第一篇：萊溫斯基TED演講 中英對(duì)照

The price of shame

主講人：莫妮卡 萊溫斯基

主題：恥辱的代價(jià)

You're looking at a woman who was publicly silent for a decade.Obviously, that's changed, but only recently.站在你們面前的是一個(gè)在大眾面前沉默了十年之久的女人。當(dāng)然，現(xiàn)在情況不一樣了，不過(guò)這只是最近發(fā)生的事。

It was several months ago that I gave my very first major public talk at the Forbes 30 Under 30 summit:1,500 brilliant people, all under the age of 30.That meant that in 1998, the oldest among the group were only 14, and the youngest, just four.I joked with them that some might only have heard of me from rap songs.Yes, I'm in rap songs.Almost 40 rap songs.幾個(gè)月前，我在《福布斯》雜志舉辦的“30歲以下”峰會(huì)（Under 30 Summit）上發(fā)表了首次公開(kāi)演講。現(xiàn)場(chǎng)1500位才華橫溢的與會(huì)者都不到30歲。這意味著1998年，他們中最年長(zhǎng)的是14歲，而最年輕的只有4歲。我跟他們開(kāi)玩笑道，他們中有些人可能只在說(shuō)唱歌曲里聽(tīng)到過(guò)我的名字。是的，大約有40首說(shuō)唱歌曲唱過(guò)我。

But the night of my speech, a surprising thing happened.At the age of 41, I was hit on by a 27-year-old guy.I know, right? He was charming and I was flattered, and I declined.You know what his unsuccessful pickup line was? He could make me feel 22 again.I realized later that night, I'm probably the only person over 40 who does not want to be 22 again.但是，在我演講當(dāng)晚，發(fā)生了一件令人吃驚的事——我作為一個(gè)41歲的女人，被一個(gè)27歲的男孩示愛(ài)。我知道，這聽(tīng)上去不太可能對(duì)吧？他很迷人，說(shuō)了很多恭維我的話，然后我拒絕了他。你知道他為何搭訕失敗嗎？他說(shuō)，他可以讓我感到又回到了22歲。后來(lái)，那晚我意識(shí)到，也許我是年過(guò)40歲的女人中唯一一個(gè)不想重返22歲的人。

At the age of 22, I fell in love with my boss, and at the age of 24, I learned the devastating consequences.Can I see a show of hands of anyone here who didn't make a mistake or do something they regretted at 22? Yep.That's what I thought.So like me, at 22, a few of you may have also taken wrong turns and fallen in love with the wrong person, maybe even your boss.Unlike me, though, your boss probably wasn't the president of the United States of America.Of course, life is full of surprises.Not a day goes by that I'm not reminded of my mistake, and I regret that mistake deeply.22歲時(shí)，我愛(ài)上了我的老板；24歲的時(shí)，我飽受了這場(chǎng)戀愛(ài)帶來(lái)的災(zāi)難性的后果。現(xiàn)場(chǎng)的觀眾們，如果你們?cè)?2歲的時(shí)候沒(méi)有犯過(guò)錯(cuò)，或者沒(méi)有做過(guò)讓自己后悔的事，請(qǐng)舉起手好嗎？是的，和我想的一樣。與我一樣，22歲時(shí)，你們中有一些人也曾走過(guò)彎路，愛(ài)上了不該愛(ài)的人，也許是你們的老板。但與我不同的是，你們的老板可能不會(huì)是美國(guó)總統(tǒng)。當(dāng)然，人生充滿驚奇。之后的每一天，我都會(huì)想起自己所犯的錯(cuò)誤，并為之深深感到后悔。

In 1998, after having been swept up into an improbable romance, I was then swept up into the eye of a political, legal and media maelstrom like we had never seen before.Remember, just a few years earlier,news was consumed from just three places: reading a newspaper or magazine, listening to the radio, or watching television.That was it.But that wasn't my fate.Instead, this scandal was brought to you by the digital revolution.That meant we could access all the information we wanted, when we wanted it, anytime, anywhere, and when the story broke in January 1998, it broke online.It was the first time the traditional news was usurped by the Internet for a major news story, a click that reverberated around the world.飽受網(wǎng)絡(luò)欺凌之苦 1998年，在卷入一場(chǎng)不可思議的戀情后，我又被卷入了一場(chǎng)前所未有的政治、法律和輿論漩渦的中心。記得嗎？幾年前，新聞一般通過(guò)三個(gè)途徑傳播：讀報(bào)紙雜志、聽(tīng)廣播、和看電視，僅此而已。但我的命運(yùn)并不是僅此而已。這樁丑聞是通過(guò)數(shù)字革命傳播的。這意味著我們可以獲取任何我們需要的信息，不論何時(shí)何地。這則新聞在1998年1月爆發(fā)時(shí)，它也在互聯(lián)網(wǎng)上火了。這是互聯(lián)網(wǎng)第一次在重大新聞事件報(bào)道中超越了傳統(tǒng)媒體。只要輕點(diǎn)一下鼠標(biāo)，就會(huì)在全世界引起反響。

What that meant for me personally was that overnight I went from being a completely private figure to a publicly humiliated one worldwide.I was patient zero of losing a personal reputation on a global scale almost instantaneously.This rush to judgment, enabled by technology, led to mobs of virtual stone-throwers.Granted, it was before social media, but people could still comment online, email stories, and, of course, email cruel jokes.News sources plastered photos of me all over to sell newspapers, banner ads online, and to keep people tuned to the TV.Do you recall a particular image of me, say, wearing a beret? 對(duì)我個(gè)人而言，這則新聞讓我一夜之間從一個(gè)無(wú)名小卒變成了全世界人民公開(kāi)羞辱的對(duì)象。我成了第一個(gè)經(jīng)歷在全世界范圍內(nèi)名譽(yù)掃地的“零號(hào)病人”。科技是這場(chǎng)草率審判的始作俑者，無(wú)數(shù)暴民向我投擲石塊。當(dāng)然，那時(shí)還沒(méi)有社交媒體，但人們依然可以在網(wǎng)上發(fā)表評(píng)論，通過(guò)電子郵件傳播新聞和殘酷的玩笑。新聞媒體貼滿了我的照片，借此來(lái)兜售報(bào)紙，為網(wǎng)頁(yè)吸引廣告商，提高電視收視率。記得當(dāng)時(shí)的那張照片嗎？我戴著貝雷帽的照片。

Now, I admit I made mistakes, especially wearing that beret.But the attention and judgment that I received, not the story, but that I personally received, was unprecedented.I was branded as a tramp, tart, slut, whore, bimbo, and, of course, that woman.I was seen by many but actually known by few.And I get it: it was easy to forget that that woman was dimensional, had a soul, and was once unbroken.現(xiàn)在，我承認(rèn)我犯了錯(cuò)，特別是不該戴那頂貝雷帽。但是，除了事件本身，我因此受到的關(guān)注和審判是前所未有的。我被貼上“淫婦”、“妓女”，“蕩婦”，“婊子”，“蠢女人”的標(biāo)簽，當(dāng)然，還有“那個(gè)女人”。許多人看到了我，但很少有人真正了解我。對(duì)此我表示理解，因?yàn)槿藗兒苋菀淄洝澳莻€(gè)女人”也是一個(gè)活生生的人，她也有靈魂，她也曾過(guò)著平靜的生活。

When this happened to me 17 years ago, there was no name for it.Now we call it cyberbullying and online harassment.Today, I want to share some of my experience with you, talk about how that experience has helped shape my cultural observations, and how I hope my past experience can lead to a change that results in less suffering for others.17年前，對(duì)于我經(jīng)歷的這些遭遇還沒(méi)有一個(gè)專有名詞。現(xiàn)在，我們稱之為“網(wǎng)絡(luò)欺凌”和“網(wǎng)上騷擾”。今天我要與你們分享一些我的經(jīng)歷，我想談?wù)勀谴谓?jīng)歷是如何形成了我的文化觀察，我希望我過(guò)去的經(jīng)歷能夠產(chǎn)生一些改變，減少他人的痛苦。

In 1998, I lost my reputation and my dignity.I lost almost everything, and I almost lost my life.1998年，我失去了名譽(yù)和尊嚴(yán)。我?guī)缀跏チ怂校規(guī)缀跏チ宋业娜松３舐劚l(fā)之后，鋪天蓋地都是對(duì)此事件的報(bào)道。Let me paint a picture for you.It is September of 1998.I'm sitting in a windowless office room inside the Office of the Independent Counsel underneath humming fluorescent lights.I'm listening to the sound of my voice, my voice on surreptitiously taped phone calls that a supposed friend had made the year before.I’m here because I've been legally required to personally authenticate all 20 hours of taped conversation.For the past eight months, the mysterious content of these tapes has hung like the Sword of Damocles over my head.I mean, who can remember what they said a year ago?

讓我來(lái)描繪這樣一幅場(chǎng)景：1998年9月的一天，我坐在美國(guó)獨(dú)立檢察官辦公室一間沒(méi)有窗的屋子里，頭頂上的日光燈嗡嗡作響。我正在聽(tīng)我的錄音，那是一位所謂的朋友偷偷錄下的電話談話。我被依法要求鑒定那20個(gè)小時(shí)的電話錄音是真實(shí)的。在過(guò)去的八個(gè)月里，這些錄音帶中神秘的內(nèi)容就像一把懸在我頭頂?shù)倪_(dá)摩克利斯之劍。我的意思是，有誰(shuí)會(huì)記得自己一年前說(shuō)過(guò)的話？ Scared and mortified, I listen, listen as I prattle on about the flotsam and jetsam of the day;listen as I confess my love for the president, and, of course, my heartbreak;listen to my sometimes catty, sometimes churlish, sometimes silly self being cruel, unforgiving, uncouth;listen, deeply, deeply ashamed, to the worst version of myself,a self I don't even recognize.在恐懼和羞愧中，我聽(tīng)著錄音，聽(tīng)我閑扯每天發(fā)生的瑣碎之事；聽(tīng)我坦白對(duì)總統(tǒng)的愛(ài)慕，當(dāng)然，還有我的心碎；聽(tīng)有時(shí)尖酸，有時(shí)粗魯，有時(shí)愚蠢的我是如何冷酷，無(wú)情，無(wú)理取鬧。我?guī)е钌畹男呃⒙?tīng)著那個(gè)最糟糕的我的聲音，糟糕到我自己都不認(rèn)識(shí)了。A few days later, the Starr Report is released to Congress, and all of those tapes and trans, those stolen words, form a part of it.That people can read the trans is horrific enough, but a few weeks later, the audio tapes are aired on TV, and significant portions made available online.The public humiliation was excruciating.Life was almost unbearable.幾天后，斯塔爾報(bào)告提交至國(guó)會(huì)，那些錄音帶和文字記錄，那些被竊取的言語(yǔ)，都是這份報(bào)告的一部分。人們能夠讀到這些文字對(duì)我來(lái)說(shuō)已經(jīng)夠恐怖了，但是幾個(gè)星期后，那些錄音又在電視上播放，有一些重要的內(nèi)容還被發(fā)布在網(wǎng)絡(luò)上。公開(kāi)的羞辱讓我飽受折磨。這樣的生活讓我?guī)缀鯚o(wú)法忍受。

This was not something that happened with regularity back then in 1998, and by this, I mean the stealing of people's private words, actions，conversations or photos, and then making them public--public without consent, public without context, and public without compassion.在1998年，我所說(shuō)的這些還并不常見(jiàn)。我指的是竊取他人私下的言語(yǔ)、行動(dòng)、談話內(nèi)容和照片，并公之于眾——在未經(jīng)本人同意，未交待背景的情況下，毫無(wú)惻隱之心地將這些內(nèi)容公之于眾。

Fast forward 12 years to 2010, and now social media has been born.The landscape has sadly become much more populated with instances like mine, whether or not someone actually make a mistake, and now it's for both public and private people.The consequences for some have become dire, very dire.快進(jìn)到12年后的2010年，社交媒體誕生了。可悲的是，社交媒體上充斥著更多像我這樣的例子，不管這個(gè)當(dāng)事人是不是真的犯了錯(cuò)，而且，公眾人物和普羅大眾都深受其害。對(duì)于有些人來(lái)說(shuō)，后果是嚴(yán)重的，非常嚴(yán)重。

I was on the phone with my mom in September of 2010, and we were talking about the news of a young college freshman from Rutgers University named Tyler Clementi.Sweet, sensitive, creative Tyler was secretly webcammed by his roommate while being intimate with another man.When the online world learned of this incident, the ridicule and cyberbullying ignited.A few days later, Tyler jumped from the George Washington Bridge to his death.He was 18.2010年9月的一天，我正在和我的母親通電話，我們?cè)谟懻撘粍t新聞，關(guān)于羅格斯大學(xué)的一個(gè)名叫泰勒 克萊門蒂的大一新生。可愛(ài)、敏感、富有創(chuàng)意的克萊門蒂被室友偷拍到和另一個(gè)男人有親密關(guān)系。當(dāng)這個(gè)視頻在網(wǎng)絡(luò)世界曝光后，嘲笑和網(wǎng)絡(luò)欺凌的火種被點(diǎn)燃。幾天后，泰勒從喬治華盛頓大橋上縱身跳下。一個(gè)年僅18歲的生命就這樣逝去。

My mom was beside herself about what happened to Tyler and his family, and she was gutted with painin a way that I just couldn't quite understand, and then eventually I realized she was reliving 1998, reliving a time when she sat by my bed every night, reliving a time when she made me shower with the bathroom door open, and reliving a time when both of my parents feared that I would be humiliated to death,literally.我母親在講到泰勒和他的家人時(shí)情緒有些失控，她所表現(xiàn)出的痛苦讓我并不十分理解。后來(lái)，我才終于意識(shí)到，她正在重新經(jīng)歷1998年發(fā)生的一切。重新經(jīng)歷她每晚坐在我的床頭的時(shí)候；重新經(jīng)歷她要我開(kāi)著浴室門洗澡的時(shí)候，重新經(jīng)歷她和父親擔(dān)心我會(huì)因?yàn)槭艿叫呷瓒詫ざ桃?jiàn)的時(shí)候。真的是這樣。

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

humiliation after it was too late.今天，太多父母沒(méi)有機(jī)會(huì)及時(shí)介入來(lái)拯救他們摯愛(ài)的孩子。太多的人，當(dāng)他們獲悉自己的孩子的痛苦和受到的羞辱時(shí)，已為時(shí)已晚。

