第一篇：Ted中英對照演講稿..

Ted中英對照演講稿

Rita Pierson: Every kid needs a champion

每個孩子都需要一個冠軍

I have spent my entire life either at the schoolhouse, on the way to the schoolhouse, or talking about what happens in the schoolhouse.Both my parents were educators, my maternal grandparents were educators, and for the past 40 years I've done the same thing.And so, needless to say, over those years I've had a chance to look at education reform from a lot of perspectives.Some of those reforms have been good.Some of them have been not so good.And we know why kids drop out.We know why kids don't learn.It's either poverty, low attendance, negative peer influences.We know why.But one of the things that we never discuss or we rarely discuss is the value and importance of human connection, relationships.我這輩子，要么是在學校，要么在去學校的路上，要么是在討論學校里發生了什么事。我的父母都是教育家，我的外祖父母也都是搞教育的，過去40年我也在從事同樣的事業。所以，很顯然，過去的這些年里，我有機會從各個角度 審視教育改革。一些改革是有成效的。而另一些卻收效甚微。我們知道孩子們為什么掉隊輟學。我們知道孩子們為什么學不下去。原因無非是貧窮，低出席率，同齡人的壞影響。我們知道為什么。但是我們從未討論 或者極少討論的是 人和人之間的那種聯系的價值和重要性，這就是“關系”。

James Comer says that no significant learning can occur without a significant relationship.George Washington Carver says all learning is understanding relationships.Everyone in this room has been affected by a teacher or an adult.For years, I have watched people teach.I have looked at the best and I've look at some of the worst.James Comer(美國著名兒童精神科醫師）說過，沒有強有力的聯系，學習就不會有顯著的進步。George Washington Carver（美國著名教育學家）說過，學習就是理解各種關系。在座的各位都曾經被一位老師 或者一個成年人影響過。這么多年，我都在看人們怎么教學。我看過最好的也看過最差的。

A colleague said to me one time, “They don't pay me to like the kids.They pay me to teach a lesson.The kids should learn it.I should teach it.They should learn it.Case closed.” 一次有個同事跟我說，“我的職責不是喜歡那些孩子們。我的職責是教書。孩子們就該去學。我管教課，他們管學習。就是這么個理兒。”

Well, I said to her, “You know, kids don't learn from people they don't like.” 然后，我就跟她說，“你知道，孩子們可不跟他們討厭的人學習。”

(Laughter)(Applause)（笑聲）（掌聲）

She said, “That's just a bunch of hooey.”她接著說，“一派胡言。” And I said to her, “Well, your year is going to be long and arduous, dear.” 然后我對她說，“那么，親愛的，你這一年會變得 十分漫長和痛苦。”

Needless to say it was.Some people think that you can either have it in you to build a relationship or you don't.I think Stephen Covey had the right idea.He said you ought to just throw in a few simple things, like seeking first to understand as opposed to being understood, simple things like apologizing.You ever thought about that? Tell a kid you're sorry, they're in shock.事實也果真如此。有些人認為 一個人或者天生可以建立一種關系 或者不具有這種能力。我認為Stephen Covey（美國教育家）是對的。他說你只需要做一些簡單的事情，比如試著首先理解他人，而不是想要被理解，比如道歉。你想過嗎？ 跟一個孩子說你很對不起，他們都驚呆了。

I taught a lesson once on ratios.I'm not real good with math, but I was working on it.And I got back and looked at that teacher edition.I'd taught the whole lesson wrong.(Laughter)我有一次講比例。我數學不是很好，但是我當時在教數學。然后我下了課，翻看了教師用書。我完全教錯了。（笑聲）So I came back to class the next day, and I said, “Look, guys, I need to apologize.I taught the whole lesson wrong.I'm so sorry.” 所以我第二天回到班上說，“同學們，我要道歉。我昨天的課都教錯了。我非常抱歉。”

They said, “That's okay, Ms.Pierson.You were so excited, we just let you go.”(Laughter)(Applause)他們說，“沒關系，Pierson老師。你當時教得非常投入，我們就讓你繼續了。”（笑聲）（掌聲）

I have had classes that were so low, so academically deficient that I cried.I wondered, how am I going to take this group in nine months from where they are to where they need to be? And it was difficult.It was awfully hard.How do I raise the self-esteem of a child and his academic achievement at the same time? 我曾經教過程度非常低的班級，學術素養差到我都哭了。我當時就想，我怎么能在9個月之內 把這些孩子 提升到他們必須具備的水平？ 這真的很難，太艱難了。我怎么能讓一個孩子重拾自信的同時 他在學術上也有進步？

One year I came up with a bright idea.I told all my students, “You were chosen to be in my class because I am the best teacher and you are the best students, they put us all together so we could show everybody else how to do it.” 有一年我有了一個非常好的主意。我告訴我的學生們，“你們進了我的班級，因為我是最好的老師，而你們是最好的學生，他們把我們放在一起來給其他人做個好榜樣。”

One of the students said, “Really?”(Laughter)一個學生說，“真的嗎？”（笑聲）

I said, “Really.We have to show the other classes how to do it, so when we walk down the hall, people will notice us, so you can't make noise.You just have to strut.” And I gave them a saying to say: “I am somebody.I was somebody when I came.I'll be a better somebody when I leave.I am powerful, and I am strong.I deserve the education that I get here.I have things to do, people to impress, and places to go.” 我說，“當然是真的。我們要給其他班級做個榜樣，當我們走在樓道里，因為大家都會注意到我們，我們不能吵鬧。大家要昂首闊步。” 我還給了他們一個口號：“我是個人物。我來的時候是個人物。我畢業的時候會變成一個更好的人物。我很有力，很強大。我值得在這里受教育。我有很多事情要做，我要讓人們記住我，我要去很多地方。”

And they said, “Yeah!”然后他們說：“是啊！”

You say it long enough, it starts to be a part of you.如果你長時間的這么說，它就會開始變成事實。

And so —(Applause)I gave a quiz, 20 questions.A student missed 18.I put a “+2” on his paper and a big smiley face.所以 －（掌聲）我做了一個小測驗，20道題。一個孩子錯了18道。我在他了卷子上寫了個“＋2”和一個大的笑臉。

He said, “Ms.Pierson, is this an F?”他說，“Pierson老師，這是不及格嗎？” I said, “Yes.”我說，“是的。”

He said, “Then why'd you put a smiley face?”他接著說，“那你為什么給我一個笑臉？”

I said, “Because you're on a roll.You got two right.You didn't miss them all.” I said, “And when we review this, won't you do better?” 我說，“因為你正漸入佳境。你沒有全錯，還對了兩個。” 我說，“我們復習這些題的時候，難道你不會做得更好嗎？”

He said, “Yes, ma'am, I can do better.”他說，“是的，老師。我可以做得更好。” You see, “-18” sucks all the life out of you.“+2” said, “I ain't all bad.”(Laughter)(Applause)大家看，“－18”讓人感覺想死。“＋2”意味著，“我沒有那么糟。”（笑聲）（掌聲）

For years I watched my mother take the time at recess to review, go on home visits in the afternoon, buy combs and brushes and peanut butter and crackers to put in her desk drawer for kids that needed to eat, and a washcloth and some soap for the kids who didn't smell so good.See, it's hard to teach kids who stink.And kids can be cruel.And so she kept those things in her desk, and years later, after she retired, I watched some of those same kids come through and say to her, “You know, Ms.Walker, you made a difference in my life.You made it work for me.You made me feel like I was somebody, when I knew, at the bottom, I wasn't.And I want you to just see what I've become.” 好多年了，我看著我媽媽利用課間休息時間批改作業，下午去家訪，買梳子、刷子、花生醬和餅干，把他們放在自己的抽屜里給那些餓了的孩子們吃，還有為那些臟孩子們準備了一條毛巾和一些肥皂。看吧，教那些發臭的孩子是困難的一件事。而孩子們有時也是比較“殘忍”的。所以她把這些東西都放在她的抽屜里，然后過了很多年，在她退休以后，我看到一些當年的孩子們回來告訴她，“您知道，Walker老師，您改變了我的生活。您讓它有了意義。您讓我覺得我是個人物，雖說在心底我知道我不是。我就是想讓您看看我現在成為了個什么樣的人。”

And when my mama died two years ago at 92, there were so many former students at her funeral, it brought tears to my eyes, not because she was gone, but because she left a legacy of relationships that could never disappear.當我媽媽兩年前以92歲高齡去世的時候，有好多好多的以前的學生來參加了她的葬禮，我哭了，不是因為她去世了，而是因為她留下了這些永遠不會消失的各種聯系。

