻过来 试图找到这些人的身影 但是他们发现什么也没有 于是他们认为 这是恶魔发出的召唤卡片 于是他们用长矛戮死了这五名传教士


But the Waorani didn't just spear outsiders.

更恐怖的是 华拉尼不仅戮死外来人士


54 percent of their mortality was due to them spearing each other.

54% 的死亡人口是被他们自己的族人戮死的


We traced genealogies back eight generations, and we found two instances of natural death and when we pressured the people a little bit about it, they admitted that one of the fellows had gotten so old that he died getting old, so we speared him anyway. But at the same time they had a perspicacious knowledge of the forest that was astonishing.

我们对一个八代宗谱进行调查 发现只有两例自然死亡 我们刨根问底 他们终于道出真相 同族人年迈不堪行就将木的时候 他们就会戮死他 为他送终 另一方面 他们对丛林 有着令人惊诧的洞察力


Their hunters could smell animal urine at 40 paces and tell you what species left it behind.

他们的猎手能够闻到 40 步开外的动物尿液味道 而且知道那是什么动物的尿液


In the early '80s, I had a really astonishing assignment when I was asked by my professor at Harvard if I was interested in going down to Haiti, infiltrating the secret societies which were the foundation of Duvalier's strength and Tonton Macoutes, and securing the poison used to make zombies.

在 80 年代早期 我曾经承担了一项奇妙的任务 我在哈佛大学的教授问我 是否有兴趣去海地 去潜入一个秘密社团 那是海地总统杜华利和他的政权 支持者的基地 教授让我去那里获取一种用于制造僵尸的毒药


In order to make sense out of sensation, of course, I had to understand something about this remarkable faith of Vodoun. And Voodoo is not a black magic cult.

为了理解其中的奥秘 我必须弄明白这种神奇的宗教信仰巫毒教是怎么一回事 巫毒教不是一种黑暗的魔纪教派


On the contrary, it's a complex metaphysical worldview.

相反 这是一种复杂的形而上学的世界观


If I asked you to name the great religions of the world, what would you say?

如果我要你列举出世界上一些重要的宗教 你会举出哪些例子


Christianity, Islam, Buddhism, Judaism, whatever.

基督教 伊斯兰教 佛教 还有其他一些宗教


There's always one continent left out, the assumption being that sub-Saharan Africa had no religious beliefs. Well, of course, they did and Voodoo is simply the distillation of these very profound religious ideas that came over during the tragic Diaspora of the slavery era.

有一个大陆始终被遗忘 很多人认为 撒哈拉以南的非洲地区 没有宗教信仰 这是不正确的 在大饥荒时代 这些地区的人流浪到世界各地 把他们的宗教信仰也带到那里


But, what makes Voodoo so interesting is that it's this living relationship between the living and the dead.

而巫毒教融汇这些宗教的精华 巫毒的独特之处在于 它是生者与死者 之间的一种联系


So, the living give birth to the spirits.


responding to the rhythm of the dance to momentarily displace the soul of the living, so that for that brief shining moment, the acolyte becomes the god.

应着舞蹈的节奏翩翩起舞 可以唤醒大水之下的灵魂 暂时地代替生者的灵魂 在那个短暂的闪光时刻 侍僧成为神


That's why the Voodooists like to say that "You white people go to church and speak about God.

因此 巫毒教徒喜欢说 你们去教堂做礼拜 言必称上帝


And because you are possessed, you are taken by the spirit -- how can you be harmed?

你已经被神灵附体 怎么还会受到伤害呢


So you see these astonishing demonstrations: Voodoo acolytes in a state of trance to affect the body that bears it when catalyzed in the state of extreme excitation.

于是 你会看一些令人惊奇的现象 巫毒教侍僧进入一种神志恍惚的状态 手持燃烧的枝条 但是毫发无损 当他们进入一种极端亢奋的状态时候


Now, of all the peoples that I've ever been with, the most extraordinary are the Kogi of the Sierra Nevada de Santa Marta in northern Colombia.