Tyler's tragic, senseless death was a turning point for me.It served to recontextualize my experiences, and I then began to look at the world of humiliation and bullying around me and see something different.泰勒悲慘而毫無(wú)意義的死亡對(duì)我來(lái)說(shuō)是一個(gè)轉(zhuǎn)折點(diǎn)。他讓我開(kāi)始重新審視我的親身經(jīng)歷，他讓我開(kāi)始觀察身邊這個(gè)充滿羞辱和欺凌的世界，讓我看到了不同的東西。In 1998, we had no way of knowing where this brave new technology called the Internet would take us.Since then, it has connected people in unimaginable ways, joining lost siblings, saving lives, launching revolutions, but the darkness, cyberbullying, and slut-shaming that I experienced had mushroomed.1998年，沒(méi)有人知道這種名叫“因特網(wǎng)”的新技術(shù)會(huì)把人類帶向何方。自誕生以來(lái)，因特網(wǎng)用難以想象的方式將人類聯(lián)系起來(lái)。它讓人們找到失散的兄弟姐妹、拯救生命、發(fā)起革命，但是我所遭受的黑暗、網(wǎng)絡(luò)欺凌和被稱為“蕩婦”的羞辱也如雨后春筍般瘋長(zhǎng)。Every day online, people, especially young people who are not developmentally equipped to handle this, are so abused and humiliated that they can't imagine living to the next day, and some, tragically, don't, and

there's nothing virtual about that.ChildLine, a U.K.nonprofit that's focused on helping young people on various issues,released a staggering statistic late last year: From 2012 to 2013, there was an 87 percent increase in calls and emails related to cyberbullying.A meta-analysis done out of the Netherlands showed that for the first time, cyberbullying was leading to suicidal ideations more significantly than offline bullying.And you know what shocked me, although it shouldn't have, was other research last year that determined humiliation was a more intensely felt emotion than either happiness or even anger.每天，在網(wǎng)絡(luò)上都會(huì)有人，特別是年輕人被辱罵和羞辱，而他們對(duì)此束手無(wú)策。這些辱罵和羞辱讓他們想立刻死去。悲劇的是，有些人，真的因此死去。這一點(diǎn)兒也不虛擬。

ChildLine是英國(guó)一個(gè)致力于幫助年輕人解決各種問(wèn)題的公益組織。去年年底，該組織公布了一組令人震驚的數(shù)據(jù)：從2012年到2013年，與網(wǎng)絡(luò)欺凌有關(guān)的電話和郵件數(shù)量增加了87%。一份來(lái)自荷蘭的綜合分析首次披露，網(wǎng)絡(luò)欺凌比線下欺凌更容易讓人產(chǎn)生自殺的念頭。去年，還有一項(xiàng)研究讓我震驚，盡管我并不該感到震驚。研究顯示，羞辱是比快樂(lè)或者生氣更為強(qiáng)烈的情緒。Cruelty to others is nothing new, but online, technologically enhanced shaming is amplified, uncontained, and permanently accessible.殘忍對(duì)待他人不是什么新鮮事，但是，在互聯(lián)網(wǎng)上，技術(shù)讓羞辱放大，一發(fā)而不可收，并且永遠(yuǎn)可以被看到。

The echo of embarrassment used to extend only as far as your family, village, school or community, but now it's the online community too.Millions of people, often anonymously, can stab you with their words, and that's a lot of pain, and there are no perimeters around how many people can publicly observe you and put you in a public stockade.There is a very personal price to public humiliation, and the growth of the Internet has jacked up that price.過(guò)去，丑聞最多在你的家庭、村莊、學(xué)校或者社區(qū)傳播。但是現(xiàn)在也在網(wǎng)絡(luò)社區(qū)流傳。數(shù)百萬(wàn)的網(wǎng)民，經(jīng)常匿名地惡語(yǔ)相向，這帶來(lái)很多痛苦。而且，到底有多少人可以公開(kāi)地關(guān)注你，讓你成為眾矢之的？這是無(wú)法計(jì)算的。被公開(kāi)羞辱對(duì)個(gè)人而言代價(jià)很大，而互聯(lián)網(wǎng)的發(fā)展加劇了這種代價(jià)。

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

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

permissive environment online which lends itself to trolling, invasion of privacy, and cyberbullying.This shift has created what Professor Nicolaus Mills calls a culture of humiliation.近20年來(lái)，我們慢慢地在文化的土壤中播下恥辱和公開(kāi)羞辱的種子，無(wú)論是線上還是線下。八卦網(wǎng)站、狗仔隊(duì)、真人秀節(jié)目、政治、新聞媒體，有時(shí)甚至是黑客都是羞辱的通道。冷酷、放縱的網(wǎng)絡(luò)環(huán)境助長(zhǎng)了網(wǎng)絡(luò)煽動(dòng)、侵犯?jìng)€(gè)人隱私、和網(wǎng)絡(luò)欺凌。這種轉(zhuǎn)變形成了一種尼古拉斯

米爾斯教授所說(shuō)的羞辱文化。Consider a few prominent examples just from the past six months alone.Snapchat, the service which is used mainly by younger generationsand claims that its messages only have the lifespan of a few

seconds.You can imagine the range of content that that gets.A third-party app which Snapchatters use to preserve the lifespan of the messages was hacked, and 100,000 personal conversations, photos, and videos were leaked online to now have a lifespan of forever.想想最近六個(gè)月發(fā)生的事情。Snapchat是一項(xiàng)主要是年輕人使用的服務(wù)，它號(hào)稱所有的信息只有幾秒鐘的壽命。你可以想象這些信息會(huì)包含哪些內(nèi)容。Snapchat用戶使用的保存信息的第三方應(yīng)用被黑客攻擊，近10萬(wàn)名用戶的私人談話、照片、視頻被泄露到網(wǎng)上。現(xiàn)在，它們可以永久保留了。Jennifer Lawrence and several other actors had their iCloud accounts hacked, and private, intimate, nude photos were plastered across the Internet without their permission.One gossip website had over five million hits for this one story.And what about the Sony Pictures

cyberhacking? The documents which received the most attention were private emails that had maximum public embarrassment value.詹妮弗 勞倫斯和其他幾位演員的iCloud賬戶被攻擊，他們所有私人的、親密的、裸體的照片在未經(jīng)允許的情況下在互聯(lián)網(wǎng)上鋪天蓋地地傳播。一個(gè)八卦網(wǎng)站僅僅因?yàn)檫@一則新聞就獲得了超過(guò)500萬(wàn)的點(diǎn)擊量。索尼影視被黑客攻擊的情況又如何呢？最受關(guān)注的文件是那些公開(kāi)羞辱價(jià)值最大的私人電子郵件。

But in this culture of humiliation, there is another kind of price tag attached to public shaming.The price does not measure the cost to the victim, which Tyler and too many others, notably women, minorities,and members of the LGBTQ community have paid, but the price measures the profit of those who prey on them.This invasion of others is a raw material, efficiently and ruthlessly mined, packaged and sold at a profit.但是在這種羞辱文化中，公開(kāi)羞辱還被貼上了另一種價(jià)格標(biāo)簽。這個(gè)價(jià)格標(biāo)簽衡量的并不是受害者付出的代價(jià)，比如泰勒、還有其他很多人，特別是婦女，少數(shù)群體和同性戀、雙性戀、變性群體(LGBTQ)成員所付出的代價(jià)，而是衡量損害他們利益的牟利者的收益。侵入他人領(lǐng)域成了一種原材料，被人以最快的速度無(wú)情地挖掘，打包并出售。

A marketplace has emerged where public humiliation is a commodity and shame is an industry.How is the money made? Clicks.The more shame, the more clicks.The more clicks, the more advertising dollars.We're in a dangerous cycle.The more we click on this kind of gossip, the more numb we get to the human lives behind it, and the more numb we get, the more we click.一個(gè)市場(chǎng)橫空出世，公開(kāi)羞辱是商品，恥辱變成了一種產(chǎn)業(yè)。靠什么賺錢呢？點(diǎn)擊。恥辱越多，點(diǎn)擊越多。點(diǎn)擊越多，廣告收入就越多。我們身處一個(gè)惡性循環(huán)。我們對(duì)這類八卦點(diǎn)擊得越多，我們就會(huì)對(duì)故事背后的當(dāng)事人越麻木。我們?cè)铰槟荆驮綍?huì)去點(diǎn)擊。

All the while, someone is making money off of the back of someone else's suffering.With every click, we make a choice.The more we saturate our culture with public shaming, the more accepted it is, the more we will see behavior like cyberbullying, trolling, some forms of hacking, and online harassment.Why? Because they all have humiliation at their cores.This behavior is a symptom of the culture we've created.Just think about it.與此同時(shí)，有些人把自己的利益建立在他人的痛苦之上，每一次點(diǎn)擊，我們都是在做出選擇。我們文化中充斥的公開(kāi)恥辱越多，它就越容易被接受，我們就會(huì)看到越多的網(wǎng)絡(luò)欺凌、網(wǎng)絡(luò)煽動(dòng)、某些形式的黑客入侵，和線上騷擾。為什么呢？因?yàn)樗鼈兊暮诵亩际切呷琛＿@種行為成為了我們所創(chuàng)造的一種文化病癥。想想吧。

Changing behavior begins with evolving beliefs.We've seen that to be true with racism, homophobia, and plenty of other biases, today and in the past.As we've changed beliefs about same-sex marriage, more people have been offered equal freedoms.When we began valuing sustainability, more people began to recycle.向網(wǎng)絡(luò)欺凌說(shuō)不。改變行為從改變信念開(kāi)始。不管是現(xiàn)在還是過(guò)去，無(wú)論是種族歧視、同性戀歧視和其它很多的歧視，都是這樣來(lái)消除的。隨著對(duì)同性戀結(jié)婚觀念的改變，更多人被賦予了平等的自由。隨著對(duì)可持續(xù)性的提倡，越來(lái)越多的人開(kāi)始循環(huán)利用。

So as far as our culture of humiliation goes, what we need is a cultural revolution.Public shaming as a blood sport has to stop, and it's time for an intervention on the Internet and in our culture.對(duì)于羞辱的文化也應(yīng)該如此。我們需要文化革命。公開(kāi)羞辱這種血腥的運(yùn)動(dòng)應(yīng)該終止，是時(shí)候?qū)τ⑻鼐W(wǎng)和我們的文化采取干預(yù)行動(dòng)了。

The shift begins with something simple, but it's not easy.We need to return to a long-held value of compassion--compassion and empathy.Online, we've got a compassion deficit, an empathy crisis.Researcher Brené Brown said, and I quote, “Shame can't survive empathy.” Shame cannot survive empathy.I've seen some very dark days in my life, and it was the compassion and empathy from my family, friends, professionals, and sometimes even strangers that saved me.轉(zhuǎn)變可以從簡(jiǎn)單的事開(kāi)始，不過(guò)這也不容易。我們需要回歸人類固有的一種價(jià)值，也就是同情心和同理心。互聯(lián)網(wǎng)正經(jīng)歷著同情心匱乏和同理心危機(jī)。引用研究者布林 布朗的話來(lái)說(shuō)就是，“羞辱在同理心之下無(wú)法存活”。羞辱在同理心之下無(wú)法存活。我的人生中有過(guò)一些非常黑暗的日子，是來(lái)自家人、朋友、專業(yè)人士、甚至是一些陌生人的同情心和同理心拯救了我。

Even empathy from one person can make a difference.The theory of minority influence, proposed by social psychologist Serge Moscovici, says that even in small numbers, when there's consistency over time, change can happen.In the online world, we can foster minority influence by becoming upstanders.To become an upstander means instead of bystander apathy, we can post a positive comment for someone or report a bullying situation.哪怕只有一個(gè)人的同情也會(huì)產(chǎn)生改變。社會(huì)心理學(xué)家謝爾蓋 莫斯科維奇提出了小眾影響理論。他說(shuō)，哪怕是小眾人群，只要能堅(jiān)持下去，也能做出改變。在網(wǎng)絡(luò)世界中，我們可以成為行動(dòng)派，培養(yǎng)小眾影響力。成為行動(dòng)派意味著不再袖手旁觀，而是發(fā)表積極評(píng)論或是舉報(bào)欺凌現(xiàn)象。

Trust me, compassionate comments help abate the negativity.We can also counteract the culture by supporting organizations that deal with these kinds of issues, like the Tyler Clementi Foundation in the U.S., In the U.K., there's Anti-Bullying Pro, and in Australia, there's Project Rockit.相信我，表達(dá)同情的評(píng)論能夠削弱負(fù)面影響。我們還可以通過(guò)支持處理這類問(wèn)題的組織機(jī)構(gòu)來(lái)對(duì)抗這種羞辱文化。例如，美國(guó)有泰勒 克萊門蒂基金，英國(guó)有反欺凌項(xiàng)目，澳大利亞有Rockit項(xiàng)目。

We talk a lot about our right to freedom of expression, but we need to talk more about our responsibility to freedom of expression.We all want to be heard, but let's acknowledge the difference between speaking up with intention and speaking up for attention.The Internet is the superhighway for the id, but online, showing empathy to others benefits us all and helps create a safer and better world.We need to communicate online with compassion, consume news with compassion, and click with compassion.Just imagine walking a mile in someone else's headline.I'd like to end on a personal note.關(guān)于言論自由的權(quán)力我們討論了很多，但我們還應(yīng)該更多地談?wù)勏硎苎哉撟杂蓵r(shí)所承擔(dān)的責(zé)任。我們都希望自己的聲音被聽(tīng)到，但是我們要區(qū)分有意圖的發(fā)聲和尋求關(guān)注的發(fā)聲。因特網(wǎng)是表達(dá)自我的超級(jí)高速公路，但是，站在他人角度考慮問(wèn)題對(duì)我們都是有利的，而且能夠幫助創(chuàng)建更安全，更美好的世界。

我們需要懷著同情心在網(wǎng)絡(luò)上交流，懷著同情心閱讀新聞，懷著同情心點(diǎn)擊鼠標(biāo)。試著想象活在別人的新聞?lì)^條里。

In the past nine months, the question I've been asked the most is why.Why now? Why was I sticking my head above the parapet? You can read between the lines in those questions, and the answer has nothing to do with politics.最后我想以個(gè)人說(shuō)明做總結(jié)。過(guò)去九個(gè)月里，我被人問(wèn)得最多的問(wèn)題是“為什么”。為什么是現(xiàn)在？為什么要逆流而上？你們應(yīng)該可以聽(tīng)出這些問(wèn)題的言外之意。答案與政治無(wú)關(guān)。