Can we stand to have more relationships? Absolutely.Will you like all your children? Of course not.And you know your toughest kids are never absent.(Laughter)Never.You won't like them all, and the tough ones show up for a reason.It's the connection.It's the relationships.And while you won't like them all, the key is, they can never, ever know it.So teachers become great actors and great actresses, and we come to work when we don't feel like it, and we're listening to policy that doesn't make sense, and we teach anyway.We teach anyway, because that's what we do.我們真的可以有更多的關系嗎？當然可以。你會喜歡你所有的學生嗎？當然不。你也知道那些最難搞的孩子總是很難甩掉。（笑聲）永遠不會。你不會喜歡每一個人，然而難搞的那幾個的出現也是有理由的。這就是聯系，是關系。當你不會喜歡他們每一個人的時候，關鍵就是他們永遠也不會知道這一點。所以老師們變成偉大的演員，我們得強迫自己工作，我們得聽從那些毫無道理的政策，我們還得上課。我們還得上課，因為這是我們的責任。

Teaching and learning should bring joy.How powerful would our world be if we had kids who were not afraid to take risks, who were not afraid to think, and who had a champion? Every child deserves a champion, an adult who will never give up on them, who understands the power of connection, and insists that they become the best that they can possibly be.教學和學習應該是讓人愉快的事情。我們的世界會變得多么的強大 如果我們的孩子都不害怕接受挑戰，不害怕思考，都贏得了一個冠軍？ 每個孩子都可以成為一個冠軍，一個成年人要永遠不放棄他們，懂得聯系的強大力量，堅信他們可以變成那個最好的自己。

Is this job tough? You betcha.Oh God, you betcha.But it is not impossible.We can do this.We're educators.We're born to make a difference.這個職業很艱巨不？當然。上帝，毫無疑問。但是這不是不可能的。我們可以的，因為我們是教育家。我們天生就是重塑他人的。

Thank you so much.非常感謝大家。(Applause)（掌聲）

第二篇：TED演講中英對照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.我的工作是設計、構造和研究 那些能夠與人交流的機器人。不過這個故事不是從機器人說起，而是要從動畫說起。當我第一次看到皮克斯的《頑皮跳跳燈》電影時，我驚呆了，一個如此微不足道的臺燈 竟能表現如此多的感情。你看他們啊！電影結尾的時候，你真的開始喜歡上這兩件小小的家具了。（笑聲）我對自己說，我要學會做這樣的東西。所以我做了一個很壞的職業決策，我做出這個決定的時候，我媽媽就是這樣的。（笑聲）我辭去了在以色列一個軟件公司的 一份非常舒服的技術工作，我搬到了紐約 去學習動畫。在那，我和我的室友住在 哈萊姆一棟即將坍塌的公寓樓里。我沒有夸張，有一天天花板真的塌下來了 就塌在了我們的客廳里。每次報到紐約的違章建筑時，他們都會跑到們的大樓下進行采訪。就好像讓你看看現場有多糟糕一樣。

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，我上學的日日夜夜，我不停地一幅又一幅地用鉛筆畫著畫。我學到了兩個讓我驚訝的東西—— 其中一個是： 當你想要喚起某些情感時，外觀并不算太重要，關鍵是動作——物體運動時，對時間的把握。關鍵是動作——物體運動時，對時間的把握。第二個是我們的一個老師告訴我們的。他正是電影《冰河世紀》的黃鼠狼。他說： ”作為一個動畫制作者，你不是一個導演，而是一個演員。“ 所以如果你要為一個角色找到正確的肢體語言，不要想，用你的身體找到它，站在鏡子面前，攝像機前，演出來，無論你需要做什么。然后再把這個動作放在你的角色上。

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（MIT）的 機器人生命小組，這是最早 開始研究人類和機器人關系的小組之一。我依然懷揣著要造一個 真正的、可觸碰的頑皮跳跳燈的夢想。但是我發現機器人完全不是 按照我的動畫課程中的那種 引人入勝的方式移動。相反的，他們都—— 該怎么說呢？他們都有點兒機械化。（笑聲）我就想，如果我可以把我在動畫學校學到的東西 應用于設計我的機器人臺燈會怎樣？ 因此我設計了一幅又一幅，試圖讓這個機器人 盡量優雅、有吸引力。這里你可以看到這個桌子上的機器人 在跟我互動，我其實是在重新設計這個機器人，而這個機器人完全不知道，它幫我，其實是在自掘墳墓呢。（笑聲）比起把他它做成一個照明的機械，比起把他它做成一個照明的機械，我更想要一個能幫忙的、安靜的學徒，隨時滿足你的需求卻不打擾你。比如，當我要找一個我怎么也 找不到的電池時，它可以巧妙地提醒我電池在哪里。你看到我的困惑了嗎？ 我不是一個演員。我希望你們注意到，同一個機械如何 在前一刻非常溫柔、充滿關懷，在前一刻非常溫柔、充滿關懷，下一刻又顯得非常暴力，有進攻性。一模一樣的結構，改變的僅僅是動作。演員：”你想知道嗎？你真的想知道嗎？ 他已經死了！他就躺在那里，目光呆滯！“（笑聲）但是，以一種優雅的方式移動只是這整個 人類機器人互動結構的一塊基石。那時候我正在攻讀我的博士學位，我正在研究人類與機器人的團隊合作，也就是人類和機器人一起合作。我在學習團隊合作的工程學，心理學和哲學。同時，我意識到自己 和我的一個好朋友（他今天也在這里），也碰到了一個團隊合作的情境。在那個情境中，我們很容易想象 不久的將來機器人會和我們在一起。那是在一個逾越節家宴結束后，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奏。每個人都做了自己的那部分，無需分工，無需特意口頭溝通。就這樣發生了。于是我想，人類和機器人的互動卻完全不是這樣。當人類和機器人互動的時候，就好像他們在下象棋。人類走一步，機器人對此分析一下，然后機器人決定接下來怎么做，計劃好，走下一步。這時候人類就等著，直到輪到他們玩為止。所以，人類和機器人的互動更像下象棋，這很好理解，因為 對數學家和計算機科學家來說，象棋很好，它們都是關于信息分析、決策制定和計劃。

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，我更希望我的機器人是一個行動者，但比起象棋玩家，我更希望我的機器人是一個行動者，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糟糕的職業決策： 我決定學習一學期的表演課程。我放下了我的博士課程，去上了表演課。我還參與了一個戲劇，希望現在已經找不到那個視頻了。我找到了每一本關于表演的書，其中包括一本從圖書館里借來的 19世紀的書。我震驚地發現我的名字是借閱者名單上的第二個，之前的一個名字是1889年。（笑聲）這本書已經躺了100年了，只為了借機器人之名被重新發現。這本書教演員 如何調動他們身體上的每塊肌肉 來表達他們想要表達的情感。