你还会看到更加令人吃惊的现象 让你感受意志力的强大 在我接触过的所有族群中 生活在哥伦比亚北部的圣玛尔塔山区的科基人


Descendants of the ancient Tairona civilization which once carpeted the Caribbean coastal plain of Colombia, in the wake of the conquest, these people retreated into an isolated volcanic massif that soars above the Caribbean coastal plain.

是最不同寻常的 这个种族是古代暴政文明的后裔 他们曾经一度征服和占领了哥伦比亚的 加勒比海岸平原地区 此后 他们退回到加勒比海岸平原的 一个与世隔绝的山区


In a bloodstained continent, these people alone were never conquered by the Spanish.

在这个血腥肆虐的大陆 这个种族从来没有被西班牙人征服过


To this day, they remain ruled by a ritual priesthood but the training for the priesthood is rather extraordinary.

至到今天 他们沿续着僧侣会统治制度 但是 他们的僧侣训诫非常的独特


The young acolytes are taken away from their families sequestered in a shadowy world of darkness in stone huts at the base of glaciers for 18 years: two nine-year periods deliberately chosen to mimic the nine months of gestation they spend in their natural mother's womb; now they are metaphorically in the womb of the great mother.

还只有三四岁的时候 年幼的侍僧就被带离他们的家庭 隐居在黑暗世界 的冰川上用石头彻成的小屋里待到十八岁 十八年是两个九年之和 它象征在母腹的 九月怀胎


And for this entire time, they are inculturated into the values of their society, values that maintain the proposition that their prayers and their prayers alone maintain the cosmic -- or we might say the ecological -- balance.

在此期间 他们如同重新回到母腹 被灌输族群的价值观 这些价值观是维系着 信徒与宇宙之间的关系


And at the end of this amazing initiation, and for the first time in their lives, at the age of 18, they see a sunrise. And in that crystal moment of awareness of first light as the Sun begins to bathe the slopes of the stunningly beautiful landscape, suddenly everything they have learned in the abstract is affirmed in stunning glory. And the priest steps back and says, "You see? It's really as I've told you.

我们可称之为生态平衡 直到他们十八岁的时候 这种神奇的洗礼结束 他们生平第一次走出小屋看到阳光 在阳光的照耀下 大地呈现出令人震撼的壮观美景 那一刻 意识突然苏醒 他们以前学到的所有抽象知识 都是在令人惊叹的荣耀中得到印证 这时 祭司走过来说 看到了吧 我以前教你的都是真的


It is that beautiful. It is yours to protect."

这里是多么的美丽 你要保护它


They call themselves the "elder brothers" and they say we, who are the younger brothers, are the ones responsible for destroying the world.

他们称自己为兄长 称我们为弟兄 说我们是破坏世界的人


Now, this level of intuition becomes very important.

这种直觉的领会能力非常重要


Whenever we think of indigenous people and landscape, we either invoke Rousseau and the old canard of the "noble savage," which is an idea racist in its simplicity, or alternatively, we invoke Thoreau and say these people are closer to the Earth than we are.

说到土族居民和原始的风土人情 我们会想到罗素 关于那个高贵的野人的古老传说 那一个理想的种族主义者 我们会想到梭罗 这些人比我们更亲近大地


Well, indigenous people are neither sentimental nor weakened by nostalgia.

土著人并不会多愁善感 也不会承受思乡之苦


There's not a lot of room for either in the malarial swamps of the Asmat or in the chilling winds of Tibet, but they have, nevertheless, through time and ritual, forged a traditional mystique of the Earth that is based not on the idea of being self-consciously close to it, but on a far subtler intuition: the idea that the Earth itself can only exist because it is breathed into being by human consciousness.