The top note answer was and is because it's time: time to stop tip-toeing around my past;time to stop living a life of opprobrium;and time to take back my narrative.It's also not just about saving myself.Anyone who is suffering from shame and public humiliation needs to know one thing: You can survive it.I know it's hard.It may not be painless, quick or easy, but you can insist on a different ending to your story.我的答案是，因?yàn)槭菚r(shí)候了，是時(shí)候不再為過(guò)去而過(guò)得如履薄冰，是時(shí)候結(jié)束背負(fù)罵名的生活，是時(shí)候奪回我的話語(yǔ)權(quán)了。這不僅僅是為了拯救我自己。任何遭受恥辱和公開(kāi)羞辱的人，都需要明白一點(diǎn)：你能挺過(guò)來(lái)。我知道這很難，肯定會(huì)伴隨痛苦，肯定不會(huì)又快又輕松，但你可以通過(guò)你的堅(jiān)持，書(shū)寫(xiě)一個(gè)不同的故事結(jié)局。

Have compassion for yourself.We all deserve compassion, and to live both online and off in a more compassionate world.同情自己。我們都值得同情，無(wú)論線上還是線下，我們都應(yīng)該生活在一個(gè)更富有同情心的世界。Thank you for listening.謝謝聆聽(tīng)！

第二篇：萊溫斯基TED演講稿

萊溫斯基TED演講稿

主講人：莫妮卡 萊溫斯基

主題：羞辱的代價(jià)（The price of shame）

萊溫斯基TED演講稿陳述了網(wǎng)絡(luò)語(yǔ)言欺凌受害者的苦楚，這里從萊溫斯基22歲的時(shí)候擔(dān)任白宮實(shí)習(xí)生開(kāi)始，因?yàn)樗龕?ài)上了她的老板，也就是克林頓總統(tǒng)，然之萊溫斯基被貼上了丑惡的標(biāo)簽，這次站在TED演講上表達(dá)了她的想法，以下是中英文兩種版本。

萊溫斯基TED演講稿

站在你們面前的這個(gè)女性曾在公眾面前沉默了十年。顯然，現(xiàn)在不一樣了，不過(guò)這只是最近的事。幾個(gè)月前在福布斯“30位30歲以下創(chuàng)業(yè)者”峰會(huì)上,我首次公開(kāi)發(fā)表演講，峰會(huì)上有1500位杰出人士，全部不到30歲。這就意味著在1998年，其中最年長(zhǎng)的人也只有14歲，最年輕的則只有4歲。我同他們開(kāi)玩笑，有些人似乎只是從說(shuō)唱音樂(lè)中聽(tīng)過(guò)我的名字。沒(méi)錯(cuò)，說(shuō)唱音樂(lè)唱過(guò)我，幾乎有40首這樣的說(shuō)唱音樂(lè)。

在我演講當(dāng)晚 意外的事情發(fā)生了，作為一個(gè)41歲的女性，竟然有一個(gè)27歲的小伙子勾搭我。我知道，難以相信吧?他很有魅力，說(shuō)了不少奉承的話，結(jié)果我拒絕了。知道他的搭訕不成功在哪嗎?他說(shuō)他能讓我感到又回到了22歲??那天晚上我意識(shí)到，40歲時(shí)不想回到22歲的人或許就只有我了。22歲時(shí)，我愛(ài)上了我的老板，在24歲那年，我明白了其毀滅性的后果。

能否請(qǐng)大家舉手告訴我，如果你覺(jué)得自己22歲時(shí)沒(méi)有犯過(guò)錯(cuò)，沒(méi)有做過(guò)讓自己后悔的事，請(qǐng)舉手?同我想的一樣，和我一樣，22歲那年，你們中的一些人大概也犯過(guò)錯(cuò)，愛(ài)上過(guò)錯(cuò)誤的人，或許也正是你的老板。不過(guò)和我不同，你的老板八成不是美國(guó)總統(tǒng)。當(dāng)然，生活充滿了意外。每一天我都被提醒這個(gè)錯(cuò)誤，我每天都在深深后悔。

1998年 在卷入一段不可能的愛(ài)情之后，我被卷入政治、法律和媒體的漩渦中心，一場(chǎng)前所未見(jiàn)的漩渦。記得吧，就在幾年前，新聞只有三個(gè)來(lái)源：讀報(bào)刊雜志、聽(tīng)收音機(jī)和看電視，就這些了。但我的命并沒(méi)這么好，這起丑聞通過(guò)數(shù)字革命被公之于眾。數(shù)字革命意味著我們能獲取所有想要的信息，不管何時(shí)何地。丑聞在1998年1月被首次揭露就是通過(guò)互聯(lián)網(wǎng)。這是傳統(tǒng)媒體第一次在重大事件報(bào)道上被因特網(wǎng)搶先，一個(gè)點(diǎn)擊的聲音響徹了全世界。

對(duì)我個(gè)人而言，它讓我一夜間從一個(gè)完完全全的無(wú)名人士變成一個(gè)被全世界公開(kāi)羞辱的對(duì)象。我成了零號(hào)病人，第一個(gè)經(jīng)歷如何在全球范圍內(nèi)瞬間失去個(gè)人聲譽(yù)。

這種由科技促進(jìn)的草率道德審判導(dǎo)致我在網(wǎng)絡(luò)世界里被投石暴民圍攻。誠(chéng)然，這是在社交媒體出現(xiàn)之前，不過(guò)人們還是可以在線評(píng)論，郵件轉(zhuǎn)發(fā)故事，當(dāng)然，也能轉(zhuǎn)發(fā)殘忍的笑話。新聞媒體將我的照片貼得到處都是，借此銷售報(bào)紙，為網(wǎng)站吸引廣告商，為電視吸引眼球。

記得我那張照片嗎?戴著貝雷帽的那張?我承認(rèn)，我犯了錯(cuò)誤，特別是不該戴那頂貝雷帽。在關(guān)注故事之外，人們對(duì)我個(gè)人的關(guān)注和道德審判也是前所未有的，我被打上各種標(biāo)簽 蕩婦、妓女、母狗、婊子、賤人，當(dāng)然還有 “那個(gè)女人”。很多人都看到了我，但很少有人了解我。我明白，人們很容易忘記一個(gè)女人是多維度的，其實(shí)她也有靈魂，也曾是完好無(wú)缺的。17年前，這些發(fā)生在我身上的事還沒(méi)有專門的名詞來(lái)稱呼。現(xiàn)在，我們稱之為網(wǎng)絡(luò)欺凌和線上騷擾。

今天，我想和大家分享一些個(gè)人經(jīng)歷，我要講講這些經(jīng)歷如何塑造了我的文化觀察。我希望我過(guò)去的經(jīng)歷，能夠引起變革，讓其他人少遭遇欺凌。1998年 我失去了聲譽(yù)和尊嚴(yán)，我?guī)缀跏チ艘磺校ㄉＷ屛医o大家描繪一下，這是1998年9月，我坐在一間沒(méi)有窗戶的辦公室，在獨(dú)立檢察官辦公室，嗡嗡作響的熒光燈下，我聽(tīng)著自己的聲音，這是一年前電話竊聽(tīng)錄取的聲音，這位錄音者，我原來(lái)還當(dāng)作朋友。我坐在那里是因?yàn)榉梢螅乙H自鑒定全部二十小時(shí)的對(duì)話錄音。過(guò)去的八個(gè)月，這些錄音帶中的神秘內(nèi)容，就像達(dá)摩克利斯之劍一樣懸在我的頭頂。想想，誰(shuí)能記得自己一年前說(shuō)了什么。我很害怕，很屈辱地聽(tīng)著，聽(tīng)我自己平日閑暇時(shí)的扯東拉西，聽(tīng)我自己坦白對(duì)總統(tǒng)的愛(ài)意。當(dāng)然，還有我的心碎。聽(tīng)到那個(gè)有時(shí)狡猾、有時(shí)暴躁、有時(shí)愚蠢的我——無(wú)情、記仇、粗魯。我聽(tīng)著，深深地感到羞愧，這是最糟糕的我，糟糕到我自己都不認(rèn)識(shí)。

幾天后 斯塔爾報(bào)告被提交給國(guó)會(huì)，所有錄音和原文稿，所有被竊取的言語(yǔ)，都成了其中一部分。人們能夠讀到原文稿就已經(jīng)很讓人害怕了，但這還沒(méi)完，數(shù)周后，錄音帶又被公開(kāi)到電視上，還有很大一部分散播到了網(wǎng)上。這種公開(kāi)羞辱很折磨人，生命幾乎變得不可承受。這種情況在1998年的時(shí)候發(fā)生得并不常見(jiàn)，“這種情況”指的是竊取人們的私下言語(yǔ)、行為、對(duì)話或照片將之公開(kāi)于眾--沒(méi)有征得同意的公開(kāi)、沒(méi)有來(lái)龍去脈的公開(kāi)、沒(méi)有絲毫同情的公開(kāi)。

快進(jìn)12年到2010年，社交媒體出現(xiàn)了，像我這樣的例子開(kāi)始越來(lái)越多，甚至無(wú)論當(dāng)事人有沒(méi)有犯錯(cuò)。而且公眾人物和普通人都深受其害，有些事件的結(jié)果非常悲慘。

2010年9月 我和我媽打了一通電話，我們談到了一則新聞，關(guān)于羅格斯大學(xué)的一個(gè)大學(xué)新生。他叫泰勒·克萊門蒂——親切、靈敏、富有創(chuàng)造性的泰勒被室友偷拍到和另一個(gè)男的有親密行為，視頻被傳播到網(wǎng)上，嘲笑和網(wǎng)絡(luò)欺凌之火被點(diǎn)燃。幾天后，泰勒從喬治·華盛頓大橋縱身躍下??生命就這樣逝去??他只有18歲。

我媽講到泰勒和他家人時(shí)非常激動(dòng)，她發(fā)自內(nèi)心的痛苦。我在當(dāng)時(shí)還有點(diǎn)無(wú)法理解，不過(guò)我逐漸意識(shí)到，她在重新經(jīng)歷1998年，重新經(jīng)歷她每晚都坐在我的床頭的時(shí)候，重新經(jīng)歷她讓我洗澡時(shí)不要關(guān)門的時(shí)候，重新經(jīng)歷她和爸爸擔(dān)心我會(huì)因?yàn)樾呷瓒廊サ臅r(shí)候。一點(diǎn)也不夸張。

現(xiàn)如今，很多父母都沒(méi)來(lái)得及介入挽救自己至愛(ài)的子女，很多父母在知道子女的痛苦和羞辱時(shí)都為時(shí)已晚。泰勒悲劇而無(wú)謂的死亡，對(duì)我而言是一個(gè)轉(zhuǎn)折點(diǎn)。它讓我重新審視了我的親身經(jīng)歷，讓我開(kāi)始思考周遭充滿羞辱和欺凌的世界，讓我看到了不同的東西。

在1998年 沒(méi)人知道因特網(wǎng)這種新生技術(shù)會(huì)將人類引往何方。自誕生以來(lái)，因特網(wǎng)讓人類以難以設(shè)想的方式聯(lián)系了起來(lái)，讓人們找到失散的兄弟姐妹、挽救生命，發(fā)起革命。不過(guò)同時(shí)，我所經(jīng)歷的陰暗面、網(wǎng)絡(luò)欺凌和肆意辱罵也如雨后春筍增生。每天在網(wǎng)上，總有人，特別是依然稚嫩不知如何處理這些的年輕人總會(huì)被如此欺凌和羞辱，以至于感覺(jué)無(wú)法活到第二天，有些人也確實(shí)悲劇地因此而死。這一點(diǎn)也不虛擬。

ChildLine是致力于幫助年輕人處理各種問(wèn)題的英國(guó)公益組織。去年，該組織發(fā)布了一則驚人的統(tǒng)計(jì)結(jié)果，2012到2013年，與網(wǎng)絡(luò)欺凌相關(guān)的電話和電子郵件增加了87%。一篇來(lái)自荷蘭的綜合分析首次顯示出，網(wǎng)絡(luò)欺凌比網(wǎng)下欺凌更容易導(dǎo)致自殺意念。去年還有一項(xiàng)研究讓我很震驚，或許我本不該驚訝，該研究顯示羞辱是比高興、甚至憤怒都更為強(qiáng)烈的情感。對(duì)他人殘忍已經(jīng)不是新鮮事了，但網(wǎng)上，由技術(shù)促進(jìn)的羞辱卻會(huì)被放大，不受遏制而且永遠(yuǎn)可以被看到。傳統(tǒng)的羞辱只會(huì)局限于家庭、村莊、學(xué)校或是社區(qū)，而現(xiàn)在則會(huì)擴(kuò)展到網(wǎng)絡(luò)社區(qū)。成百萬(wàn)上千萬(wàn)的人能匿名地用言語(yǔ)攻擊你，這會(huì)讓人非常痛苦，而且能夠公開(kāi)看到這些攻擊的人是沒(méi)有限定范圍的。被公開(kāi)羞辱對(duì)個(gè)人損害很大，因特網(wǎng)的傳播大幅提升了這個(gè)損害。

近二十年來(lái)，我們逐漸在文化的土壤中，播下了羞辱和公開(kāi)侮辱的種子。無(wú)論是網(wǎng)上還是網(wǎng)下，八卦網(wǎng)站、狗仔隊(duì)、真人節(jié)目、政治、新聞報(bào)道甚至黑客，這些都是羞辱的渠道。麻木不仁、無(wú)孔不入的網(wǎng)絡(luò)環(huán)境讓網(wǎng)絡(luò)煽動(dòng)、隱私侵犯、網(wǎng)絡(luò)欺凌越來(lái)越猖獗。這種轉(zhuǎn)變創(chuàng)造出了尼古拉斯·米爾斯教授所說(shuō)的“羞辱文化”。