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世紀的時候非常流行。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的動作。你應該運用你的感覺記憶，去重新建構情感，用你的身體找到對的表情。即興發揮，根據你的場景搭檔即興表演。這個時候我也正讀到 認知心理學關于具身認知的東西，這也談到同樣的觀點—— 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，而是我們的身體反饋給大腦 并做出相應的動作，這對我好像一道閃電。我馬上回了我的辦公室。我寫了這篇論文，從來也沒發表過，叫做《人工智能的表演課》。我甚至花了一個月的時間 去做當時第一部由人類和機器人 一起主演的戲劇。你之前看到的演員和機器人的表演就是這部戲劇。當時我就想： 我們怎樣可以做出這樣的人工智能模型—— 計算機、計算機模型等等，它們會即興發揮、會冒險、甚至會犯錯。它可能會是更好的機器人隊友。因此我花了很多時間去研究這些模型，我還在幾個機器人身上做了試驗。這里你可以看到一個早期的例子，這個機器人試圖運用具身人工智能 來盡量模仿我的動作，就好像一個游戲。我們來看一下。你可以看到我可以糊弄它。有點像你可能看到的演員們 互相模仿對方 只為了找到他們之間的默契。然后，我又做了另外一個實驗，我從大街上拉人來使用這個機器人臺燈，試驗具身人工智能。其實，同樣的機器人我用了兩個大腦，機器人就是你看到的這個臺燈，我給了它兩個大腦。對一半的人，我放入了一個傳統的、機械計算的大腦。它會等，會分析，會計劃，我們暫且稱它為“會計算的大腦”。給另一半人則是那個舞臺演員、愛冒險的大腦，我們暫且稱它為“愛冒險的大腦”，有的時候它在并不知道所有事情的時候行動，有的時候它會犯錯然后去糾正。我讓他們完成一項無比乏味的任務，這個任務要花近20分鐘，他們必須一起合作完成，有點類似在工廠工作，機械地重復一件事情。我發現人們非常喜歡 那個“愛冒險的機器人”。他們覺得它非常聰明，非常忠心，是一個很好的團隊成員，一起幫助團隊成功。他們甚至稱它為“他”和“她”，而另外那些人稱那個“會計算的機器人”為“它”，沒有人稱它為“他”或“她”。任務完成后，那些與“會冒險的大腦”互動的人說： “最后，我們成了好朋友，還在腦內舉手擊掌了。” 不管那是啥意思……（笑聲）聽上去很…（口齒不清）然而，那些與“會計算的大腦”互動的人 則說“它就像一個懶徒弟，只做最基本的。“ 這基本上和同人對機器人期待一樣，所以我有些驚訝，比起那些機器人研究專家，人們居然對機器人有更高的期望。但從另一個角度，我又想，也許就像方法演技改變了 19世紀人們思考表演的方式一樣，是時間改變這種通過精確計算的 行為方式，而轉向一種更直覺的、冒險的、用身體表現的行為方式。也許類似的 機器人革命時間到了。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做研究，我在一個研究機器人音樂家的 小組工作。我想，音樂是可以很好的 研究團隊合作、配合、時間分配和即興表演的領域，我們有這個玩馬林巴的機器人。和我一樣對樂器不在行的朋友，馬林巴是 一個巨大的木琴。我看著這個，又看了那些其它的人類和機器人的即興互動，——沒錯，還有其它人和機器人即興互動的項目—— 都差不多也是一個個象棋游戲式的互動。人類走一步，機器人對此分析，然后決定下一步。音樂家們稱其為 呼叫和應答互動，作為機器人和人工智能，這很合適。但是我想，如果我可以運用 戲劇表演和團隊合作中的研究發現，也許我可以讓這些機器人 組成一個樂隊，每個人都在即興發揮，沒有人需要停下來。于是這次我嘗試用音樂做試驗，機器人并不知道 它會演奏什么，它就這樣移動它的身體，找機會演奏，做著我17歲時候的爵士老師教我的事情。她說，當你即興表演的時候，有的時候，你并不知道你在做什么，但是你還是繼續做。于是我嘗試做一個不知道自己在做什么 卻仍然繼續做的機器人。讓我們來看一下這個表演的一個小片段。機器人聽人類音樂家演奏 然后即興發揮。接著，看人類音樂家如何 回應機器人的行為，回應機器人的行為，有時甚至被機器人的表現驚訝。（音樂）（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.作為一個音樂家不僅僅是編寫音符，否則沒有人會去看現場表演了。音樂家也用他們的身體交流，和他們的樂隊成員，和觀眾，他們用他們的身體來表現音樂。于是我想，我們已經有一個在舞臺上的機器人音樂家，為什么不把它打造成一個真正的音樂家呢？ 于是我開始為機器人設計一個 可以表現情感的頭部。頭部并不會碰到馬林巴，它只是用來表現音樂是什么樣的。這草圖的紙巾來自亞特蘭大某處一個酒吧，而且酒吧就正好在實驗室和我家的正中間。（笑聲）而且酒吧就正好在實驗室和我家的正中間。（笑聲）我大概平均 每天有3到4個小時的時間在那里，“大概”…（笑聲）我重新拾起了我的動畫工具，試圖想象 不僅僅一個機器人音樂家的樣子，特別是一個機器人音樂家會如何移動它的身體，來告訴人們它不喜歡其他人的演奏，還有它自己當下感覺到的節奏。還有它自己當下感覺到的節奏。

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)幸運的是，我們最終還獲得了一筆 造這樣一個機器人的資金。接下來我給大家看一下同樣的表演 換成一個情感表現頭的效果。注意一點： 請觀察這個機器人如何 根據人類的演奏即興發揮，也讓人類知道，這個機器人知道它在做什么。還有獨奏開始時，它是如何做出回應的。還有獨奏開始時，它是如何做出回應的。（音樂）這會兒它正看著我確保我在聽。（音樂）我們再看一下這段的最后一部分，現在機器人正在用它的身體進行溝通，當它正忙于做它自己的事情時，忙于準備 跟我一起演奏最后的旋律。（音樂）（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 它的頭部不碰到樂器 其實有助于音樂表演！既然我們在亞特蘭大，就不會沒有說唱歌手參與到我們的試驗中來。既然我們在亞特蘭大，就不會沒有說唱歌手參與到我們的試驗中來。這個說唱歌手來了之后，我們讓他和這個機器人一起表演。這里你可以看到這個機器人 對節奏的回應，請注意兩點。第一，當這個機器人在搖頭晃腦的時候，你是不是也很想加入其中，和它一起晃動你的頭部？ 第二，雖然這個說唱歌手非常專注于它的蘋果手機，當機器人轉向它的時候，他也馬上轉回來。雖然僅僅是在他的視線邊緣—— 他的眼角的余光里，它仍然非常強大。這就是為什么我們不能忽視 我們周邊物體的移動。我們天生會這樣做。所以，如果你的搭檔 很喜歡看它的蘋果手機或智能手機，也許你需要一個機器人 來獲得他們的注意力。（笑聲）（音樂）（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機器人。說來也奇怪，我們發現 到了某個階段，人們不再對那些聰明的、會即興表演、會聆聽、會做那些我花了多年研究的身體智能表演的 機器人感興趣了。他們真的很喜歡那個會享受音樂的機器人。（笑聲）他們沒有說這個機器人是隨著音樂扭動身體，而是說這個機器人在享受音樂。于是我們想，為什么不借用這個想法呢，因此我設計了一件新的小家具。這次不是一個臺燈，而是一個揚聲器底座，就是你可以把你的智能手機放上去的那種。于是我想，如果這個揚聲器底座 不僅可以為你放音樂，還可以享受音樂，會怎樣？（笑聲）這是早期的一些動畫嘗試。這是早期的一些動畫嘗試。這是最終的成品的樣子。饒舌音樂 不停的點頭……（掌聲）觀眾那里也有很多人在不停點頭，因此我們可以看到機器人可以影響人。當然這一切不僅僅只是娛樂和游戲。

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)我覺得自己非常熱衷研究 那些可以用身體溝通、用身體移動的機器人的一個原因是—— 我告訴你一個只有我們機器人專家知道的秘密—— 我們每一個人在生命的某個階段 都會需要機器人，你未來的某個階段會有個機器人。如果不是你的未來，那么你的孩子的未來。我希望這些機器人 比現在 可以更流暢、更吸引人、更優雅。比現在 可以更流暢、更吸引人、更優雅。因此，我覺得機器人 不應該是像一個象棋玩家，而應該更像一個舞臺演員或者音樂家。它們應該可以冒險，會即興表演，甚至會預料到你接下來會做什么。它們也應該可以犯錯 并且改正，因為到頭來，我們只是人類。也許對人類而言，不完美的機器人 才是完美的。謝謝！

第三篇：萊溫斯基TED演講 中英對照

The price of shame

主講人：莫妮卡 萊溫斯基

主題：恥辱的代價

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在大眾面前沉默了十年之久的女人。當然，現在情況不一樣了，不過這只是最近發生的事。

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.幾個月前，我在《福布斯》雜志舉辦的“30歲以下”峰會（Under 30 Summit）上發表了首次公開演講。現場1500位才華橫溢的與會者都不到30歲。這意味著1998年，他們中最年長的是14歲，而最年輕的只有4歲。我跟他們開玩笑道，他們中有些人可能只在說唱歌曲里聽到過我的名字。是的，大約有40首說唱歌曲唱過我。

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，在我演講當晚，發生了一件令人吃驚的事——我作為一個41歲的女人，被一個27歲的男孩示愛。我知道，這聽上去不太可能對吧？他很迷人，說了很多恭維我的話，然后我拒絕了他。你知道他為何搭訕失敗嗎？他說，他可以讓我感到又回到了22歲。后來，那晚我意識到，也許我是年過40歲的女人中唯一一個不想重返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，我愛上了我的老板；24歲的時，我飽受了這場戀愛帶來的災難性的后果。現場的觀眾們，如果你們在22歲的時候沒有犯過錯，或者沒有做過讓自己后悔的事，請舉起手好嗎？是的，和我想的一樣。與我一樣，22歲時，你們中有一些人也曾走過彎路，愛上了不該愛的人，也許是你們的老板。但與我不同的是，你們的老板可能不會是美國總統。當然，人生充滿驚奇。之后的每一天，我都會想起自己所犯的錯誤，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.飽受網絡欺凌之苦 1998年，在卷入一場不可思議的戀情后，我又被卷入了一場前所未有的政治、法律和輿論漩渦的中心。記得嗎？幾年前，新聞一般通過三個途徑傳播：讀報紙雜志、聽廣播、和看電視，僅此而已。但我的命運并不是僅此而已。這樁丑聞是通過數字革命傳播的。這意味著我們可以獲取任何我們需要的信息，不論何時何地。這則新聞在1998年1月爆發時，它也在互聯網上火了。這是互聯網第一次在重大新聞事件報道中超越了傳統媒體。只要輕點一下鼠標，就會在全世界引起反響。