在疟疾盛行的阿斯玛特湿地 在寒风刺骨的西藏 并没有多少平整的土地 但是他们依靠众人的力量 经年累月 在世上创造了流传百世的神迹 这并不是因为他们自觉地认识到这一点 而且凭借非常敏感的直觉 他们认为这个世界本身的存在 是因为人类的意识吸收了自然的精华


It means that a young kid from the Andes who's raised to believe that that mountain is an Apu spirit that will direct his or her destiny will be a profoundly different human being and have a different relationship to that resource or that place than a young kid from Montana raised to believe that a mountain is a pile of rock ready to be mined.

我们可以打个比方 一位生活在安第斯山脉的小孩 大人们从小就教导他说 那里的大山是阿普神的化身 它将会指引他们的命运 他们是一类完全不同的人 他们与那里的自然环境和生养之地有着一种不同的关系 而在蒙大拿州的年轻人看来 一座大山只不过是 一堆石头 可以用来开采石矿


Whether it's the abode of a spirit or a pile of ore is irrelevant.

无论那座大山是神的住所 或者仅仅是一堆矿石 这都不重要


What's interesting is the metaphor that defines the relationship between the individual and the natural world.

重要的是 这种象征意义 阐述了人与自然之间的关系


I was raised in the forests of British Columbia to believe those forests existed to be cut.

我在英属哥伦比亚的丛林长大 受当地人思想的影响 我认为丛林是要被砍伐的


That made me a different human being than my friends amongst the Kwagiulth who believe that those forests were the abode of Huxwhukw and the Crooked Beak of Heaven and the cannibal spirits that dwelled at the north end of the world, spirits they would have to engage during their Hamatsa initiation.

这种想法让我与 夸基特尔部落的朋友们成为两类截然不同的人 因为他们相信 这些树木是胡克神 和天堂之眼的化身 吃人的精灵在世界的最北边 在哈马撒成人礼上 他们会与这些精灵开战


Now, if you begin to look at the idea that these cultures could create different realities, you could begin to understand some of their extraordinary discoveries. Take this plant here.

如果你从这个角度来看 你就会发现 这些文化创造了不同的生活方式 你就会明白 他们与众不同的生活方式


It's a photograph I took in the Northwest Amazon just last April.

这张照片是我去年八月份在亚马逊西北地区拍摄的


This is ayahuasca, which many of you have heard about, the most powerful psychoactive preparation of the shaman's repertoire.

这是阿亚胡斯卡藤 俗称死藤 你们很多人都听说过 它是一种非常强效的精神麻醉植物 萨满教徒常用它制作迷幻药- 死藤水


What makes ayahuasca fascinating is not the sheer pharmacological potential of this preparation, but the elaboration of it. It's made really of two different sources: on the one hand, this woody liana which has in it a series of beta-carbolines, harmine, harmaline, mildly hallucinogenic -- to take the vine alone is rather to have sort of blue hazy smoke drift across your consciousness -- but it's mixed with the leaves of a shrub in the coffee family

死藤水的奇妙之处 不在于它神奇的药用性 而在于它的加工方法 实际上它由两种物质组成 一方面 它是一种藤本植物 含有 β-咔啉 蓬硷 和微量的致幻成份 就拿它的藤来说 你似乎可以看到 一层蓝色的烟雾 它与一种名为九节木的咖啡属灌木的枝叶


This plant had in it some very powerful tryptamines, very close to brain serotonin, dimethyltryptamine, 5-methoxydimethyltryptamine.

这种植物具有一种强效的色胺 它的成分与脑内的5-羟色胺的成份 非常接近


If you've ever seen the Yanomami blowing that snuff up their noses, that substance they make from a different set of species also contains methoxydimethyltryptamine.

亚诺马米部落的人 也会从含有5-羟色胺的植物中 提取这种物质 并且用鼻子吸食


To have that powder blown up your nose is rather like being shot out of a rifle barrel lined with baroque paintings and landing on a sea of electricity. It doesn't create the distortion of reality; it creates the dissolution of reality.