來(lái)看一些顯著例子 這些還只是最近六個(gè)月發(fā)生的。“Snapchat”該服務(wù)主要是年輕人在用，宣稱其內(nèi)容閱后即焚，信息只會(huì)存在幾秒，可以想象這會(huì)涉及到哪類內(nèi)容。Snapchat用戶所使用的一種長(zhǎng)久保留信息的第三方應(yīng)用程序被入侵了，十萬(wàn)人的個(gè)人對(duì)話、照片、視頻被泄露到網(wǎng)上，這些內(nèi)容的壽命就這樣變成了永遠(yuǎn)。詹妮弗·勞倫斯和其他幾位演員的iCloud帳戶被入侵，私人私密裸照被傳播到互聯(lián)網(wǎng)上，未經(jīng)任何允許。一個(gè)八卦網(wǎng)站僅僅因?yàn)檫@一個(gè)內(nèi)容，就獲得了五百萬(wàn)以上的點(diǎn)擊量。再想想索尼影業(yè)黑客襲擊，最受關(guān)注的文檔，竟然是公開(kāi)羞辱價(jià)值最大的一些私人郵件。在這種羞辱文化中，公開(kāi)羞辱還被貼上了另一種價(jià)格標(biāo)簽，這里衡量的并不是受害者遭受了多少損失，諸如泰勒，還有很多人的遭遇，尤其是女性、少數(shù)群體以及多元性別群體中的成員。這里的價(jià)格標(biāo)簽衡量的是借此牟利者的利潤(rùn)，侵入他人私人領(lǐng)域成了一種原料受到這些人的無(wú)情挖掘、包裝和銷售。一個(gè)市場(chǎng)在誕生，公開(kāi)羞辱變成了其中的商品。

恥辱則變成了一種產(chǎn)業(yè)。如何賺錢呢?點(diǎn)擊。羞辱越多，點(diǎn)擊也就越多，點(diǎn)擊越多，廣告費(fèi)也越多。這是一個(gè)危險(xiǎn)的循環(huán)。我們對(duì)這些八卦點(diǎn)擊得越多，我們就會(huì)對(duì)故事背后的人越麻木，我們?cè)绞锹槟荆驮綍?huì)去點(diǎn)擊。自始至終，都是有些人在利用他人的痛苦在牟利，每一次點(diǎn)擊，我們都是在作出選擇。文化中充斥的公開(kāi)羞辱越多，越被接受，我們就會(huì)越多地看到網(wǎng)絡(luò)欺凌、網(wǎng)絡(luò)煽動(dòng)、黑客入侵，還有線上騷擾。為什么?因?yàn)樗鼈兊暮诵亩际切呷瑁@種行為成為了我們所創(chuàng)造的一種文化癥狀。

改變行為從改變信念開(kāi)始，無(wú)論是種族歧視還是同性戀歧視，現(xiàn)在和過(guò)去的很多歧視都是這樣來(lái)消除。隨著對(duì)同性婚姻觀念的改變，更多人被賦予了平等的自由。隨著對(duì)可持續(xù)性的倡導(dǎo)，越來(lái)越多的人開(kāi)始回收利用。對(duì)于羞辱的文化也應(yīng)如此，我們需要文化革命，公開(kāi)羞辱這種流血的娛樂(lè)應(yīng)當(dāng)終止。無(wú)論是因特網(wǎng)上、還是文化中，現(xiàn)在都該干預(yù)了。

轉(zhuǎn)變可以從簡(jiǎn)單的事開(kāi)始，不過(guò)它本身并不簡(jiǎn)單。我們需要回歸人類固有的一種價(jià)值，也就是同情心和同理心。網(wǎng)上正在經(jīng)歷同情心缺乏和同理心危機(jī)。引用研究者布琳·布朗的話，”羞辱在同理心下無(wú)法存活”。

我生命中經(jīng)歷了一些異常黑暗的日子，是來(lái)自家人、朋友、專業(yè)人士甚至一些陌生人的同情心和同理心拯救了我，哪怕只有一個(gè)人的理解也會(huì)很有用。社會(huì)心理學(xué)家謝爾蓋·莫斯科維奇所提出的小眾影響理論認(rèn)為哪怕是小眾人群，只要能堅(jiān)持下去，變化也能發(fā)生。在網(wǎng)絡(luò)世界中，我們可以通過(guò)站起來(lái)來(lái)培育小眾影響力，站起來(lái)是說(shuō)不再冷漠旁觀而是發(fā)表積極評(píng)論支持受害者或是舉報(bào)欺凌現(xiàn)象。相信我，富有同情心的評(píng)論能夠減少消極效果，我們還可以通過(guò)支持處理這類問(wèn)題的組織機(jī)構(gòu)來(lái)對(duì)抗這種羞辱文化。例如：美國(guó)有泰勒·克萊門蒂基金會(huì)，英國(guó)有反欺凌項(xiàng)目，澳大利亞有Rockit項(xiàng)目。

我們經(jīng)常提到表達(dá)自由的權(quán)利，此外我們還應(yīng)該更多地談到我們?cè)诒磉_(dá)自由上的責(zé)任。我們都希望自己的聲音被聽(tīng)到，不過(guò)我們需要區(qū)分懷有意圖的發(fā)聲和請(qǐng)求關(guān)注的發(fā)聲，因特網(wǎng)是表達(dá)自我的超級(jí)高速公路。不過(guò)在網(wǎng)上換位思考他人處境對(duì)所有人都是有利的，而且能夠幫助創(chuàng)建更安全更美好的世界。我們需要懷著同情心在網(wǎng)上交流，懷著同情心閱讀新聞，懷著同情心點(diǎn)擊網(wǎng)站。

試想下自己活在別人的新聞?lì)^條里。

最后，我想以個(gè)人說(shuō)明作結(jié)，過(guò)去九個(gè)月里我被問(wèn)得最多的問(wèn)題是為什么，為什么現(xiàn)在，為什么我要出這個(gè)頭。你們應(yīng)該可以聽(tīng)出這些問(wèn)題的言外之意。答案同政治無(wú)關(guān)。

我的回答是：因?yàn)槭菚r(shí)候了，是時(shí)候不再為過(guò)去而小心翼翼，是時(shí)候不再背負(fù)恥辱地活著，是時(shí)候講述自己的經(jīng)歷。這不僅僅是為了拯救我自己，任何遭受恥辱和公開(kāi)羞辱的人都需要知道一點(diǎn)——你能撐過(guò)來(lái)，我知道這很難，肯定會(huì)有痛苦，肯定不會(huì)來(lái)得輕松容易。不過(guò)你能堅(jiān)持下去 并書(shū)寫(xiě)出不同的故事結(jié)局。同情自己，我們都值得同情，無(wú)論線上還是線下，我們都需要生活在一個(gè)更富有同情心的世界。

謝謝聆聽(tīng)!

萊溫斯基TED演講稿（英文版）

You're looking at a woman who was publicly silent for a decade.Obviously, that's changed, but only recently.It was several months ago that I gave my very first major public talk at the Forbes 30 Under 30 summit:1,500 brilliant people, all under the age of 30.That meant that in 1998, the oldest among the group were only 14, and the youngest, just four.I joked with them that some might only have heard of me from rap songs.Yes, I'm in rap songs.Almost 40 rap songs.But the night of my speech, a surprising thing happened.At the age of 41, I was hit on by a 27-year-old guy.I know, right? He was charming and I was flattered, and I declined.You know what his unsuccessful pickup line was? He could make me feel 22 again.I realized later that night, I'm probably the only person over 40 who does not want to be 22 again.At the age of 22, I fell in love with my boss, and at the age of 24, I learned the devastating consequences.Can I see a show of hands of anyone here who didn't make a mistake or do something they regretted at 22? Yep.That's what I thought.So like me, at 22, a few of you may have also taken wrong turns and fallen in love with the wrong person, maybe even your boss.Unlike me, though, your boss probably wasn't the president of the United States of America.Of course, life is full of surprises.Not a day goes by that I'm not reminded of my mistake, and I regret that mistake deeply.In 1998, after having been swept up into an improbable romance, I was then swept up into the eye of a political, legal and media maelstrom like we had never seen before.Remember, just a few years earlier,news was consumed from just three places: reading a newspaper or magazine, listening to the radio, or watching television.That was it.But that wasn't my fate.Instead, this scandal was brought to you by the digital revolution.That meant we could access all the information we wanted, when we wanted it, anytime, anywhere, and when the story broke in January 1998, it broke online.It was the first time the traditional news was usurped by the Internet for a major news story, a click that reverberated around the world.What that meant for me personally was that overnight I went from being a completely private figure to a publicly humiliated one worldwide.I was patient zero of losing a personal reputation on a global scale almost instantaneously.This rush to judgment, enabled by technology, led to mobs of virtual stone-throwers.Granted, it was before social media, but people could still comment online, email stories, and, of course, email cruel jokes.News sources plastered photos of me all over to sell newspapers, banner ads online, and to keep people tuned to the TV.Do you recall a particular image of me, say, wearing a beret?

Now, I admit I made mistakes, especially wearing that beret.But the attention and judgment that I received, not the story, but that I personally received, was unprecedented.I was branded as a tramp, tart, slut, whore, bimbo, and, of course, that woman.I was seen by many but actually known by few.And I get it: it was easy to forget that that woman was dimensional, had a soul, and was once unbroken.When this happened to me 17 years ago, there was no name for it.Now we call it cyberbullying(網(wǎng)絡(luò)欺凌)andonline harassment(網(wǎng)絡(luò)騷擾).Today, I want to share some of my experience with you, talk about how that experience has helped shape my cultural observations, and how I hope my past experience can lead to a change that results in less suffering for others.In 1998, I lost my reputation and my dignity.I lost almost everything, and I almost lost my life.Let me paint a picture for you.It is September of 1998.I'm sitting in a windowless office room inside the Office of the Independent Counsel underneath humming fluorescent lights.I'm listening to the sound of my voice, my voice on surreptitiously taped phone calls that a supposed friend had made the year before.I'm here because I've been legally required to personally authenticate all 20 hours of taped conversation.For the past eight months, the mysterious content of these tapes has hung like the Sword of Damocles over my head.I mean, who can remember what they said a year ago? Scared and mortified, I listen, listen as I prattle on about the flotsam and jetsam of the day;listen as I confess my love for the president, and, of course, my heartbreak;listen to my sometimes catty, sometimes churlish, sometimes silly self being cruel, unforgiving, uncouth;listen, deeply, deeply ashamed, to the worst version of myself,a self I don't even recognize.A few days later, the Starr Report is released to Congress, and all of those tapes and trans, those stolen words, form a part of it.That people can read the trans is horrific enough, but a few weeks later, the audio tapes are aired on TV, and significant portions made available online.The public humiliation was excruciating.Life was almost unbearable.This was not something that happened with regularity back then in 1998, and by this, I mean the stealing of people's private words, actions, conversations or photos, and then making them public--public without consent, public without context, and public without compassion.Fast forward 12 years to 2010, and now social media has been born.The landscape has sadly become much more populated with instances like mine, whether or not someone actually make a mistake, and now it's for both public and private people.The consequences for some have become dire, very dire.I was on the phone with my mom in September of 2010, and we were talking about the news of a young college freshman from Rutgers University named Tyler Clementi.Sweet, sensitive, creative Tyler was secretly webcammed by his roommate while being intimate with another man.When the online world learned of this incident, the ridicule and cyberbullying ignited.A few days later, Tyler jumped from the George Washington Bridge to his death.He was 18.My mom was beside herself about what happened to Tyler and his family, and she was gutted with painin a way that I just couldn't quite understand, and then eventually I realized she was reliving 1998, reliving a time when she sat by my bed every night, reliving a time when she made me shower with the bathroom door open, and reliving a time when both of my parents feared that I would be humiliated to death,literally.Today, too many parents haven't had the chance to step in and rescue their loved ones.Too many have learned of their child's suffering and humiliation after it was too late.Tyler's tragic, senseless death was a turning point for me.It served to recontextualize my experiences, and I then began to look at the world of humiliation and bullying around me and see something different.In 1998, we had no way of knowing where this brave new technology called the Internet would take us.Since then, it has connected people in unimaginable ways, joining lost siblings, saving lives, launching revolutions, but the darkness, cyberbullying, and slut-shaming that I experienced had mushroomed.Every day online, people, especially young people who are not developmentally equipped to handle this, are so abused and humiliated that they can't imagine living to the next day, and some, tragically, don't, and there's nothing virtual about that.ChildLine, a U.K.nonprofit that's focused on helping young people on various issues,released a staggering statistic late last year: From 2012 to 2013, there was an 87 percent increase in calls and emails related to cyberbullying.A meta-analysis done out of the Netherlands showed that for the first time, cyberbullying was leading to suicidal ideations more significantly than offline bullying.And you know what shocked me, although it shouldn't have, was other research last year that determined humiliation was a more intensely felt emotion than either happiness or even anger.Cruelty to others is nothing new, but online, technologically enhanced shaming is amplified, uncontained, and permanently accessible.The echo of embarrassment used to extend only as far as your family, village, school or community, but now it's the online community too.Millions of people, often anonymously, can stab you with their words, and that's a lot of pain, and there are no perimeters around how many people can publicly observe you and put you in a public stockade.There is a very personal price to public humiliation, and the growth of the Internet has jacked up that price.For nearly two decades now, we have slowly been sowing the seeds of shame and public humiliation in our cultural soil, both on-and offline.Gossip websites, paparazzi, reality programming, politics, news outlets and sometimes hackers all traffic in shame.It's led to desensitization and a permissive environment online which lends itself to trolling, invasion of privacy, and cyberbullying.This shift has created what Professor Nicolaus Mills calls a culture of humiliation.Consider a few prominent examples just from the past six months alone.Snapchat, the service which is used mainly by younger generationsand claims that its messages only have the lifespan of a few seconds.You can imagine the range of content that that gets.A third-party app which Snapchatters use to preserve the lifespan of the messages was hacked, and 100,000 personal conversations, photos, and videos were leaked online to now have a lifespan of forever.Jennifer Lawrence and several other actors had their iCloud accounts hacked, and private, intimate, nude photos were plastered across the Internet without their permission.One gossip website had over five million hits for this one story.And what about the Sony Pictures cyberhacking? The documents which received the most attention were private emails that had maximum public embarrassment value.But in this culture of humiliation, there is another kind of price tag attached to public shaming.The price does not measure the cost to the victim, which Tyler and too many others, notably women, minorities,and members of the LGBTQ community have paid, but the price measures the profit of those who prey on them.This invasion of others is a raw material, efficiently and ruthlessly mined, packaged and sold at a profit.A marketplace has emerged where public humiliation is a commodity and shame is an industry.How is the money made? Clicks.The more shame, the more clicks.The more clicks, the more advertising dollars.We're in a dangerous cycle.The more we click on this kind of gossip, the more numb we get to the human lives behind it, and the more numb we get, the more we click.All the while, someone is making money off of the back of someone else's suffering.With every click, we make a choice.The more we saturate our culture with public shaming, the more accepted it is, the more we will see behavior like cyberbullying, trolling, some forms of hacking, and online harassment.Why? Because they all have humiliation at their cores.This behavior is a symptom of the culture we've created.Just think about it.Changing behavior begins with evolving beliefs.We've seen that to be true with racism, homophobia, and plenty of other biases, today and in the past.As we've changed beliefs about same-sex marriage, more people have been offered equal freedoms.When we began valuing sustainability, more people began to recycle.So as far as our culture of humiliation goes, what we need is a cultural revolution.Public shaming as a blood sport has to stop, and it's time for an intervention on the Internet and in our culture.The shift begins with something simple, but it's not easy.We need to return to a long-held value of compassion--compassion and empathy.Online, we've got a compassion deficit, an empathy crisis.Researcher Brené Brown said, and I quote, “Shame can't survive empathy.” Shame cannot survive empathy.I've seen some very dark days in my life, and it was the compassion and empathy from my family, friends, professionals, and sometimes even strangers that saved me.Even empathy from one person can make a difference.The theory of minority influence, proposed by social psychologist Serge Moscovici, says that even in small numbers, when there's consistency over time, change can happen.In the online world, we can foster minority influence by becoming upstanders.To become an upstander means instead of bystander apathy, we can post a positive comment for someone or report a bullying situation.Trust me, compassionate comments help abate the negativity.We can also counteract the culture by supporting organizations that deal with these kinds of issues, like the Tyler Clementi Foundation in the U.S., In the U.K., there's Anti-Bullying Pro, and in Australia, there's Project Rockit.We talk a lot about our right to freedom of expression, but we need to talk more about our responsibility to freedom of expression.We all want to be heard, but let's acknowledge the difference between speaking up with intention and speaking up for attention.The Internet is the superhighway for the id, but online, showing empathy to others benefits us all and helps create a safer and better world.We need to communicate online with compassion, consume news with compassion, and click with compassion.Just imagine walking a mile in someone else's headline.I'd like to end on a personal note.In the past nine months, the question I've been asked the most is why.Why now? Why was I sticking my head above the parapet? You can read between the lines in those questions, and the answer has nothing to do with politics.The top note answer was and is because it's time: time to stop tip-toeing around my past;time to stop living a life of opprobrium;and time to take back my narrative.It's also not just about saving myself.Anyone who is suffering from shame and public humiliation needs to know one thing: You can survive it.I know it's hard.It may not be painless, quick or easy, but you can insist on a different ending to your story.Have compassion for yourself.We all deserve compassion, and to live both online and off in a more compassionate world.Thank you for listening.