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? 對我個人而言，這則新聞讓我一夜之間從一個無名小卒變成了全世界人民公開羞辱的對象。我成了第一個經歷在全世界范圍內名譽掃地的“零號病人”。科技是這場草率審判的始作俑者，無數暴民向我投擲石塊。當然，那時還沒有社交媒體，但人們依然可以在網上發表評論，通過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，借此來兜售報紙，為網頁吸引廣告商，提高電視收視率。記得當時的那張照片嗎？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.現在，我承認我犯了錯，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”的標簽，當然，還有“那個女人”。許多人看到了我，但很少有人真正了解我。對此我表示理解，因為人們很容易忘記“那個女人”也是一個活生生的人，她也有靈魂，她也曾過著平靜的生活。

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，對于我經歷的這些遭遇還沒有一個專有名詞。現在，我們稱之為“網絡欺凌”和“網上騷擾”。今天我要與你們分享一些我的經歷，我想談談那次經歷是如何形成了我的文化觀察，我希望我過去的經歷能夠產生一些改變，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，我失去了名譽和尊嚴。我幾乎失去了所有，我幾乎失去了我的人生。丑聞爆發之后，鋪天蓋地都是對此事件的報道。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?

讓我來描繪這樣一幅場景：1998年9月的一天，我坐在美國獨立檢察官辦公室一間沒有窗的屋子里，頭頂上的日光燈嗡嗡作響。我正在聽我的錄音，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個小時的電話錄音是真實的。在過去的八個月里，這些錄音帶中神秘的內容就像一把懸在我頭頂的達摩克利斯之劍。我的意思是，有誰會記得自己一年前說過的話？ 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，我聽著錄音，聽我閑扯每天發生的瑣碎之事；聽我坦白對總統的愛慕，當然，還有我的心碎；聽有時尖酸，有時粗魯，有時愚蠢的我是如何冷酷，無情，無理取鬧。我帶著深深的羞愧聽著那個最糟糕的我的聲音，糟糕到我自己都不認識了。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，斯塔爾報告提交至國會，那些錄音帶和文字記錄，那些被竊取的言語，都是這份報告的一部分。人們能夠讀到這些文字對我來說已經夠恐怖了，但是幾個星期后，那些錄音又在電視上播放，有一些重要的內容還被發布在網絡上。公開的羞辱讓我飽受折磨。這樣的生活讓我幾乎無法忍受。

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，我所說的這些還并不常見。我指的是竊取他人私下的言語、行動、談話內容和照片，并公之于眾——在未經本人同意，未交待背景的情況下，毫無惻隱之心地將這些內容公之于眾。

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，不管這個當事人是不是真的犯了錯，而且，公眾人物和普羅大眾都深受其害。對于有些人來說，后果是嚴重的，非常嚴重。

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，我們在討論一則新聞，關于羅格斯大學的一個名叫泰勒 克萊門蒂的大一新生。可愛、敏感、富有創意的克萊門蒂被室友偷拍到和另一個男人有親密關系。當這個視頻在網絡世界曝光后，嘲笑和網絡欺凌的火種被點燃。幾天后，泰勒從喬治華盛頓大橋上縱身跳下。一個年僅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情緒有些失控，她所表現出的痛苦讓我并不十分理解。后來，我才終于意識到，她正在重新經歷1998年發生的一切。重新經歷她每晚坐在我的床頭的時候；重新經歷她要我開著浴室門洗澡的時候，重新經歷她和父親擔心我會因為受到羞辱而自尋短見的時候。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，太多父母沒有機會及時介入來拯救他們摯愛的孩子。太多的人，當他們獲悉自己的孩子的痛苦和受到的羞辱時，已為時已晚。

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.泰勒悲慘而毫無意義的死亡對我來說是一個轉折點。他讓我開始重新審視我的親身經歷，他讓我開始觀察身邊這個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，沒有人知道這種名叫“因特網”的新技術會把人類帶向何方。自誕生以來，因特網用難以想象的方式將人類聯系起來。它讓人們找到失散的兄弟姐妹、拯救生命、發起革命，但是我所遭受的黑暗、網絡欺凌和被稱為“蕩婦”的羞辱也如雨后春筍般瘋長。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，在網絡上都會有人，特別是年輕人被辱罵和羞辱，而他們對此束手無策。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。這一點兒也不虛擬。

ChildLine是英國一個致力于幫助年輕人解決各種問題的公益組織。去年年底，該組織公布了一組令人震驚的數據：從2012年到2013年，與網絡欺凌有關的電話和郵件數量增加了87%。一份來自荷蘭的綜合分析首次披露，網絡欺凌比線下欺凌更容易讓人產生自殺的念頭。去年，還有一項研究讓我震驚，盡管我并不該感到震驚。研究顯示，羞辱是比快樂或者生氣更為強烈的情緒。Cruelty to others is nothing new, but online, technologically enhanced shaming is amplified, uncontained, and permanently accessible.殘忍對待他人不是什么新鮮事，但是，在互聯網上，技術讓羞辱放大，一發而不可收，并且永遠可以被看到。

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.過去，丑聞最多在你的家庭、村莊、學校或者社區傳播。但是現在也在網絡社區流傳。數百萬的網民，經常匿名地惡語相向，這帶來很多痛苦。而且，到底有多少人可以公開地關注你，讓你成為眾矢之的？這是無法計算的。被公開羞辱對個人而言代價很大，而互聯網的發展加劇了這種代價。

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，我們慢慢地在文化的土壤中播下恥辱和公開羞辱的種子，無論是線上還是線下。八卦網站、狗仔隊、真人秀節目、政治、新聞媒體，有時甚至是黑客都是羞辱的通道。冷酷、放縱的網絡環境助長了網絡煽動、侵犯個人隱私、和網絡欺凌。這種轉變形成了一種尼古拉斯

米爾斯教授所說的羞辱文化。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.想想最近六個月發生的事情。Snapchat是一項主要是年輕人使用的服務，它號稱所有的信息只有幾秒鐘的壽命。你可以想象這些信息會包含哪些內容。Snapchat用戶使用的保存信息的第三方應用被黑客攻擊，近10萬名用戶的私人談話、照片、視頻被泄露到網上。現在，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、裸體的照片在未經允許的情況下在互聯網上鋪天蓋地地傳播。一個八卦網站僅僅因為這一則新聞就獲得了超過500萬的點擊量。索尼影視被黑客攻擊的情況又如何呢？最受關注的文件是那些公開羞辱價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，公開羞辱還被貼上了另一種價格標簽。這個價格標簽衡量的并不是受害者付出的代價，比如泰勒、還有其他很多人，特別是婦女，少數群體和同性戀、雙性戀、變性群體(LGBTQ)成員所付出的代價，而是衡量損害他們利益的牟利者的收益。侵入他人領域成了一種原材料，被人以最快的速度無情地挖掘，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.一個市場橫空出世，公開羞辱是商品，恥辱變成了一種產業。靠什么賺錢呢？點擊。恥辱越多，點擊越多。點擊越多，廣告收入就越多。我們身處一個惡性循環。我們對這類八卦點擊得越多，我們就會對故事背后的當事人越麻木。我們越麻木，就越會去點擊。

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，有些人把自己的利益建立在他人的痛苦之上，每一次點擊，我們都是在做出選擇。我們文化中充斥的公開恥辱越多，它就越容易被接受，我們就會看到越多的網絡欺凌、網絡煽動、某些形式的黑客入侵，和線上騷擾。為什么呢？因為它們的核心都是羞辱。這種行為成為了我們所創造的一種文化病癥。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.向網絡欺凌說不。改變行為從改變信念開始。不管是現在還是過去，無論是種族歧視、同性戀歧視和其它很多的歧視，都是這樣來消除的。隨著對同性戀結婚觀念的改變，更多人被賦予了平等的自由。隨著對可持續性的提倡，越來越多的人開始循環利用。