如果你用鼻吸入这些粉末 你会看到光怪陆离的幻觉 处于一种非常亢奋的状态 现实在你面前不是扭曲 而是荡然无存


In fact, I used to argue with my professor, Richard Evan Shultes -- who is a man who sparked the psychedelic era with his discovery of the magic mushrooms in Mexico in the 1930s -- I used to argue that you couldn't classify these tryptamines as hallucinogenic because by the time you're under the effects there's no one home anymore to experience a hallucination. But the thing about tryptamines is they cannot be taken orally

事实上 我曾经与我的导师 Richard Evan Shultes 争论过 上世纪 30 年代 我的导师曾经在墨西哥 发现一种神奇的蘑菇 具有很强的迷幻效果 我曾经和他争论说 你不能把这些色胺归入 迷幻成份类别 因为当它们在你身上发挥效力的时候 你已经无法体验到迷幻的感觉 但是 这些色胺物质并不能口服


because they're denatured by an enzyme found naturally in the human gut called monoamine oxidase.

因为它们会被 人体器官中的一种名为单胺氧化酶的酶改变活性


They can only be taken orally if taken in conjunction with some other chemical that denatures the MAO.

要口服这些色胺物质 还有必须同时口服改变单胺氧化酶的活性的其他化学物质


Now, the fascinating things are that the beta-carbolines found within that liana are MAO inhibitors of the precise sort necessary to potentiate the tryptamine. So you ask yourself a question.

有意思的是 这种藤本植物中存在的 β-咔啉 正好能够抑制单胺氧化酶 而发挥色胺的效力 因此 你不由得要问自己


How, in a flora of 80,000 species of vascular plants, do these people find these two morphologically unrelated plants that when combined in this way, created a kind of biochemical version of the whole being greater than the sum of the parts?

在这片丛林中 有 80:00 种植物 那里的人们是如何发现这两种在形态上毫无关联的植物 组合在一起 会发挥这种神奇的效力 这如同一种生化实验 多种成分产生的化学效应大于各成分的效力之和


Well, we use that great euphemism, "trial and error," which is exposed to be meaningless.

我们普通人会做各种各样的实验 不断地犯错误 结果却一无所获


But you ask the Indians, and they say, "The plants talk to us."

但是 如果你问印第安人 他们会说 植物会说话


This tribe, the Cofan, has 17 varieties of ayahuasca, all of which they distinguish a great distance in the forest, all of which are referable to our eye as one species.

科凡部落的人发现了 17 种死藤 全部是他们在丛林深处发现的 在我们看来 它们是不同的物种


And then you ask them how they establish their taxonomy and they say, "I thought you knew something about plants.

如果你问他们是如何给这些植物分门别类的 他们说 我想你对植物有一些研究


I mean, don't you know anything?" And I said, "No."

你是不是对植物有一定的了解 我说 不是


Well, it turns out you take each of the 17 varieties in the night of a full moon, and it sings to you in a different key.

那我告诉你 他们说道 如果在月圆之夜 这 17 种植物的每一种植物 会用不同的密语向你歌唱


Now, that's not going to get you a Ph.D. at Harvard, but it's a lot more interesting than counting stamens. Now -- -- the problem -- the problem is that even those of us sympathetic with the plight of indigenous people view them as quaint and colorful but somehow reduced to the margins of history as the real world, meaning our world, moves on.

这个发现不会让你得到哈佛大学的博士学位 但是它远比会计报表更有乐趣 现在 （鼓掌） 我们面临这样一个问题 虽然我们中的一些人同情土著人的遭遇 认为他们离群索居 生活丰富多彩 但是随着我们的世界向前发展 这些人退居到历史的边缘地位


Well, the truth is the 20th century, 300 years from now, is not going to be remembered for its wars or its technological innovations, but rather as the era in which we stood by and either actively endorsed or passively accepted the massive destruction of both biological and cultural diversity on the planet. Now, the problem isn't change.