第三篇：萊溫斯基ted演講稿

萊溫斯基ted演講稿

萊溫斯基ted演講稿陳述了網(wǎng)絡(luò)語(yǔ)言欺凌受害者的苦楚，這里從萊溫斯基22歲的時(shí)候擔(dān)任白宮實(shí)習(xí)生開(kāi)始，因?yàn)樗龕?ài)上了她的老板，也就是克林頓總統(tǒng)，然之萊溫斯基被貼上了丑惡的標(biāo)簽，這次站在TED演講上表達(dá)了她的想法，以下是這篇萊溫斯基ted演講稿

萊溫斯基ted演講稿

You’re looking at a woman who was publicly silent for a decade.Obviously, that’s changed, but only recently.It was several months ago that I gave my very first major public talk at the Forbes 30 Under 30 summit:1,500 brilliant people, all under the age of 30.That meant

that in 1998, the oldest among the group were only 14, and the youngest, just four.I joked with them that some might only have heard of me from rap songs.Yes, I’m in rap songs.Almost 40 rap songs.But the night of my speech, a surprising thing happened.At the age of 41, I was hit on by a 27-year-old guy.I know, right? He was charming and I was flattered, and I declined.You know what his unsuccessful pickup line was? He could make me feel 22 again.I realized later that night, I’m probably the only person over 40 who does not want to be 22 again.At the age of 22, I fell in love with my boss, and at the age of 24, I learned the devastating consequences.Can I see a show of hands of anyone here who didn’t make a mistake or do something they regretted at 22? Yep.That’s what I thought.So like me, at 22, a few of you may have also taken wrong

turns and fallen in love with the wrong person, maybe even your boss.Unlike me, though, your boss probably wasn’t the president of the United States of America.Of course, life is full of surprises.Not a day goes by that I’m not reminded of my mistake, and I regret that mistake deeply.In 1998, after having been swept up into an improbable romance, I was then swept up into the eye of a political, legal and media maelstrom like we had never seen before.Remember, just a few years earlier,news was consumed from just three places: reading a newspaper or magazine, listening to the radio, or watching television.That was it.But that wasn’t my fate.Instead, this scandal was brought to you by the digital revolution.That meant we could access all the information we wanted, when we wanted it, anytime, anywhere, and when the story broke in

January 1998, it broke online.It was the first time the traditional news was usurped by the Internet for a major news story, a click that reverberated around the world.What that meant for me personally was that overnight I went from being a completely private figure to a publicly humiliated one worldwide.I was patient zero of losing a personal reputation on a global scale almost instantaneously.This rush to judgment, enabled by technology, led to mobs of virtual stone-throwers.Granted, it was before social media, but people could still comment online, email stories, and, of course, email cruel jokes.News sources plastered photos of me all over to sell newspapers, banner ads online, and to keep people tuned to the TV.Do you recall a particular image of me, say, wearing a beret?

Now, I admit I made mistakes，especially wearing that beret.But the attention and judgment that I received, not the story, but that I personally received, was unprecedented.I was branded as a tramp, tart, slut, whore, bimbo, and, of course, that woman.I was seen by many but actually known by few.And I get it: it was easy to forget that that woman was dimensional, had a soul, and was once unbroken.(我承認(rèn)我當(dāng)時(shí)犯了錯(cuò)——特別是不該戴那頂貝雷帽——但那個(gè)新聞事件之外，我個(gè)人得到的關(guān)注和道德審判是前所未有的。一夜之間，我從一介無(wú)名之輩成為了全世界公開(kāi)羞辱的對(duì)象。在虛擬的網(wǎng)絡(luò)世界里，有無(wú)數(shù)向我投擲石塊的暴徒。我被打上娼婦、蕩婦、婊子、蠢貨的烙印，成為人們口中的‘那個(gè)女人’。許多人都認(rèn)得我，但很少人真正了解我。我能理解，因?yàn)槿藗兒苋菀淄洝莻€(gè)女人’也是實(shí)實(shí)在在的生命，也有自己的靈魂。)

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第四篇：TED演講中英對(duì)照3

My job is to design, build and study robots that communicate with people.But this story doesn't start with robotics at all, it starts with animation.When I first saw Pixar's “Luxo Jr.,” I was amazed by how much emotion they could put into something as trivial as a desk lamp.I mean, look at them--at the end of this movie, you actually feel something for two pieces of furniture.(Laughter)And I said, I have to learn how to do this.So I made a really bad career decision.And that's what my mom was like when I did it.(Laughter)I left a very cozy tech job in Israel at a nice software company and I moved to New York to study animation.And there I lived in a collapsing apartment building in Harlem with roommates.I'm not using this phrase metaphorically, the ceiling actually collapsed one day in our living room.Whenever they did those news stories about building violations in New York, they would put the report in front of our building.As kind of like a backdrop to show how bad things are.我的工作是設(shè)計(jì)、構(gòu)造和研究 那些能夠與人交流的機(jī)器人。不過(guò)這個(gè)故事不是從機(jī)器人說(shuō)起，而是要從動(dòng)畫(huà)說(shuō)起。當(dāng)我第一次看到皮克斯的《頑皮跳跳燈》電影時(shí)，我驚呆了，一個(gè)如此微不足道的臺(tái)燈 竟能表現(xiàn)如此多的感情。你看他們啊！電影結(jié)尾的時(shí)候，你真的開(kāi)始喜歡上這兩件小小的家具了。（笑聲）我對(duì)自己說(shuō)，我要學(xué)會(huì)做這樣的東西。所以我做了一個(gè)很壞的職業(yè)決策，我做出這個(gè)決定的時(shí)候，我媽媽就是這樣的。（笑聲）我辭去了在以色列一個(gè)軟件公司的 一份非常舒服的技術(shù)工作，我搬到了紐約 去學(xué)習(xí)動(dòng)畫(huà)。在那，我和我的室友住在 哈萊姆一棟即將坍塌的公寓樓里。我沒(méi)有夸張，有一天天花板真的塌下來(lái)了 就塌在了我們的客廳里。每次報(bào)到紐約的違章建筑時(shí)，他們都會(huì)跑到們的大樓下進(jìn)行采訪。就好像讓你看看現(xiàn)場(chǎng)有多糟糕一樣。

Anyway, during the day I went to school and at night I would sit and draw frame by frame of pencil animation.And I learned two surprising lessons--one of them was that when you want to arouse emotions, it doesn't matter so much how something looks, it's all in the motion--it's in the timing of how the thing moves.And the second, was something one of our teachers told us.He actually did the weasel in Ice Age.And he said: “As an animator you are not a director, you're an actor.” So, if you want to find the right motion for a character, don't think about it, go use your body to find it--stand in front of a mirror, act it out in front of a camera--whatever you need.And then put it back in your character.言歸正傳，我上學(xué)的日日夜夜，我不停地一幅又一幅地用鉛筆畫(huà)著畫(huà)。我學(xué)到了兩個(gè)讓我驚訝的東西—— 其中一個(gè)是： 當(dāng)你想要喚起某些情感時(shí)，外觀并不算太重要，關(guān)鍵是動(dòng)作——物體運(yùn)動(dòng)時(shí)，對(duì)時(shí)間的把握。關(guān)鍵是動(dòng)作——物體運(yùn)動(dòng)時(shí)，對(duì)時(shí)間的把握。第二個(gè)是我們的一個(gè)老師告訴我們的。他正是電影《冰河世紀(jì)》的黃鼠狼。他說(shuō)： ”作為一個(gè)動(dòng)畫(huà)制作者，你不是一個(gè)導(dǎo)演，而是一個(gè)演員。“ 所以如果你要為一個(gè)角色找到正確的肢體語(yǔ)言，不要想，用你的身體找到它，站在鏡子面前，攝像機(jī)前，演出來(lái)，無(wú)論你需要做什么。然后再把這個(gè)動(dòng)作放在你的角色上。

A year later I found myself at MIT in the robotic life group, it was one of the first groups researching the relationships between humans and robots.And I still had this dream to make an actual, physical Luxo Jr.lamp.But I found that robots didn't move at all in this engaging way that I was used to for my animation studies.Instead, they were all--how should I put it, they were all kind of robotic.(Laughter)And I thought, what if I took whatever I learned in animation school, and used that to design my robotic desk lamp.So I went and designed frame by frame to try to make this robot as graceful and engaging as possible.And here when you see the robot interacting with me on a desktop.And I'm actually redesigning the robot so, unbeknownst to itself, it's kind of digging its own grave by helping me.(Laughter)I wanted it to be less of a mechanical structure giving me light, and more of a helpful, kind of quiet apprentice that's always there when you need it and doesn't really interfere.And when, for example, I'm looking for a battery that I can't find, in a subtle way, it will show me where the battery is.So you can see my confusion here.I'm not an actor.And I want you to notice how the same mechanical structure can at one point, just by the way it moves seem gentle and caring--and in the other case, seem violent and confrontational.And it's the same structure, just the motion is different.Actor: “You want to know something? Well, you want to know something? He was already dead!Just laying there, eyes glazed over!”(Laughter)But, moving in graceful ways is just one building block of this whole structure called human-robot interaction.I was at the time doing my Ph.D., I was working on human robot teamwork;teams of humans and robots working together.I was studying the engineering, the psychology, the philosophy of teamwork.And at the same time I found myself in my own kind of teamwork situation with a good friend of mine who is actually here.And in that situation we can easily imagine robots in the near future being there with us.It was after a Passover seder.We were folding up a lot of folding chairs, and I was amazed at how quickly we found our own rhythm.Everybody did their own part.We didn't have to divide our tasks.We didn't have to communicate verbally about this.It all just happened.And I thought, humans and robots don't look at all like this.When humans and robots interact, it's much more like a chess game.The human does a thing, the robot analyzes whatever the human did, then the robot decides what to do next, plans it and does it.And then the human waits, until it's their turn again.So, it's much more like a chess game and that makes sense because chess is great for mathematicians and computer scientists.It's all about information analysis, decision making and planning.一年以后，我去了麻省理工大學(xué)（MIT）的 機(jī)器人生命小組，這是最早 開(kāi)始研究人類和機(jī)器人關(guān)系的小組之一。我依然懷揣著要造一個(gè) 真正的、可觸碰的頑皮跳跳燈的夢(mèng)想。但是我發(fā)現(xiàn)機(jī)器人完全不是 按照我的動(dòng)畫(huà)課程中的那種 引人入勝的方式移動(dòng)。相反的，他們都—— 該怎么說(shuō)呢？他們都有點(diǎn)兒機(jī)械化。（笑聲）我就想，如果我可以把我在動(dòng)畫(huà)學(xué)校學(xué)到的東西 應(yīng)用于設(shè)計(jì)我的機(jī)器人臺(tái)燈會(huì)怎樣？ 因此我設(shè)計(jì)了一幅又一幅，試圖讓這個(gè)機(jī)器人 盡量?jī)?yōu)雅、有吸引力。這里你可以看到這個(gè)桌子上的機(jī)器人 在跟我互動(dòng)，我其實(shí)是在重新設(shè)計(jì)這個(gè)機(jī)器人，而這個(gè)機(jī)器人完全不知道，它幫我，其實(shí)是在自掘墳?zāi)鼓亍＃ㄐβ暎┍绕鸢阉龀梢粋€(gè)照明的機(jī)械，比起把他它做成一個(gè)照明的機(jī)械，我更想要一個(gè)能幫忙的、安靜的學(xué)徒，隨時(shí)滿足你的需求卻不打擾你。比如，當(dāng)我要找一個(gè)我怎么也 找不到的電池時(shí)，它可以巧妙地提醒我電池在哪里。你看到我的困惑了嗎？ 我不是一個(gè)演員。我希望你們注意到，同一個(gè)機(jī)械如何 在前一刻非常溫柔、充滿關(guān)懷，在前一刻非常溫柔、充滿關(guān)懷，下一刻又顯得非常暴力，有進(jìn)攻性。一模一樣的結(jié)構(gòu)，改變的僅僅是動(dòng)作。演員：”你想知道嗎？你真的想知道嗎？ 他已經(jīng)死了！他就躺在那里，目光呆滯！“（笑聲）但是，以一種優(yōu)雅的方式移動(dòng)只是這整個(gè) 人類機(jī)器人互動(dòng)結(jié)構(gòu)的一塊基石。那時(shí)候我正在攻讀我的博士學(xué)位，我正在研究人類與機(jī)器人的團(tuán)隊(duì)合作，也就是人類和機(jī)器人一起合作。我在學(xué)習(xí)團(tuán)隊(duì)合作的工程學(xué)，心理學(xué)和哲學(xué)。同時(shí)，我意識(shí)到自己 和我的一個(gè)好朋友（他今天也在這里），也碰到了一個(gè)團(tuán)隊(duì)合作的情境。在那個(gè)情境中，我們很容易想象 不久的將來(lái)機(jī)器人會(huì)和我們?cè)谝黄稹Ｄ鞘窃谝粋€(gè)逾越節(jié)家宴結(jié)束后，我們要收起大量的折疊椅，我驚訝于我們迅速找到了各自的節(jié)奏。每個(gè)人都做了自己的那部分，無(wú)需分工，無(wú)需特意口頭溝通。就這樣發(fā)生了。于是我想，人類和機(jī)器人的互動(dòng)卻完全不是這樣。當(dāng)人類和機(jī)器人互動(dòng)的時(shí)候，就好像他們?cè)谙孪笃濉Ｈ祟愖咭徊剑瑱C(jī)器人對(duì)此分析一下，然后機(jī)器人決定接下來(lái)怎么做，計(jì)劃好，走下一步。這時(shí)候人類就等著，直到輪到他們玩為止。所以，人類和機(jī)器人的互動(dòng)更像下象棋，這很好理解，因?yàn)?對(duì)數(shù)學(xué)家和計(jì)算機(jī)科學(xué)家來(lái)說(shuō)，象棋很好，它們都是關(guān)于信息分析、決策制定和計(jì)劃。