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.對于羞辱的文化也應該如此。我們需要文化革命。公開羞辱這種血腥的運動應該終止，是時候對英特網和我們的文化采取干預行動了。

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.轉變可以從簡單的事開始，不過這也不容易。我們需要回歸人類固有的一種價值，也就是同情心和同理心。互聯網正經歷著同情心匱乏和同理心危機。引用研究者布林 布朗的話來說就是，“羞辱在同理心之下無法存活”。羞辱在同理心之下無法存活。我的人生中有過一些非常黑暗的日子，是來自家人、朋友、專業人士、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.哪怕只有一個人的同情也會產生改變。社會心理學家謝爾蓋 莫斯科維奇提出了小眾影響理論。他說，哪怕是小眾人群，只要能堅持下去，也能做出改變。在網絡世界中，我們可以成為行動派，培養小眾影響力。成為行動派意味著不再袖手旁觀，而是發表積極評論或是舉報欺凌現象。

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，表達同情的評論能夠削弱負面影響。我們還可以通過支持處理這類問題的組織機構來對抗這種羞辱文化。例如，美國有泰勒 克萊門蒂基金，英國有反欺凌項目，澳大利亞有Rockit項目。

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.關于言論自由的權力我們討論了很多，但我們還應該更多地談談享受言論自由時所承擔的責任。我們都希望自己的聲音被聽到，但是我們要區分有意圖的發聲和尋求關注的發聲。因特網是表達自我的超級高速公路，但是，站在他人角度考慮問題對我們都是有利的，而且能夠幫助創建更安全，更美好的世界。

我們需要懷著同情心在網絡上交流，懷著同情心閱讀新聞，懷著同情心點擊鼠標。試著想象活在別人的新聞頭條里。

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.最后我想以個人說明做總結。過去九個月里，我被人問得最多的問題是“為什么”。為什么是現在？為什么要逆流而上？你們應該可以聽出這些問題的言外之意。答案與政治無關。

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，因為是時候了，是時候不再為過去而過得如履薄冰，是時候結束背負罵名的生活，是時候奪回我的話語權了。這不僅僅是為了拯救我自己。任何遭受恥辱和公開羞辱的人，都需要明白一點：你能挺過來。我知道這很難，肯定會伴隨痛苦，肯定不會又快又輕松，但你可以通過你的堅持，書寫一個不同的故事結局。

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，無論線上還是線下，我們都應該生活在一個更富有同情心的世界。Thank you for listening.謝謝聆聽！

第四篇：TED中英對照演講稿 我如何愛上一條魚

Dan Barber: How I fell in love with a fish 我一生中接觸過很多魚。只有兩種是我的最愛。第一種，是源于激情。它是一條美麗的魚，美味，紋理細膩，肉質豐富，是菜單上最受歡迎的魚。多么美的魚啊！（笑聲）更好的是，它是依照最高標準養殖的，目的是保持它的可持續性的。而賣他的人也會感到心安理得。

So, I've known a lot of fish in my life.I've loved only two.That first one, it was more like a passionate affair.It was a beautiful fish, flavorful, textured, meaty, a best-seller on the menu.What a fish.(Laughter)Even better, it was farm-raised to the supposed highest standards of sustainability.So you could feel good about selling it.我曾經沉醉于這美麗的關系中，時間大概延續了幾個月。有一天，這個公司的高層打電話給我 邀請我參加一個活動 并就漁業的可持續性發展發表演說。我說，“當然可以”。這個公司正是要試圖解決一個 對于我們廚師來說正在變得不可想象的問題。“我們如何把魚類留在菜單上？”

I was in a relationship with this beauty for several months.One day, the head of the company called and asked if I'd speak at an event about the farm's sustainability.“Absolutely,” I said.Here was a company trying to solve what's become this unimaginable problem for our chefs.How do we keep fish on our menus?

在過去的50年中，我們從各個海洋中捕魚 就像是砍伐樹木。絕不是夸大它的破壞性。90%的大型魚類，那些我們喜愛的種類，金槍魚，大比目魚，三鮭魚，劍魚，他們都要滅絕了。幾乎沒有多少剩下了。所以，不管是好是壞，水產養殖業，養魚業，都會成為我們未來的一部分。有很多針對這個行業的言論。其實它們大部分都是關于養魚業會污染環境，而且效率很低，比如說金槍魚。最大的弊病就是，養殖金槍魚的飼料轉換率是 15比1。這個意思是說，每生產1磅金槍魚肉 要耗費15磅用其他野生魚類做的飼料。這可不是很具有可持續發展性。而且也不好吃。

For the past 50 years, we've been fishing the seas like we clear-cut forests.It's hard to overstate the destruction.90 percent of large fish, the ones we love, the tunas, the halibuts, the salmons, swordfish, they've collapsed.There's almost nothing left.So, for better or for worse, aquaculture, fish farming, is going to be a part of our future.A lot of arguments against it.Fish farms pollute, most of them do anyway, and they're inefficient, take tuna.A major drawback.It's got a feed conversion ratio of 15 to one.That means it takes fifteen pounds of wild fish to get you one pound of farm tuna.Not very sustainable.Doesn't taste very good either.最后，這個公司想做些正確事情。我也想支持他們。在那次活動的前一天，我聯系了公司的公關部門頭頭。就讓我們暫且稱呼他為“唐閣下”。

So here, finally, was a company trying to do it right.I wanted to support them.The day before the event I called the head of PR for the company.Let's call him Don.我說：“唐閣下，據我說知，事實是這樣的，你們在海洋捕魚業十分出名，而且你們不會產生污染。”

“Don,” I said, “just to get the facts straight, you guys are famous for farming so far out to sea, you don't pollute.”

他回應： “你說的對。我們作業的地點很遠，我們捕魚所產生的污染物都被稀釋掉了，不會集中殘留在一個地方。” 然后他補充到，“我們算得上是獨樹一幟。飼料轉換率？2.5比1，” 他說。“行業中最好的。”

“That's right,” he said.“We're so far out, the waste from our fish gets distributed, not concentrated.” And then he added, “We're basically a world unto ourselves.That feed conversion ratio? 2.5 to one,” he said.“Best in the business.”

2.5比1，很好。“什么2.5比1？你們在喂什么？”

他回答道：“可持續性蛋白質”。

2.5 to one, great.“2.5 to one what? What are you feeding?” “Sustainable proteins,” he said.我說：“很好”。然后掛了電話。結果那晚，我躺在床上想： 可持續性蛋白質是什么鬼東西？（笑聲）

“Great,” I said.Got off the phone.And that night, I was lying in bed, and I thought: What the hell is a sustainable protein?(Laughter)

所以第二天，就在那個活動之前，我打電話給唐閣下。我問道：'唐閣下，你有沒有一些可持續性蛋白質的例子？“ So the next day, just before the event, I called Don.I said, ”Don, what are some examples of sustainable proteins?“

他說他不知道。他會去問問周圍的人。然后，我和這個公司里的一些人通了電話。但是沒有人能給我一個明確的答案。直到最后，我通上了電話 對方是生物學專家。讓我也暫且叫他 “唐閣下”。（笑聲）He said he didn't know.He would ask around.Well, I got on the phone with a few people in the company.No one could give me a straight answer.Until finally, I got on the phone with the head biologist.Let's call him Don too.(Laughter)

我說：“唐閣下” “可以舉例說明一下可持續性蛋白質嗎？”

恩，他提到了一些藻類 還有一些魚食，然后他提到雞丸。我問道： “雞丸?”