对于 20 世纪 以及今后的 300 年 后人所记住的 不会这期间发生的战争 或者它的科技创新 而会记住 在我们这个时代 积极地对地球上的生态和文化多样性 进行大规模的破坏 或者被动地接受这个局面 现在 局面依然没有改变


All cultures through all time have constantly been engaged in a dance with new possibilities of life.

所有的文化 一直受到新的生活方式 的强烈冲击


And the problem is not technology itself.

这个问题并不在于技术本身


The Sioux Indians did not stop being Sioux when they gave up the bow and arrow any more than an American stopped being an American when he gave up the horse and buggy.

苏族印第安人即使放下弓箭 仍然还是苏族印第安人 而美国人告别骑马和坐马车的生活 依然还是美国人


It's not change or technology that threatens the integrity of the ethnosphere. It is power, the crude face of domination.

威胁种族圈完整性的 不是变革或技术创新本身 而是权力 是野蛮的排他主义


Wherever you look around the world, you discover that these are not cultures destined to fade away; these are dynamic living peoples being driven out of existence by identifiable forces that are beyond their capacity to adapt to: whether it's the egregious deforestation in the homeland of the Penan -- a nomadic people from Southeast Asia, from Sarawak -- a people who lived free in the forest until a generation ago,

观察我们周围的世界 你就会发现 没有一种文化是注定要消亡的 这些原本富有生机活力的人群 被强暴的力量驱逐出他们的生养之地 让他们感到无所适从 无论是伯南腹地 肆无忌惮的森林砍伐 还是东南亚的撒拉瓦克游民部落 他们上代人还自由自在地生活在丛林中


and now have all been reduced to servitude and prostitution on the banks of the rivers, where you can see the river itself is soiled with the silt that seems to be carrying half of Borneo away to the South China Sea, where the Japanese freighters hang light in the horizon ready to fill their holds with raw logs ripped from the forest -- or, in the case of the Yanomami,

而现在全部已经沦落为仆役和妓女 在河岸边 你可以看到河水泥沙很重 似乎要把婆罗族的一半居住地冲走到 南中国海 在那里 日本的人货船已经整装待发 准备运走从森林砍伐的圆木 我们再来看亚诺马米部落


it's the disease entities that have come in, in the wake of the discovery of gold.

在那里 由于发现了金矿 人们蜂拥而至


Or if we go into the mountains of Tibet, where I'm doing a lot of research recently, you'll see it's a crude face of political domination.

我们再来看看西藏山区 最近我在那里做了大量的研究 在那里 你会看到政治独裁的残酷压迫


You know, genocide, the physical extinction of a people is universally condemned, but ethnocide, the destruction of people's way of life, is not only not condemned, it's universally, in many quarters, celebrated as part of a development strategy.

虽然种族灭绝 在全世界受到一致的谴责 但是种族文化灭绝 也就是破坏人们的生活方式的行径 却没有受到谴责 在很多地方 它甚至被视为发展战略的一部分


And you cannot understand the pain of Tibet until you move through it at the ground level.

受到赞扬 只要你亲自去那里 你才能体会到西藏承受的痛楚 我和一位年轻的同事 从中国西北部的成都市出发


I once travelled 6,000 miles from Chengdu in Western China overland through southeastern Tibet to Lhasa with a young colleague, and it was only when I got to Lhasa that I understood the face behind the statistics you hear about: 6,000 sacred monuments torn apart to dust and ashes, 1.2 million people killed by the cadres during the Cultural Revolution.

经过 6:00 英里的旅程 穿过西藏的东南地区 到达拉萨 当我到达拉萨的时候 才真正明白 你们所听说过的那些统计数字 背后隐藏的真相 在文化大革命期间 6:00 座神殿庙宇被拆毁 120 万人被共产党骨干分子杀害 这位年轻人的父亲皈依班禅喇嘛 中国人入侵后


That meant he was instantly killed at the time of the Chinese invasion.

他立即被杀害了 他的叔叔和其他信徒


His uncle fled with His Holiness in the Diaspora that took the people to Nepal.

一起逃亡到尼泊尔 他的母亲因为富农家庭成份