But I wanted my robot to be less of a chess player, and more like a doer that just clicks and works together.So I made my second horrible career choice: I decided to study acting for a semester.I took off from a Ph.D.I went to acting classes.I actually participated in a play, I hope theres no video of that around still.And I got every book I could find about acting, including one from the 19th century that I got from the library.And I was really amazed because my name was the second name on the list--the previous name was in 1889.(Laughter)And this book was kind of waiting for 100 years to be rediscovered for robotics.And this book shows actors how to move every muscle in the body to match every kind of emotion that they want to express.但比起象棋玩家，我更希望我的機(jī)器人是一個(gè)行動(dòng)者，但比起象棋玩家，我更希望我的機(jī)器人是一個(gè)行動(dòng)者，可以和人類有默契地一起工作。于是我做了我人生中的第二個(gè)糟糕的職業(yè)決策： 我決定學(xué)習(xí)一學(xué)期的表演課程。我放下了我的博士課程，去上了表演課。我還參與了一個(gè)戲劇，希望現(xiàn)在已經(jīng)找不到那個(gè)視頻了。我找到了每一本關(guān)于表演的書(shū)，其中包括一本從圖書(shū)館里借來(lái)的 19世紀(jì)的書(shū)。我震驚地發(fā)現(xiàn)我的名字是借閱者名單上的第二個(gè)，之前的一個(gè)名字是1889年。（笑聲）這本書(shū)已經(jīng)躺了100年了，只為了借機(jī)器人之名被重新發(fā)現(xiàn)。這本書(shū)教演員 如何調(diào)動(dòng)他們身體上的每塊肌肉 來(lái)表達(dá)他們想要表達(dá)的情感。

But the real revelation was when I learned about method acting.It became very popular in the 20th century.And method acting said, you don't have to plan every muscle in your body.Instead you have to use your body to find the right movement.You have to use your sense memory to reconstruct the emotions and kind of think with your body to find the right expression.Improvise, play off yor scene partner.And this came at the same time as I was reading about this trend in cognitive psychology called embodied cognition.Which also talks about the same ideas--We use our bodies to think, we don't just think with our brains and use our bodies to move.but our bodies feed back into our brain to generate the way that we behave.And it was like a lightning bolt.I went back to my office.I wrote this paper--which I never really published called “Acting Lessons for Artificial Intelligence.” And I even took another month to do what was then the first theater play with a human and a robot acting together.That's what you saw before with the actors.And I thought: How can we make an artificial intelligence model--computer, computational model--that will model some of these ideas of improvisation, of taking risks, of taking chances, even of making mistakes.Maybe it can make for better robotic teammates.So I worked for quite a long time on these models and I implemented them on a number of robots.Here you can see a very early example with the robots trying to use this embodied artificial intelligence, to try to match my movements as closely as possible, sort of like a game.Let's look at it.You can see when I psych it out, it gets fooled.And it's a little bit like what you might see actors do when they try to mirror each other to find the right synchrony between them.And then, I did another experiment, and I got people off the street to use the robotic desk lamp, and try out this idea of embodied artificial intelligence.So, I actually used two kinds of brains for the same robot.The robot is the same lamp that you saw, and I put in it two brains.For one half of the people, I put in a brain that's kind of the traditional, calculated robotic brain.It waits for its turn, it analyzes everything, it plans.Let's call it the calculated brain.The other got more the stage actor, risk taker brain.Let's call it the adventurous brain.It sometimes acts without knowing everything it has to know.It sometimes makes mistakes and corrects them.And I had them do this very tedious task that took almost 20 minutes and they had to work together.Somehow simulating like a factory job of repetitively doing the same thing.And what I found was that people actually loved the adventurous robot.And they thought it was more intelligent, more committed, a better member of the team, contributed to the success of the team more.They even called it 'he' and 'she,' whereas people with the calculated brain called it 'it.' And nobody ever called it 'he' or 'she'.When they talked about it after the task with the adventurous brain, they said, “By the end, we were good friends and high-fived mentally.” Whatever that means.(Laughter)Sounds painful.Whereas the people with the calculated brain said it was just like a lazy apprentice.It only did what it was supposed to do and nothing more.Which is almost what people expect robots to do, so I was surprised that people had higher expectations of robots, than what anybody in robotics thought robots should be doing.And in a way, I thought, maybe it's time--just like method acting changed the way people thought about acting in the 19th century, from going from the very calculated, planned way of behaving, to a more intuitive, risk-taking, embodied way of behaving.Maybe it's time for robots to have the same kind of revolution.真正讓我受到啟示的是 方法演技。它在20世紀(jì)的時(shí)候非常流行。方法演技指出，你不需要安排你的每一塊肌肉，相反，你可以用你的身體找到對(duì)的動(dòng)作。你應(yīng)該運(yùn)用你的感覺(jué)記憶，去重新建構(gòu)情感，用你的身體找到對(duì)的表情。即興發(fā)揮，根據(jù)你的場(chǎng)景搭檔即興表演。這個(gè)時(shí)候我也正讀到 認(rèn)知心理學(xué)關(guān)于具身認(rèn)知的東西，這也談到同樣的觀點(diǎn)—— 即我們用我們的身體思考，我們并不是用大腦思考用身體表現(xiàn)，而是我們的身體反饋給大腦 并做出相應(yīng)的動(dòng)作，這對(duì)我好像一道閃電。我馬上回了我的辦公室。我寫(xiě)了這篇論文，從來(lái)也沒(méi)發(fā)表過(guò)，叫做《人工智能的表演課》。我甚至花了一個(gè)月的時(shí)間 去做當(dāng)時(shí)第一部由人類和機(jī)器人 一起主演的戲劇。你之前看到的演員和機(jī)器人的表演就是這部戲劇。當(dāng)時(shí)我就想： 我們?cè)鯓涌梢宰龀鲞@樣的人工智能模型—— 計(jì)算機(jī)、計(jì)算機(jī)模型等等，它們會(huì)即興發(fā)揮、會(huì)冒險(xiǎn)、甚至?xí)稿e(cuò)。它可能會(huì)是更好的機(jī)器人隊(duì)友。因此我花了很多時(shí)間去研究這些模型，我還在幾個(gè)機(jī)器人身上做了試驗(yàn)。這里你可以看到一個(gè)早期的例子，這個(gè)機(jī)器人試圖運(yùn)用具身人工智能 來(lái)盡量模仿我的動(dòng)作，就好像一個(gè)游戲。我們來(lái)看一下。你可以看到我可以糊弄它。有點(diǎn)像你可能看到的演員們 互相模仿對(duì)方 只為了找到他們之間的默契。然后，我又做了另外一個(gè)實(shí)驗(yàn)，我從大街上拉人來(lái)使用這個(gè)機(jī)器人臺(tái)燈，試驗(yàn)具身人工智能。其實(shí)，同樣的機(jī)器人我用了兩個(gè)大腦，機(jī)器人就是你看到的這個(gè)臺(tái)燈，我給了它兩個(gè)大腦。對(duì)一半的人，我放入了一個(gè)傳統(tǒng)的、機(jī)械計(jì)算的大腦。它會(huì)等，會(huì)分析，會(huì)計(jì)劃，我們暫且稱它為“會(huì)計(jì)算的大腦”。給另一半人則是那個(gè)舞臺(tái)演員、愛(ài)冒險(xiǎn)的大腦，我們暫且稱它為“愛(ài)冒險(xiǎn)的大腦”，有的時(shí)候它在并不知道所有事情的時(shí)候行動(dòng)，有的時(shí)候它會(huì)犯錯(cuò)然后去糾正。我讓他們完成一項(xiàng)無(wú)比乏味的任務(wù)，這個(gè)任務(wù)要花近20分鐘，他們必須一起合作完成，有點(diǎn)類似在工廠工作，機(jī)械地重復(fù)一件事情。我發(fā)現(xiàn)人們非常喜歡 那個(gè)“愛(ài)冒險(xiǎn)的機(jī)器人”。他們覺(jué)得它非常聰明，非常忠心，是一個(gè)很好的團(tuán)隊(duì)成員，一起幫助團(tuán)隊(duì)成功。他們甚至稱它為“他”和“她”，而另外那些人稱那個(gè)“會(huì)計(jì)算的機(jī)器人”為“它”，沒(méi)有人稱它為“他”或“她”。任務(wù)完成后，那些與“會(huì)冒險(xiǎn)的大腦”互動(dòng)的人說(shuō)： “最后，我們成了好朋友，還在腦內(nèi)舉手擊掌了。” 不管那是啥意思……（笑聲）聽(tīng)上去很…（口齒不清）然而，那些與“會(huì)計(jì)算的大腦”互動(dòng)的人 則說(shuō)“它就像一個(gè)懶徒弟，只做最基本的。“ 這基本上和同人對(duì)機(jī)器人期待一樣，所以我有些驚訝，比起那些機(jī)器人研究專家，人們居然對(duì)機(jī)器人有更高的期望。但從另一個(gè)角度，我又想，也許就像方法演技改變了 19世紀(jì)人們思考表演的方式一樣，是時(shí)間改變這種通過(guò)精確計(jì)算的 行為方式，而轉(zhuǎn)向一種更直覺(jué)的、冒險(xiǎn)的、用身體表現(xiàn)的行為方式。也許類似的 機(jī)器人革命時(shí)間到了。A few years later, I was at my next research job at Georgia Tech in Atlanta, and I was working in a group dealing with robotic musicians.And I thought, music, that's the perfect place to look at teamwork, coordination, timing, improvisation--and we just got this robot playing marimba.Marimba, for everybody who was like me, it was this huge, wooden xylophone.And, when I was looking at this, I looked at other works in human-robot improvisation--yes, there are other works in human-robot improvisation--and they were also a little bit like a chess game.The human would play, the robot would analyze what was played, would improvise their own part.So, this is what musicians called a call and response interaction, and it also fits very well, robots and artificial intelligence.But I thought, if I use the same ideas I used in the theater play and in the teamwork studies, maybe I can make the robots jam together like a band.Everybody's riffing off each other, nobody is stopping it for a moment.And so, I tried to do the same things, this time with music, where the robot doesn't really know what it's about to play.It just sort of moves its body and uses opportunities to play, And does what my jazz teacher when I was 17 taught me.She said, when you improvise, sometimes you don't know what you're doing and you're still doing it.And so I tried to make a robot that doesn't actually know what it's doing, but it's still doing it.So let's look at a few seconds from this performance.Where the robot listens to the human musician and improvises.And then, look at how the human musician also responds to what the robot is doing, and picking up from its behavior.And at some point can even be surprised by what the robot came up with.(Music)(Applause)幾年后，我在亞特蘭大的喬治理工大學(xué)做研究，我在一個(gè)研究機(jī)器人音樂(lè)家的 小組工作。我想，音樂(lè)是可以很好的 研究團(tuán)隊(duì)合作、配合、時(shí)間分配和即興表演的領(lǐng)域，我們有這個(gè)玩馬林巴的機(jī)器人。和我一樣對(duì)樂(lè)器不在行的朋友，馬林巴是 一個(gè)巨大的木琴。我看著這個(gè)，又看了那些其它的人類和機(jī)器人的即興互動(dòng)，——沒(méi)錯(cuò)，還有其它人和機(jī)器人即興互動(dòng)的項(xiàng)目—— 都差不多也是一個(gè)個(gè)象棋游戲式的互動(dòng)。人類走一步，機(jī)器人對(duì)此分析，然后決定下一步。音樂(lè)家們稱其為 呼叫和應(yīng)答互動(dòng)，作為機(jī)器人和人工智能，這很合適。但是我想，如果我可以運(yùn)用 戲劇表演和團(tuán)隊(duì)合作中的研究發(fā)現(xiàn)，也許我可以讓這些機(jī)器人 組成一個(gè)樂(lè)隊(duì)，每個(gè)人都在即興發(fā)揮，沒(méi)有人需要停下來(lái)。于是這次我嘗試用音樂(lè)做試驗(yàn)，機(jī)器人并不知道 它會(huì)演奏什么，它就這樣移動(dòng)它的身體，找機(jī)會(huì)演奏，做著我17歲時(shí)候的爵士老師教我的事情。她說(shuō)，當(dāng)你即興表演的時(shí)候，有的時(shí)候，你并不知道你在做什么，但是你還是繼續(xù)做。于是我嘗試做一個(gè)不知道自己在做什么 卻仍然繼續(xù)做的機(jī)器人。讓我們來(lái)看一下這個(gè)表演的一個(gè)小片段。機(jī)器人聽(tīng)人類音樂(lè)家演奏 然后即興發(fā)揮。接著，看人類音樂(lè)家如何 回應(yīng)機(jī)器人的行為，回應(yīng)機(jī)器人的行為，有時(shí)甚至被機(jī)器人的表現(xiàn)驚訝。（音樂(lè)）（掌聲）