他說，“是，羽毛，雞皮，骨骼，排泄物，被曬干加工后添入飼料。”Don,“ I said, ”what are some examples of sustainable proteins?“

Well, he mentioned some algaes and some fish meals, and then he said chicken pellets.I said, ”Chicken pellets?“

He said, ”Yeah, feathers, skin, bone meal, scraps, dried and processed into feed.“

我說：“雞在飼料中的比例 是多少？” 想一下，你知道，2%。

結果他說：“恩，大概占30%，”

我說，“唐閣下，用雞喂魚，這算什么可持續發展性？”（笑聲）

電話的那邊安靜了很長時間，然后他對我說，“世界上就是有太多的雞了。”（笑聲）I said, ”What percentage of your feed is chicken?“ thinking, you know, two percent.”Well, it's about 30 percent,“ he said.I said, ”Don, what's sustainable about feeding chicken to fish?“(Laughter)There was a long pause on the line, and he said, ”there's just too much chicken in the world.“(Laughter)

于是，我不再愛這個魚了。（笑聲）不，不是因為我是個自以為是，偽善的美食家。其實我是這樣的人。（笑聲）不，我不再愛這個魚了，是因為，我向上帝發誓，在那次對話之后，那個魚嘗起來更像雞。（笑聲）

I fell out of love with this fish.(Laughter)No, not because I'm some self-righteous, goody-two shoes foodie.I actually am.(Laughter)No, I actually fell out of love with this fish because, I swear to God, after that conversation, the fish tasted like chicken.(Laughter)

這第二條魚，它則是另一種不同的愛情故事。是很浪漫的那種，那種你越多了解你的魚，你就越愛它。我第一次在一個飯店中吃到這種魚，位置在西班牙南部。很久以前一個記者朋友和我說過這里。她可以說是個媒人。（笑聲）那條魚在桌子上 很亮，有著光暈，白色的那種。廚師烹飪它的時間過長了。好像是烹飪了兩次。但是太神奇了，它還是很好吃。

This second fish, it's a different kind of love story.It's the romantic kind, the kind where the more you get to know your fish, you love the fish.I first ate it at a restaurant in southern Spain.A journalist friend had been talking about this fish for a long time.She kind of set us up.(Laughter)It came to the table a bright, almost shimmering, white color.The chef had overcooked it.Like twice over.Amazingly, it was still delicious.誰可以做出這樣好吃的魚 而且還是在烹飪時間過長的情況下？ 我不能，但是這個人可以。讓我們叫他米格爾。其實他的名字就是米格爾。（笑聲）但是，他沒有烹調那條魚，他也不是個廚師。至少在你我理解的方式之內他不是。他是一個生物學家 在薇塔拉帕爾馬。他是個位于西班牙西南角的養魚場。他就在高達爾克維爾河的尖部。

Who can make a fish taste good after it's been overcooked? I can't, but this guy can.Let's call him Miguel.Actually his name is Miguel.(Laughter)And no, he didn't cook the fish, and he's not a chef.At least in the way that you and I understand it.He's a biologist at Veta La Palma.It's a fish farm in the southwestern corner of Spain.It's at the tip of the Guadalquivir river.直到上個世紀80年代，這個漁場是阿根廷人管轄的。他們在這里養牛 那個時候這里基本上是濕地。當時他們把水抽走。然后建造一系列復雜的運河，他們接著把這里的水排入河流。但是，他們沒有成功，我是指經濟方面。而且對周圍的環境造成了巨大的災難。周圍差不多90%的鳥類都消失了，而在這個地區那些是很多的鳥。到了1982年，一家具有環保意識的的西班牙公司 購買了這塊地。

Until the 1980s, the farm was in the hands of the Argentinians.They raised beef cattle on what was essentially wetlands.They did it by draining the land.They built this intricate series of canals, and they pushed water off the land and out into the river.Well, they couldn't make it work, not economically.And ecologically, it was a disaster.It killed like 90 percent of the birds, which, for this place, is a lot of birds.And so in 1982, a Spanish company with an environmental conscience purchased the land.他們做過什么？ 他們逆轉了水流的方向。他們基本上是搬動卡關。代替排水，他們用這個水渠來把水引進來。他們用水填滿了這個運河。然后建立了一個27000英畝的漁場--鱸魚，梭魚，蝦，鰻魚-在這個工程中，米格爾，還有這個公司，完全挽救了這次生態災難。這個漁場太了不起了。我的意思是說，你從沒見過類似的地方。我看著地平線 它是那么的廣闊，引入您視野的都是被注滿水的河道 和這個富饒的沼澤濕地

What did they do? They reversed the flow of water.They literally flipped the switch.Instead of pushing water out, they used the channels to pull water back in.They flooded the canals.They created a 27,000 acre fish farm--bass, mullet, shrimp, eel--and in the process, Miguel, and this company, completely reversed the ecological destruction.The farm's incredible.I mean, you've never seen anything like this.You stare out at a horizon that is a million miles away, and all you see are flooded canals and this thick, rich marshland.不久前，我和米格爾去過那兒。他是個了不起的人，?是達爾文，?是鱷魚鄧迪。（笑聲）我們進入了濕地，而我是氣喘吁吁汗流浹背，淤泥沒到了我的膝蓋，還有米格爾靜靜講述的生物講義。這兒，他指向一只罕見的黑肩鳶。這是，他提到可以滿足礦物質需求的浮游植物。還有這，他看到一組圖案 讓人聯想起坦桑尼亞長頸鹿。

I was there not long ago with Miguel.He's an amazing guy, three parts Charles Darwin and one part Crocodile Dundee.(Laughter)Okay? There we are slogging through the wetlands, and I'm panting and sweating, got mud up to my knees, and Miguel's calmly conducting a biology lecture.Here, he's pointing out a rare Black-Shouldered Kite.Now, he's mentioning the mineral needs of phytoplankton.And here, here he sees a grouping pattern that reminds him of the Tanzanian Giraffe.結果，米格爾曾經花了很長時間工作在 非洲的米庫米國家公園。我問他是怎么 成為一位魚類專家的。

It turns out, Miguel spent the better part of his career in the Mikumi National Park in Africa.I asked him how he became such an expert on fish.他說： “魚？我不了解他們。我只是一個關系專家。” 然后他發起了更多的對話 都是有關于稀有鳥類和藻類 還有特殊的水生植物。

He said, ”Fish? I didn't know anything about fish.I'm an expert in relationships.“ And then he's off launching into more talk about rare birds and algaes and strange aquatic plants.請不要誤解我，那樣的談話真的是引人入勝，關于生物群落一類的事情。這都很好，但是我戀愛了。我腦中始終惦記著那條 我前一晚品嘗過被過度烹飪的美味的魚。所以我中斷了他。我說，“米格爾，什么使你的魚那么好吃?”

And don't get me wrong, that was really fascinating, you know, the biotic community unplugged, kind of thing.It's great, but I was in love.And my head was swooning over that overcooked piece of delicious fish I had the night before.So I interrupted him.I said, “Miguel, what makes your fish taste so good?”

他指向藻類。

“我知道，兄弟，藻類，浮游植物，關系，這些都很神奇。但是你的魚吃什么？ 飼料轉換率是多少？？” He pointed at the algae.“I know, dude, the algae, the phytoplankton, the relationships, it's amazing.But what are your fish eating? What's the feed conversion ratio?”

然后他繼續告訴我 這是一個很富饒的系統，這些魚吃的就是它們在野外吃的東西。植物的生物質，浮游植物，浮游生物，都是魚的飼料。這個系統非常健康，它完全是自我更新的。沒有任何飼料。聽說過一個不喂動物飼料的農場嗎？

Well, he goes on to tell me it's such a rich system, that the fish are eating what they'd be eating in the wild.The plant biomass, the phytoplankton, the zooplankton, it's what feeds the fish.The system is so healthy, it's totally self-renewing.There is no feed.Ever heard of a farm that doesn't feed its animals?

那天晚些時候，我和米格爾開著車在周圍兜風，我問他，“這樣一個看起來如此自然的地方，” 不像其它任何一個我曾經見過的農場，“你如何衡量成功？”

Later that day, I was driving around this property with Miguel, and I asked him, I said, “For a place that seems so natural,” unlike like any farm I'd ever been at, “how do you measure success?”

就在那時，仿佛有一位 電影導演突然要求改變場景。我們轉過彎 看到最美的畫面，成千上萬的粉色火烈鳥，可以說是一張粉色的地毯。At that moment, it was as if a film director called for a set change.And we rounded the corner and saw the most amazing sight, thousands and thousands of pink flamingos, a literal pink carpet for as far as you could see.他說，“那就是成功。” “看他們的腹部，粉色的。他們正在享受盛宴。” 盛宴？我完全迷惑了。

我說，“米格爾，他們的盛宴不正是你的魚嗎？”（笑聲）

“That's success,” he said.“Look at their bellies, pink.They're feasting.” Feasting? I was totally confused.I said, “Miguel, aren't they feasting on your fish?”(Laughter)

“正是,“他說。（笑聲）“鳥類會吃掉我們20%的魚 還有魚卵。而且，去年，這個漁場 有600000只鳥，超過250個不同的種群。今天，這里已經成為最大的 而且是全歐洲最重要的 私有鳥類自然保護區之一。

”Yes,“ he said.(Laughter)”We lose 20 percent of our fish and fish eggs to birds.Well, last year, this property had 600,000 birds on it, more than 250 different species.It's become, today, the largest and one of the most important private bird sanctuaries in all of Europe.“