Being a musician is not just about making notes, otherwise nobody would ever go see a live show.Musicians also communicate with their bodies, with other band members, with the audience, they use their bodies to express the music.And I thought, we already have a robot musician on stage, why not make it be a full-fledged musician.And I started designing a socially expressive head for the robot.The head does't actually touch the marimba, it just expresses what the music is like.These are some napkin sketches from a bar in Atlanta, that was dangerously located exactly halfway between my lab and my home.(Laughter)So I spent, I would say on average, three to four hours a day there.I think.(Laughter)And I went back to my animation tools and tried to figure out not just what a robotic musician would look like, but especially what a robotic musician would move like.To sort of show that it doesn't like what the other person is playing--and maybe show whatever beat it's feeling at the moment.作為一個(gè)音樂(lè)家不僅僅是編寫(xiě)音符，否則沒(méi)有人會(huì)去看現(xiàn)場(chǎng)表演了。音樂(lè)家也用他們的身體交流，和他們的樂(lè)隊(duì)成員，和觀眾，他們用他們的身體來(lái)表現(xiàn)音樂(lè)。于是我想，我們已經(jīng)有一個(gè)在舞臺(tái)上的機(jī)器人音樂(lè)家，為什么不把它打造成一個(gè)真正的音樂(lè)家呢？ 于是我開(kāi)始為機(jī)器人設(shè)計(jì)一個(gè) 可以表現(xiàn)情感的頭部。頭部并不會(huì)碰到馬林巴，它只是用來(lái)表現(xiàn)音樂(lè)是什么樣的。這草圖的紙巾來(lái)自亞特蘭大某處一個(gè)酒吧，而且酒吧就正好在實(shí)驗(yàn)室和我家的正中間。（笑聲）而且酒吧就正好在實(shí)驗(yàn)室和我家的正中間。（笑聲）我大概平均 每天有3到4個(gè)小時(shí)的時(shí)間在那里，“大概”…（笑聲）我重新拾起了我的動(dòng)畫(huà)工具，試圖想象 不僅僅一個(gè)機(jī)器人音樂(lè)家的樣子，特別是一個(gè)機(jī)器人音樂(lè)家會(huì)如何移動(dòng)它的身體，來(lái)告訴人們它不喜歡其他人的演奏，還有它自己當(dāng)下感覺(jué)到的節(jié)奏。還有它自己當(dāng)下感覺(jué)到的節(jié)奏。

So we ended up actually getting the money to build this robot, which was nice.I'm going to show you now the same kind of performance, this time with a socially expressive head.And notice one thing--how the robot is really showing us the beat it's picking up from the human.We're also giving the human a sense that the robot knows what it's doing.And also how it changes the way it moves as soon as it starts its own solo.(Music)Now it's looking at me to make sure I'm listening.(Music)And now look at the final chord of the piece again, and this time the robot communicates with its body when it's busy doing its own thing.And when it's ready to coordinate the final chord with me.(Music)(Applause)幸運(yùn)的是，我們最終還獲得了一筆 造這樣一個(gè)機(jī)器人的資金。接下來(lái)我給大家看一下同樣的表演 換成一個(gè)情感表現(xiàn)頭的效果。注意一點(diǎn)： 請(qǐng)觀察這個(gè)機(jī)器人如何 根據(jù)人類的演奏即興發(fā)揮，也讓人類知道，這個(gè)機(jī)器人知道它在做什么。還有獨(dú)奏開(kāi)始時(shí)，它是如何做出回應(yīng)的。還有獨(dú)奏開(kāi)始時(shí)，它是如何做出回應(yīng)的。（音樂(lè)）這會(huì)兒它正看著我確保我在聽(tīng)。（音樂(lè)）我們?cè)倏匆幌逻@段的最后一部分，現(xiàn)在機(jī)器人正在用它的身體進(jìn)行溝通，當(dāng)它正忙于做它自己的事情時(shí)，忙于準(zhǔn)備 跟我一起演奏最后的旋律。（音樂(lè)）（掌聲）

Thanks.I hope you see how much this totally not--how much this part of the body that doesn't touch the instrument actually helps with the musical performance.And at some point, we are in Atlanta, so obviously some rapper will come into our lab at some point.And we had this rapper come in and do a little jam with the robot.And here you can see the robot basically responding to the beat and--notice two things.One, how irresistible it is to join the robot while it's moving its head.and you kind of want to move your own head when it does it.And second, even though the rapper is really focused on his iPhone, as soon as the robot turns to him, he turns back.So even though it's just in the periphery of his vision--it's just in the corner of his eye--it's very powerful.And the reason is that we can't ignore physical things moving in our environment.We are wired for that.So, if you have a problem with maybe your partners looking at the iPhone too much or their smartphone too much, you might want to have a robot there to get their attention.(Laughter)(Music)(Applause)謝謝。我希望你能看到 它的頭部不碰到樂(lè)器 其實(shí)有助于音樂(lè)表演！既然我們?cè)趤喬靥m大，就不會(huì)沒(méi)有說(shuō)唱歌手參與到我們的試驗(yàn)中來(lái)。既然我們?cè)趤喬靥m大，就不會(huì)沒(méi)有說(shuō)唱歌手參與到我們的試驗(yàn)中來(lái)。這個(gè)說(shuō)唱歌手來(lái)了之后，我們讓他和這個(gè)機(jī)器人一起表演。這里你可以看到這個(gè)機(jī)器人 對(duì)節(jié)奏的回應(yīng)，請(qǐng)注意兩點(diǎn)。第一，當(dāng)這個(gè)機(jī)器人在搖頭晃腦的時(shí)候，你是不是也很想加入其中，和它一起晃動(dòng)你的頭部？ 第二，雖然這個(gè)說(shuō)唱歌手非常專注于它的蘋(píng)果手機(jī)，當(dāng)機(jī)器人轉(zhuǎn)向它的時(shí)候，他也馬上轉(zhuǎn)回來(lái)。雖然僅僅是在他的視線邊緣—— 他的眼角的余光里，它仍然非常強(qiáng)大。這就是為什么我們不能忽視 我們周邊物體的移動(dòng)。我們天生會(huì)這樣做。所以，如果你的搭檔 很喜歡看它的蘋(píng)果手機(jī)或智能手機(jī)，也許你需要一個(gè)機(jī)器人 來(lái)獲得他們的注意力。（笑聲）（音樂(lè)）（掌聲）

Just to introduce the last robot that we've worked on, that came out of something kind of surprising that we found: At some point people didn't care anymore about the robot being so intelligent, and can improvise and listen, and do all these embodied intelligence things that I spent years on developing.They really liked that the robot was enjoying the music.(Laughter)And they didn't say that the robot was moving to the music, they said that the robot was enjoying the music.And we thought, why don't we take this idea, and I designed a new piece of furniture.This time it wasn't a desk lamp;it was a speaker dock.It was one of those things you plug your smartphone in.And I thought, what would happen if your speaker dock didn't just play the music for you, but it would actually enjoy it too.(Laughter)And so again, here are some animation tests from an early stage.(Laughter)And this is what the final product looked like.(“Drop It Like It's Hot”)So, a lot of bobbing head.(Applause)A lot of bobbing heads in the audience, so we can still see robots influence people.And it's not just fun and games.最后再為大家介紹一下 我們最近在打造的一個(gè)機(jī)器人。說(shuō)來(lái)也奇怪，我們發(fā)現(xiàn) 到了某個(gè)階段，人們不再對(duì)那些聰明的、會(huì)即興表演、會(huì)聆聽(tīng)、會(huì)做那些我花了多年研究的身體智能表演的 機(jī)器人感興趣了。他們真的很喜歡那個(gè)會(huì)享受音樂(lè)的機(jī)器人。（笑聲）他們沒(méi)有說(shuō)這個(gè)機(jī)器人是隨著音樂(lè)扭動(dòng)身體，而是說(shuō)這個(gè)機(jī)器人在享受音樂(lè)。于是我們想，為什么不借用這個(gè)想法呢，因此我設(shè)計(jì)了一件新的小家具。這次不是一個(gè)臺(tái)燈，而是一個(gè)揚(yáng)聲器底座，就是你可以把你的智能手機(jī)放上去的那種。于是我想，如果這個(gè)揚(yáng)聲器底座 不僅可以為你放音樂(lè)，還可以享受音樂(lè)，會(huì)怎樣？（笑聲）這是早期的一些動(dòng)畫(huà)嘗試。這是早期的一些動(dòng)畫(huà)嘗試。這是最終的成品的樣子。饒舌音樂(lè) 不停的點(diǎn)頭……（掌聲）觀眾那里也有很多人在不停點(diǎn)頭，因此我們可以看到機(jī)器人可以影響人。當(dāng)然這一切不僅僅只是娛樂(lè)和游戲。

I think one of the reasons I care so much about robots that use their body to communicate and use their body to move--and I'm going to let you in on a little secret we roboticists are hiding--is that every one of you is going to be living with a robot at some point in their life.Somewhere in your future there's going to be a robot in your life.And if not in yours, then in your children's lives.And I want these robots to be--to be more fluent, more engaging, more graceful than currently they seem to be.And for that I think that maybe robots need to be less like chess players and more like stage actors and more like musicians.Maybe they should be able to take chances and improvise.And maybe they should be able to anticipate what you're about to do.And maybe they need to be able to make mistakes and correct them, because in the end we are human.And maybe as humans, robots that are a little less than perfect are just perfect for us.Thank you.(Applause)我覺(jué)得自己非常熱衷研究 那些可以用身體溝通、用身體移動(dòng)的機(jī)器人的一個(gè)原因是—— 我告訴你一個(gè)只有我們機(jī)器人專家知道的秘密—— 我們每一個(gè)人在生命的某個(gè)階段 都會(huì)需要機(jī)器人，你未來(lái)的某個(gè)階段會(huì)有個(gè)機(jī)器人。如果不是你的未來(lái)，那么你的孩子的未來(lái)。我希望這些機(jī)器人 比現(xiàn)在 可以更流暢、更吸引人、更優(yōu)雅。比現(xiàn)在 可以更流暢、更吸引人、更優(yōu)雅。因此，我覺(jué)得機(jī)器人 不應(yīng)該是像一個(gè)象棋玩家，而應(yīng)該更像一個(gè)舞臺(tái)演員或者音樂(lè)家。它們應(yīng)該可以冒險(xiǎn)，會(huì)即興表演，甚至?xí)A(yù)料到你接下來(lái)會(huì)做什么。它們也應(yīng)該可以犯錯(cuò) 并且改正，因?yàn)榈筋^來(lái)，我們只是人類。也許對(duì)人類而言，不完美的機(jī)器人 才是完美的。謝謝！

第五篇：ted演講中英對(duì)照 拖延癥

TED演講——拖延癥

拖延癥者的思維方式到底是什么樣的？為什么有些人非要到deadline來(lái)的時(shí)候才知道打起精神做事情？是否存在執(zhí)行力強(qiáng)的人或是說(shuō)人人都有一定程度的拖延癥？Tim Urban從一個(gè)被deadline趕著走的拖延癥者的角度帶你走進(jìn)拖延癥的神奇思維世界。

中英對(duì)照翻譯

So in college, I was a government major, which means I had to write a lot of papers.Now, when a normal student writes a paper, they might spread the work out a little like this.So, you know--you get started maybe a little slowly, but you get enough done in the first week that, with some heavier days later on, everything gets done, things stay civil.And I would want to do that like that.That would be the plan.I would have it all ready to go, but then, actually, the paper would come along, and then I would kind of do this.在大學(xué)，我讀的是政府專業(yè)。也就是說(shuō)，我需要寫(xiě)很多的論文。一般的學(xué)生寫(xiě)論文時(shí)，他們可能會(huì)這樣安排：(看圖)你可能開(kāi)頭會(huì)慢一點(diǎn)，但第一周有這些已經(jīng)足夠。后期再一點(diǎn)點(diǎn)的增加，最后任務(wù)完成，非常的有條理。我也想這么做，所以一開(kāi)始也是這么計(jì)劃的。我做了完美的安排(看圖)，但后來(lái)，實(shí)際上論文任務(wù)一直出現(xiàn)，我就只能這樣了(看圖)。

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

我的每一篇論文都是這種情況，直到我長(zhǎng)達(dá)90頁(yè)的畢業(yè)論文任務(wù)，這篇論文理應(yīng)花一年的時(shí)間來(lái)做，我也知道這樣的工作，我先前的工作方式是行不通的，這個(gè)項(xiàng)目太大，所以我制定了計(jì)劃。決定按照這樣的方式工作，這樣來(lái)安排我這一年。(看圖)開(kāi)頭我會(huì)輕松一點(diǎn)，中期任務(wù)逐漸增加，到最后，我再全力沖刺一下。整體是這種階梯式安排，一層一層走樓梯有多難?所以沒(méi)什么大不了的，是吧?

But then, the funniest thing happened.Those first few months? They came and went, and I couldn't quite do stuff.So we had an awesome new revised plan.And then--But then those middle months actually went by, and I didn't really write words, and so we were here.And then two months turned into one month, which turned into two weeks.但后來(lái)，好笑的事情出現(xiàn)了，頭幾個(gè)月時(shí)光匆匆而逝，我還沒(méi)有來(lái)得及動(dòng)工，所以我們明智的調(diào)整了計(jì)劃。然后，中間的幾個(gè)月也過(guò)去了，我還是一個(gè)字也沒(méi)有動(dòng)，眨眼就到了這里，然后兩個(gè)月變成了一個(gè)月，再變成了2周。

And one day I woke up with three days until the deadline, still not having written a word, and so I did the only thing I could: I wrote 90 pages over 72 hours, pulling not one but two all-nighters--humans are not supposed to pull two all-nighters--sprinted across campus, dove in slow motion, and got it in just at the deadline.一天我醒來(lái)，發(fā)現(xiàn)離交稿日期只剩3天了，但我還一個(gè)字都沒(méi)寫(xiě)。我別無(wú)選擇，只能在接下來(lái)的72小時(shí)里，連續(xù)通宵兩個(gè)晚上趕論文——一般人不應(yīng)連續(xù)通宵兩個(gè)晚上。90頁(yè)趕出來(lái)后，我飛速?zèng)_過(guò)校園，像電影中的特寫(xiě)慢鏡頭一樣，恰好在截止日期前的最后一刻交上。

I thought that was the end of everything.But a week later I get a call, and it's the school.And they say, “Is this Tim Urban?” And I say, “Yeah.” And they say, “We need to talk about your thesis.” And I say, “OK.” And they say, “It's the best one we've ever seen.” That did not happen.It was a very, very bad thesis.I just wanted to enjoy that one moment when all of you thought, “This guy is amazing!” No, no, it was very, very bad.我以為事情就這么完了，但一周后，我接到一個(gè)電話，是學(xué)校打來(lái)的。他們說(shuō)：“你是Tim Urban嗎?”我說(shuō)：“是。”他們說(shuō)：“我們要說(shuō)一說(shuō)你的畢業(yè)論文。”我說(shuō)：“好啊。”他們說(shuō)：“這是我見(jiàn)過(guò)最棒的論文。”……當(dāng)然不可能。論文非常非常的差勁。我只想享受下你們對(duì)我的崇拜，想聽(tīng)你們說(shuō)：“這老兄太厲害了。”沒(méi)有，其實(shí)寫(xiě)的非常差勁。

Anyway, today I'm a writer-blogger guy.I write the blog Wait But Why.And a couple of years ago, I decided to write about procrastination.My behavior has always perplexed the non-procrastinators around me, and I wanted to explain to the non-procrastinators of the worldwhat goes on in the heads of procrastinators, and why we are the way we are.不管怎樣，我現(xiàn)在成為了一個(gè)博客寫(xiě)手，經(jīng)營(yíng)著“wait but why”這個(gè)博客。幾年前，我決定寫(xiě)寫(xiě)拖延這件事。我的行為方式總讓身邊非拖延者感到不能理解。我很想對(duì)世界上非拖延者的人解釋一下，我們拖延癥患者的腦子是什么樣的，為什么我們會(huì)拖延。

Now, I had a hypothesisthat the brains of procrastinators were actually different than the brains of other people.And to test this, I found an MRI lab that actually let me scan both my brain and the brain of a proven non-procrastinator,so I could compare them.I actually brought them here to show you today.I want you to take a look carefully to see if you can notice a difference.I know that if you're not a trained brain expert, it's not that obvious, but just take a look, OK? So here's the brain of a non-procrastinator.Now...here's my brain.首先我假設(shè)，拖延癥患者的大腦實(shí)際上和其他人的大腦不一樣。為了驗(yàn)證這一點(diǎn)，我找了家核磁共振實(shí)驗(yàn)室，給我和另一個(gè)確定是非拖延癥的人，進(jìn)行了腦部掃描，我好將二者進(jìn)行對(duì)比，今天我?guī)У浆F(xiàn)場(chǎng)，給大家展示一下。我希望大家仔細(xì)觀察，看能不能注意到差異。我知道大家并非專業(yè)的大腦專家，較難看出他們的差異，但大家不妨先看一眼，如何?這張是非拖延者的大腦，這張是我的大腦。

There is a difference.Both brains have a Rational Decision-Maker in them, but the procrastinator's brain also has an Instant Gratification Monkey.Now, what does this mean for the procrastinator? Well, it means everything's fine until this happens.[This is a perfect time to get some work done.] [Nope!] So the Rational Decision-Maker will make the rational decision to do something productive, but the Monkey doesn't like that plan, so he actually takes the wheel, and he says, “Actually, let's read the entire Wikipedia page of the Nancy Kerrigan/ Tonya Harding scandal, because I just remembered that that happened.兩張是有一點(diǎn)不同，兩個(gè)大腦都有一個(gè)理性決策人，但在拖延癥患者的大腦里，還有一個(gè)及時(shí)行樂(lè)的猴子。那這對(duì)拖延癥患者來(lái)說(shuō)意味著什么呢? 這意味著平時(shí)沒(méi)什么異樣，但一旦發(fā)生了以下的情況，理性的決策人做出理性的決策，要去做一些實(shí)際的工作，但猴子不喜歡這個(gè)計(jì)劃，所以他搶過(guò)方向盤(pán)，說(shuō)道：“說(shuō)實(shí)話，我們還是去維基百科上查一查NKTH的丑聞吧。”因?yàn)槲覄傁肫饋?lái)還發(fā)生過(guò)這件事。

Then--Then we're going to go over to the fridge, to see if there's anything new in there since 10 minutes ago.After that, we're going to go on a YouTube spiral that starts with videos of Richard Feynman talking about magnets and ends much, much later with us watching interviews with Justin Bieber's mom.然后我們會(huì)去翻冰箱，看看和十分鐘前相比有沒(méi)有什么新的東西。然后我們?nèi)outobe看一連串的視頻，從Richard Feynman談?wù)摯盆F開(kāi)始，一直到很久很久之后看到一個(gè)Justin Bieber媽媽的訪談才結(jié)束。以上這些事情都得花時(shí)間，所以我們今天沒(méi)有時(shí)間再來(lái)工作了。

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

所以，到底發(fā)生了什么?這個(gè)及時(shí)行樂(lè)的猴子并非你，希望是控制方向的人，他完全生活在當(dāng)下，沒(méi)有過(guò)去的記憶，也沒(méi)有未來(lái)的概念。他只關(guān)注兩件事情：簡(jiǎn)單和開(kāi)心。在動(dòng)物界，這兩點(diǎn)完全沒(méi)有問(wèn)題。如果你是一條狗，一輩子只追求一些簡(jiǎn)單和快樂(lè)的事，那就是巨大的成功了。

And to the Monkey, humans are just another animal species.You have to keep well-slept, well-fed and propagating into the next generation, which in tribal times might have worked OK.But, if you haven't noticed, now we're not in tribal times.We're in an advanced civilization, and the Monkey does not know what that is.Which is why we have another guy in our brain, the Rational Decision-Maker, who gives us the ability to do things no other animal can do.We can visualize the future.We can see the big picture.We can make long-term plans.And he wants to take all of that into account.And he wants to just have us do whatever makes sense to be doing right now.但對(duì)猴子來(lái)說(shuō)，人類是另外一個(gè)物種，你得正常睡眠、規(guī)律飲食、繁衍后代。在原始部落時(shí)代，這也沒(méi)太大問(wèn)題。但你注意到?jīng)]有，現(xiàn)在并非原始部落時(shí)代，我們生活在一個(gè)現(xiàn)代文明社會(huì)中，而猴子完全不能理解這是什么意思，這也是為什么我們大腦中會(huì)有另外一個(gè)，理性的決策者，他使人類有能力做到其他動(dòng)物無(wú)法做到的事情。我們能設(shè)想未來(lái)，可以從大局出發(fā)，制定長(zhǎng)期計(jì)劃，他可以把所有這些事考慮在內(nèi)。希望讓我們做出最合理的事情.Now, sometimes it makes sense to be doing things that are easy and fun, like when you're having dinner or going to bed or enjoying well-earned leisure time.That's why there's an overlap.Sometimes they agree.But other times, it makes much more senseto be doing things that are harder and less pleasant, for the sake of the big picture.And that's when we have a conflict.And for the procrastinator, that conflict tends to end a certain way every time, leaving him spending a lot of time in this orange zone, an easy and fun place that's entirely out of the Makes Sense circle.I call it the Dark Playground.有時(shí)，做一些簡(jiǎn)單開(kāi)心的事情是很合理的，比如吃飯睡覺(jué)、享受贏得的休閑時(shí)光，所以二者也有重疊的部分。有時(shí)二者是一致的，但有些時(shí)候，從長(zhǎng)遠(yuǎn)的角度來(lái)看，一些更困難不開(kāi)心的事情，才是合理的事情，所以就出現(xiàn)了沖突。對(duì)拖延癥患者來(lái)說(shuō)，每次這種沖突到最后的結(jié)果都一樣，都讓他在這片橙色區(qū)域里耗費(fèi)大量時(shí)間，這里很簡(jiǎn)單很開(kāi)心，但完全不在合理圈的范圍內(nèi)，我將這個(gè)區(qū)域稱為黑暗操場(chǎng)。

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

這個(gè)黑暗操場(chǎng)，所有的拖延者患者都應(yīng)該很熟悉，在這里發(fā)生了許多，本不應(yīng)該在此時(shí)進(jìn)行的休閑活動(dòng)。你在黑暗操場(chǎng)獲得的樂(lè)趣，實(shí)際并不有趣，因?yàn)檫@并非你應(yīng)得的。這里的空氣充滿了內(nèi)疚、恐懼、焦慮和自我憎恨——這些都是拖延癥患者常有的情緒。所以問(wèn)題是，在猴子掌握方向盤(pán)的情況下，拖延癥患者如何進(jìn)入這邊的藍(lán)色區(qū)域呢?這里雖然沒(méi)有這么舒適，但進(jìn)行的事情都非常重要。

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

他們都在寫(xiě)同一句話：“我也有這個(gè)問(wèn)題。”但真正讓我感到觸動(dòng)的，是我博客的輕描淡寫(xiě)，和郵件的沉重文風(fēng)之間的強(qiáng)烈對(duì)比。這些讀者以非常沮喪的語(yǔ)言，告訴我拖延對(duì)他們的生活造成了哪些影響，告訴我猴子對(duì)他們都做了些什么。我思考了一下，問(wèn)道，既然拖延癥患者的系統(tǒng)是有效果的，那到底哪不對(duì)呢?為什么這些人都置身黑暗之中呢?

Well, it turns out that there's two kinds of procrastination.Everything I've talked about today, the examples I've given, they all have deadlines.And when there's deadlines, the effects of procrastination are contained to the short term because the Panic Monster gets involved.But there's a second kind of procrastination that happens in situations when there is no deadline.So if you wanted a career where you're a self-starter--something in the arts, something entrepreneurial--there's no deadlines on those things at first, because nothing's happening, not until you've gone out and done the hard work to get momentum, get things going.原來(lái)，拖延分為兩種，我今天所說(shuō)的拖延和所舉的例子，都是有截止日期的。一旦有了截止日期，拖延的影響會(huì)被限制在一定時(shí)期內(nèi)，因?yàn)楹笃隗@慌怪獸會(huì)出現(xiàn)，但還有第二種拖延，這種拖延是沒(méi)有截止日期的，所以如果你想在一些領(lǐng)域內(nèi)自學(xué)成才——比如學(xué)個(gè)藝術(shù)或者創(chuàng)個(gè)業(yè)——這些事情開(kāi)始都是沒(méi)有截止日期的，因?yàn)殚_(kāi)始不會(huì)有什么變化，直到你拼盡全力，辛勤投入，才會(huì)有一點(diǎn)起色，你才能看到進(jìn)展。

There's also all kinds of important things outside of your career that don't involve any deadlines, like seeing your family or exercising and taking care of your health, working on your relationship or getting out of a relationship that isn't working.Now if the procrastinator's only mechanism of doing these hard things is the Panic Monster, that's a problem, because in all of these non-deadline situations, the Panic Monster doesn't show up.He has nothing to wake up for, so the effects of procrastination, they're not contained;they just extend outward forever.除了工作之外，還有很多其他重要的事情，也是沒(méi)有截止日期的，比如看望家人、鍛煉身體、保持健康、維系感情，或者從一段不合適的感情中抽身。如果說(shuō)拖延癥患者處理這些困難的唯一機(jī)制，是驚慌怪獸的話，那就有問(wèn)題了，因?yàn)樵谶@些沒(méi)有截止日期的情況下，驚慌怪獸是不會(huì)現(xiàn)身的，沒(méi)有喚醒他的條件，所以這一類拖延的后果是沒(méi)有限制的，他們會(huì)不斷地肆意延伸。

And it's this long-term kind of procrastination that's much less visible and much less talked about than the funnier, short-term deadline-based kind.It's usually suffered quietly and privately.And it can be the source of a huge amount of long-term unhappiness, and regrets.和有截止日期的好笑的短期拖延相比，這種長(zhǎng)時(shí)期的拖延，更不易被人察覺(jué)，也更少被談?wù)摰剑３Ｔ跓o(wú)聲無(wú)息中折磨著人們，可以說(shuō)是大部分長(zhǎng)期抑郁和悔恨的根源。

And I thought, that's why those people are emailing, and that's why they're in such a bad place.It's not that they're cramming for some project.It's that long-term procrastination has made them feel like a spectator, at times, in their own lives.The frustration is not that they couldn't achieve their dreams;it's that they weren't even able to start chasing them.我想，這也是為什么這些人會(huì)寫(xiě)信，為什么狀態(tài)這么差的原因吧。他們并非在為某個(gè)項(xiàng)目臨時(shí)抱佛腳，這種長(zhǎng)期拖延使他們有時(shí)感覺(jué)，自己只是生活的旁觀者，讓他們沮喪的不是他們沒(méi)有實(shí)現(xiàn)夢(mèng)想，而是他們甚至還沒(méi)有開(kāi)始追尋夢(mèng)想。

So I read these emails and I had a little bit of an epiphany--that I don't think non-procrastinators exist.That's right--I think all of you are procrastinators.Now, you might not all be a mess, like some of us, and some of you may have a healthy relationship with deadlines, but remember: the Monkey's sneakiest trick is when the deadlines aren't there.我讀著這些來(lái)信，忽然有一種頓悟——我覺(jué)得非拖延者是不存在的，沒(méi)錯(cuò)，我認(rèn)為你們所有人都是拖延者，當(dāng)然你們可能不像，我們有些人這么混亂。你們有些人可能與截止日期保持著良性的關(guān)系。但記住：猴子最狡猾的伎倆，發(fā)生在沒(méi)有截止日期的時(shí)候。

Now, I want to show you one last thing.I call this a Life Calendar.That's one box for every week of a 90-year life.That's not that many boxes, especially since we've already used a bunch of those.So I think we need to all take a long, hard look at that calendar.We need to think about what we're really procrastinating on, because everyone is procrastinating on something in life.We need to stay aware of the Instant Gratification Monkey.That's a job for all of us.And because there's not that many boxes on there, it's a job that should probably start today.Well, maybe not today, but...You know.Sometime soon.最后我想給大家看一個(gè)東西，我稱之為“生命日歷”。這里的每一個(gè)格子都代表90年生命中的一周，格子數(shù)并不是很多，尤其我們已經(jīng)用掉了許多。我想我們需要好好花時(shí)間，認(rèn)真看看這個(gè)日歷。我們需要想一下，我們真正在拖延的是什么，因?yàn)槊總€(gè)人在生命中都有拖延一些東西，我們需要警惕及時(shí)行樂(lè)的猴子，這是我們所有人的任務(wù)。因?yàn)檫@里的格子數(shù)并不多，所以或許我們今天就應(yīng)該行動(dòng)起來(lái)，或許不一定是今天，而是盡快。Thank you.