我說，“米格爾，這么多的鳥類數量 不是一個漁場最不想要到的嗎？”（笑聲）不，他搖搖頭。

I said, ”Miguel, isn't a thriving bird population like the last thing you want on a fish farm?“(Laughter)He shook his head, no.他說, “我們是廣義上的養殖，不是刻意的。這是一個生態網絡。這些火烈鳥吃掉蝦。蝦吃浮游動物。所以他們的肚子上粉色越鮮艷，代表這個系統越好。”

He said, ”We farm extensively, not intensively.This is an ecological network.The flamingos eat the shrimp.The shrimp eat the phytoplankton.So the pinker the belly, the better the system.“

好的，讓我們重新審視一下。一個農場不給它的動物喂食，而且它衡量自己的成功是 根據它的天敵。一個漁場，同時也是個鳥類庇護所。而且，順便說一句，那些火烈鳥，它們本不應該在那里。它們在城里繁殖 而且是在150英里以外的，那里的土壤狀況 更加適合做巢。每天早上，它們飛行 150英里來到這個漁場。到了晚上，他們在飛行150英里回家。（笑聲)他們這樣做是因為他們能順著 A92號高速公路 的白線。（笑聲）沒開玩笑。

Okay, so let's review.A farm that doesn't feed its animals, and a farm that measures its success on the health of its predators.A fish farm, but also a bird sanctuary.Oh, and by the way, those flamingos, they shouldn't even be there in the first place.They brood in a town 150 miles away, where the soil conditions are better for building nests.Every morning, they fly 150 miles into the farm.And every evening, they fly 150 miles back.(Laughter)They do that because they're able to follow the broken white line of highway A92.(Laughter)No kidding.我一直在腦海中想象類似【帝企鵝日記】的事，我看著米格爾。我說，“米格爾，它們飛行 150英里來漁場，然后它們晚上再 飛150英里回去嗎？ 它們這么做是為了孩子嗎？”

I was imagining a march of the penguins thing, so I looked at Miguel.I said, ”Miguel, do they fly 150 miles to the farm, and then do they fly 150 miles back at night? Do they do that for the children?“

他看著我就像是我剛剛引用了惠特尼休斯頓的歌。（笑聲）他說，“不，他們這么做因為這里的食物更好。”（笑聲）

He looked at me like I had just quoted a Whitney Houston song.(Laughter)He said, ”No.They do it because the food's better.“(Laughter)

我還沒有提到我最愛的魚的皮吧，真的是很美味，而且我通常不喜歡魚皮。我通常不喜歡烤的。我也不喜歡脆的。它有辛辣，像柏油那樣的味道。我從不把它和魚一起做。但是，當我在西班牙南部的那個餐館嘗到它的時候，嘗起來不像是魚皮。它嘗起來微甜而且干凈 就像你嘗了一口海洋自然的味道。我向米格爾提到我的想法，他點點頭。他說，“魚皮的作用就像是海綿。它是阻止任何物質進入到體內的最后的防線。它的作用是吸收雜質。” 然后他繼續說，“但是我們的水沒有雜質.”

I didn't mention the skin of my beloved fish, which was delicious, and I don't like fish skin.I don't like it seared.I don't like it crispy.It's that acrid, tar-like flavor.I almost never cook with it.Yet, when I tasted it at that restaurant in southern Spain, it tasted not at all like fish skin.It tasted sweet and clean like you were taking a bite of the ocean.I mentioned that to Miguel, and he nodded.He said, ”The skin acts like a sponge.It's the last defense before anything enters the body.It evolved to soak up impurities.“ And then he added, ”But our water has no impurities.“

好的。一個漁廠不喂它的魚。一個漁場衡量它的成功 是依照它天敵的成功。然后我意識到當他說，一個漁場沒有雜質，他輕描淡寫的說，因為在漁場中流過的水 來自于高達爾克維爾河。那條河中含有 現在所有的一條河里都有的東西，化學污染物，農藥殘留。然后當它進入這個系統 之后離開時，水質變得比來時更干凈。這個系統很衛生，它可以過濾這兒的水。所以，這個漁場不只是不喂動物，不只是衡量它的成功 根據天敵的健康狀況，但是是一個漁場基本上還是個水凈化廠，而且不僅僅是為那些魚，更是為了你和我。因為當水離開這里時，它會流入大西洋。我知道，這個作用是十分微薄的，但是我很重視它，而且你們應該也是，因為這個愛情故事，不但浪漫，而且有教育意義。你也許會說它是未來 美食的食譜，不管是我們在說鱸魚還是牛肉。

我們現在需要的是 一個全新的農業概念，一種真正的美食。（笑聲）（掌聲）但是對很多人來說，那太極端了。我們不是現實主義者，我們的美食家。我們是愛人。我們愛農產品市場。我們愛小型的家庭式農場。我們談論區域性食品。我們吃有機食品。然后當你建議這些食品 會保證未來的美食，某人在某地站起來說，”我說哥們，我愛粉色的火烈鳥，但是你怎么讓這個世界填飽肚子？ 你怎么為這個世界填飽肚子？“

我可以坦誠點嗎？ 我不喜歡你的問題。不，不只是因為我們已經生產 了遠遠超出我們這個世界需要的卡路里。今天十億人還是在餓著肚子。十億--那比以前任何時候都多--根本原因在于總體上的分配不平衡，不是按噸位算的。我不喜歡這個問題的真正原因是因為他擬定了一個食物系統的 邏輯，一個存在于過去的50年中的邏輯。把谷物喂給食草動物，把農藥給單品種作物，化學品給土壤，把雞給魚，然后各類農業可以 簡單的問，“如果我們用更便宜的方法養活更多的人，有什么不對的呢？” 那就是一個動機。它已經變得合乎情理了。它是一個商業計劃 屬于美國農業的。我們應該指出它的真面目，一個在清算的生意，一個迅速侵蝕的生意 生態資本使得這種生產成為可能。那不是一個生意，它也不是農業。

今天我們的食品正在受到威脅，不是因為正在遞減的供給，而是因為正在遞減的資源，不是靠最新的嫁接技術與拖拉機的發明，而是肥沃的土壤，不是靠水泵，而是靠新鮮的水源，不是靠電鋸，而是靠森林，不是靠漁船和漁網，而是靠海洋里的魚。

想要喂飽這個世界？ 讓我們開始問：我們怎么去喂養我們自己？ 或者更好的，我們怎么去建立一種環境 它可以讓每一個團體 去養活自己？（掌聲）要做到那樣，不要指望未來沿用現在的農業模型。它已經過時了，而且很疲勞。因為它過度依賴資本，化學，和機械，而且它生產不出來真正的好食品。取而代之，讓我們看看生態模式。它存在了20億年 同時具有實戰經驗。

看看米格爾，看看像米格爾這樣的農民，不只屬于他們自己的農場，它自我恢復，而不是消耗，廣義的農場 取代只是狹義的，農民不再只是生產者，而是關系專家，因為他們 同時也是口味上的專家。而且如果要我說實話，他們是比我更好的廚師。你們知道，我完全認同這樣的事，因為如果未來的優質食品是這樣的，它們肯定會是非常美味的。

謝謝你們。（掌聲）?

Okay.A farm that doesn't feed its fish.A farm that measures its success by the success of its predators.And then I realized when he says, a farm that has no impurities, he made a big understatement, because the water that flows through that farm comes in from the Guadalquivir river.It's a river that carries with it all the things that rivers tend to carry these days, chemical contaminants, pesticide runoff.And when it works its way through the system and leaves, the water is cleaner than when it entered.The system is so healthy, it purifies the water.So, not just a farm that doesn't feed its animals, not just a farm that measures its success by the health of its predators, but a farm that's literally a water purification plant, and not just for those fish, but for you and me as well.Because when that water leaves, it dumps out into the Atlantic.A drop in the ocean, I know, but I'll take it, and so should you, because this love story, however romantic, is also instructive.You might say it's a recipe for the future of good food, whether we're talking about bass or beef cattle.What we need now is a radically new conception of agriculture, one in which the food actually tastes good.(Laughter)(Applause)But for a lot people, that's a bit too radical.We're not realists, us foodies.We're lovers.We love farmers' markets.We love small family farms.We talk about local food.We eat organic.And when you suggest these are the things that will insure the future of good food, someone somewhere stands up and says, ”Hey guy, I love pink flamingos, but how are you going to feed the world?“ How are you going to feed the world?

Can I be honest? I don't love that question.No, not because we already produce enough calories to more than feed the world.One billion people will go hungry today.One billion--that's more than ever before--because of gross inequalities in distribution, not tonnage.No, I don't love this question because it's determined the logic of our food system for the last 50 years.Feed grain to herbivores, pesticides to monocultures, chemicals to soil, chicken to fish, and all along agribusiness has simply asked, ”If we're feeding more people more cheaply, how terrible could that be?" That's been the motivation, it's been the justification, it's been the business plan of American agriculture.We should call it what it is, a business in liquidation, a business that's quickly eroding ecological capital that makes that very production possible.That's not a business, and it isn't agriculture.Our bread basket is threatened today, not because of diminishing supply, but because of diminishing resources.Not by the latest combine and tractor invention, but by fertile land;not by pumps, but by fresh water;not by chainsaws, but by forests;and not by fishing boats and nets, but by fish in the sea.Want to feed the world? Let's start by asking: How are we going to feed ourselves? Or better, How can we create conditions that enable every community to feed itself?(Applause)To do that, don't look at the agribusiness model for the future.It's really old, and it's tired.It's high on capital, chemistry, and machines, and it's never produced anything really good to eat.Instead, let's look to the ecological model.That's the one that relies on two billion years of on-the-job experience.Look to Miguel--farmers like Miguel.Farms that aren't worlds unto themselves;farms that restore instead of deplete;farms that farm extensively instead of just intensively;farmers that are not just producers, but experts in relationships.Because they're the ones that are experts in flavor too.And if I'm going to be really honest, they're a better chef than I'll ever be.You know, I'm okay with that, because if that's the future of good food, it's going to be delicious.Thank you.(Applause)

第五篇：ted演講中英對照 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來的時候才知道打起精神做事情？是否存在執行力強的人或是說人人都有一定程度的拖延癥？Tim Urban從一個被deadline趕著走的拖延癥者的角度帶你走進拖延癥的神奇思維世界。

中英對照翻譯

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，我讀的是政府專業。也就是說，我需要寫很多的論文。一般的學生寫論文時，他們可能會這樣安排：(看圖)你可能開頭會慢一點，但第一周有這些已經足夠。后期再一點點的增加，最后任務完成，非常的有條理。我也想這么做，所以一開始也是這么計劃的。我做了完美的安排(看圖)，但后來，實際上論文任務一直出現，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，直到我長達90頁的畢業論文任務，這篇論文理應花一年的時間來做，我也知道這樣的工作，我先前的工作方式是行不通的，這個項目太大，所以我制定了計劃。決定按照這樣的方式工作，這樣來安排我這一年。(看圖)開頭我會輕松一點，中期任務逐漸增加，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，好笑的事情出現了，頭幾個月時光匆匆而逝，我還沒有來得及動工，所以我們明智的調整了計劃。然后，中間的幾個月也過去了，我還是一個字也沒有動，眨眼就到了這里，然后兩個月變成了一個月，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，發現離交稿日期只剩3天了，但我還一個字都沒寫。我別無選擇，只能在接下來的72小時里，連續通宵兩個晚上趕論文——一般人不應連續通宵兩個晚上。90頁趕出來后，我飛速沖過校園，像電影中的特寫慢鏡頭一樣，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，我接到一個電話，是學校打來的。他們說：“你是Tim Urban嗎?”我說：“是。”他們說：“我們要說一說你的畢業論文。”我說：“好啊。”他們說：“這是我見過最棒的論文。”……當然不可能。論文非常非常的差勁。我只想享受下你們對我的崇拜，想聽你們說：“這老兄太厲害了。”沒有，其實寫的非常差勁。

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，我現在成為了一個博客寫手，經營著“wait but why”這個博客。幾年前，我決定寫寫拖延這件事。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，拖延癥患者的大腦實際上和其他人的大腦不一樣。為了驗證這一點，我找了家核磁共振實驗室，給我和另一個確定是非拖延癥的人，進行了腦部掃描，我好將二者進行對比，今天我帶到現場，給大家展示一下。我希望大家仔細觀察，看能不能注意到差異。我知道大家并非專業的大腦專家，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.兩張是有一點不同，兩個大腦都有一個理性決策人，但在拖延癥患者的大腦里，還有一個及時行樂的猴子。那這對拖延癥患者來說意味著什么呢? 這意味著平時沒什么異樣，但一旦發生了以下的情況，理性的決策人做出理性的決策，要去做一些實際的工作，但猴子不喜歡這個計劃，所以他搶過方向盤，說道：“說實話，我們還是去維基百科上查一查NKTH的丑聞吧。”因為我剛想起來還發生過這件事。

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.然后我們會去翻冰箱，看看和十分鐘前相比有沒有什么新的東西。然后我們去youtobe看一連串的視頻，從Richard Feynman談論磁鐵開始，一直到很久很久之后看到一個Justin Bieber媽媽的訪談才結束。以上這些事情都得花時間，所以我們今天沒有時間再來工作了。

”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，到底發生了什么?這個及時行樂的猴子并非你，希望是控制方向的人，他完全生活在當下，沒有過去的記憶，也沒有未來的概念。他只關注兩件事情：簡單和開心。在動物界，這兩點完全沒有問題。如果你是一條狗，一輩子只追求一些簡單和快樂的事，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.但對猴子來說，人類是另外一個物種，你得正常睡眠、規律飲食、繁衍后代。在原始部落時代，這也沒太大問題。但你注意到沒有，現在并非原始部落時代，我們生活在一個現代文明社會中，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有另外一個，理性的決策者，他使人類有能力做到其他動物無法做到的事情。我們能設想未來，可以從大局出發，制定長期計劃，他可以把所有這些事考慮在內。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，做一些簡單開心的事情是很合理的，比如吃飯睡覺、享受贏得的休閑時光，所以二者也有重疊的部分。有時二者是一致的，但有些時候，從長遠的角度來看，一些更困難不開心的事情，才是合理的事情，所以就出現了沖突。對拖延癥患者來說，每次這種沖突到最后的結果都一樣，都讓他在這片橙色區域里耗費大量時間，這里很簡單很開心，但完全不在合理圈的范圍內，我將這個區域稱為黑暗操場。

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?

這個黑暗操場，所有的拖延者患者都應該很熟悉，在這里發生了許多，本不應該在此時進行的休閑活動。你在黑暗操場獲得的樂趣，實際并不有趣，因為這并非你應得的。這里的空氣充滿了內疚、恐懼、焦慮和自我憎恨——這些都是拖延癥患者常有的情緒。所以問題是，在猴子掌握方向盤的情況下，拖延癥患者如何進入這邊的藍色區域呢?這里雖然沒有這么舒適，但進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?

他們都在寫同一句話：“我也有這個問題。”但真正讓我感到觸動的，是我博客的輕描淡寫，和郵件的沉重文風之間的強烈對比。這些讀者以非常沮喪的語言，告訴我拖延對他們的生活造成了哪些影響，告訴我猴子對他們都做了些什么。我思考了一下，問道，既然拖延癥患者的系統是有效果的，那到底哪不對呢?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，拖延分為兩種，我今天所說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，拖延的影響會被限制在一定時期內，因為后期驚慌怪獸會出現，但還有第二種拖延，這種拖延是沒有截止日期的，所以如果你想在一些領域內自學成才——比如學個藝術或者創個業——這些事情開始都是沒有截止日期的，因為開始不會有什么變化，直到你拼盡全力，辛勤投入，才會有一點起色，你才能看到進展。

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。如果說拖延癥患者處理這些困難的唯一機制，是驚慌怪獸的話，那就有問題了，因為在這些沒有截止日期的情況下，驚慌怪獸是不會現身的，沒有喚醒他的條件，所以這一類拖延的后果是沒有限制的，他們會不斷地肆意延伸。

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，這種長時期的拖延，更不易被人察覺，也更少被談論到，他常常在無聲無息中折磨著人們，可以說是大部分長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寫信，為什么狀態這么差的原因吧。他們并非在為某個項目臨時抱佛腳，這種長期拖延使他們有時感覺，自己只是生活的旁觀者，讓他們沮喪的不是他們沒有實現夢想，而是他們甚至還沒有開始追尋夢想。

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.我讀著這些來信，忽然有一種頓悟——我覺得非拖延者是不存在的，沒錯，我認為你們所有人都是拖延者，當然你們可能不像，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系。但記住：猴子最狡猾的伎倆，發生在沒有截止日期的時候。

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東西，我稱之為“生命日歷”。這里的每一個格子都代表90年生命中的一周，格子數并不是很多，尤其我們已經用掉了許多。我想我們需要好好花時間，認真看看這個日歷。我們需要想一下，我們真正在拖延的是什么，因為每個人在生命中都有拖延一些東西，我們需要警惕及時行樂的猴子，這是我們所有人的任務。因為這里的格子數并不多，所以或許我們今天就應該行動起來，或許不一定是今天，而是盡快。Thank you.