我们身处人类历史的转折点上， 人类处在想获得其他星球， 同时也在失去地球家园的尴尬境地。

We're at a tipping point in human history, a species poised between gaining the stars and losing the planet we call home.


即使是在过去短短几年的时间里， 我们对地球 是如何在宇宙中存在的认识 已经有了大幅度的提升。

Even in just the past few years, we've greatly expanded our knowledge of how Earth fits within the context of our universe.


美国国家航空航天局的 开普勒任务已经发现了 围绕着其他恒星的数千颗 潜在的行星， 这也表明了地球只是银河系中 数十亿行星中的一颗。

NASA's Kepler mission has discovered thousands of potential planets around other stars, indicating that Earth is but one of billions of planets in our galaxy.


开普勒是个太空望远镜， 它可以发现行星在经过恒星前方 发生“凌日现象”， 挡住到达我们这里的光时， 光线发生的细微变化。

Kepler is a space telescope that measures the subtle dimming of stars as planets pass in front of them, blocking just a little bit of that light from reaching us.


开普勒望远镜的数据 揭示了行星的大小， 以及它们与其母恒星之间的距离。

Kepler's data reveals planets' sizes as well as their distance from their parent star.


把这些综合起来就可以帮助我们理解 这些行星是否像太阳系中 那些类地行星一样， 体积小，而且岩石密布， 以及我们从它们的母恒星那里 得到了多少光。

Together, this helps us understand whether these planets are small and rocky, like the terrestrial planets in our own Solar System, and also how much light they receive from their parent sun.


同时，这也能为我们判断 已找到的那些行星是否适宜居住 提供了一些线索。

In turn, this provides clues as to whether these planets that we discover might be habitable or not.


但不幸的是，在我们极力去探索 潜在的宜居星球， 这些“无主宝藏”的同时， 我们自己的星球却正遭受着 人类的破坏。

Unfortunately, at the same time as we're discovering this treasure trove of potentially habitable worlds, our own planet is sagging under the weight of humanity.


2014年是有记录以来最热的一年。


冰川和海上的浮冰 跟我们一起相处了几千年， 但在过去几十年的时间里却 正在逐渐消失。

Glaciers and sea ice that have been with us for millennia are now disappearing in a matter of decades.


这些我们所造成的 全球性环境变化的速度， 远远超过了我们拯救环境的速度。

These planetary-scale environmental changes that we have set in motion are rapidly outpacing our ability to alter their course.


但我不是气候学家， 我是个天文学家。

But I'm not a climate scientist, I'm an astronomer.


我研究在恒星影响下 行星的宜居性， 希望可以在宇宙中找到 除地球以外，有生命存在的地方。

I study planetary habitability as influenced by stars with the hopes of finding the places in the universe where we might discover life beyond our own planet.


也可以说我是在寻找外星的房地产。

You could say that I look for choice alien real estate.


现在，作为一个刻苦钻研，想要 找寻宇宙中的生命体的人， 我可以告诉大家，你越想找到 像地球一样的行星， 你就会越珍惜我们自己的星球。

Now, as somebody who is deeply embedded in the search for life in the universe, I can tell you that the more you look for planets like Earth, the more you appreciate our own planet itself.


我们每发现一处“新大陆”， 就会对这些新发现的星球 和那些太阳系中我们最熟悉的行星 做一个比较。

Each one of these new worlds invites a comparison between the newly discovered planet and the planets we know best: those of our own Solar System.


火星很小，表面布满岩石， 虽然它离太阳有点远， 但如果从类似 开普勒任务的角度来看，

Mars is small and rocky, and though it's a bit far from the Sun, if found by a mission like Kepler.


可能会认为它是个宜居的世界。 事实上，火星在过去 的确有可能是适宜居住的， 这也是我们为什么对火星 投入这么多研究精力的一部分原因。

Indeed, it's possible that Mars was habitable in the past, and in part, this is why we study Mars so much.


我们的那些火星车，比如好奇者号， 爬过火星的表面， 寻找我们所知的生命起源的迹象。

Our rovers, like Curiosity, crawl across its surface, scratching for clues as to the origins of life as we know it.


进行“火星大气与挥发物演化任务” 的人造卫星采集了火星的大气样本， 试着了解火星是如何 失去曾经的可居住性的。

Orbiters like the MAVEN mission sample the Martian atmosphere, trying to understand how Mars might have lost its past habitability.


私人太空旅行公司现在不仅仅 提供近太空的短程旅行， 还提供了可以在火星上 居住的诱人的可能性。

Private spaceflight companies now offer not just a short trip to near space but the tantalizing possibility of living our lives on Mars.


尽管火星上的这些远景看起来 很像我们地球上的沙漠， 那些一提到就会联想起 拓荒者、边境等等的地方， 但与地球相比， 火星上的环境对于生命体来说 简直太恶劣了。

But though these Martian vistas resemble the deserts of our own home world, places that are tied in our imagination to ideas about pioneering and frontiers, compared to Earth Mars is a pretty terrible place to live.


想想那些我们还没有征服的 地球上的沙漠， 相较于火星来说， 沙漠可都算是“枝繁叶茂”了，

Consider the extent to which we have not colonized the deserts of our own planet, places that are lush by comparison with Mars.


即使在地球上最干燥 海拔最高的地方， 我们仍然能呼吸到数千英里外 那些热带雨林生产出的新鲜的、 富含氧气的空气。

Even in the driest, highest places on Earth, the air is sweet and thick with oxygen exhaled from thousands of miles away by our rainforests.


我担心——我担心殖民于 火星和其他行星的激动之情 会带来深远的负面影响： 源于一些人的心理暗示和信仰—— 认为火星将会是我们自己把 唯一真正宜居的行星，地球

I worry -- I worry that this excitement about colonizing Mars and other planets carries with it a long, dark shadow: the implication and belief by some that Mars will be there to save us from the self-inflicted destruction of the only truly habitable planet we know of, the Earth.


这么说吧，我有多爱星际探索， 我就有多反对这种想法。

As much as I love interplanetary exploration, I deeply disagree with this idea.


去火星有很多天花乱坠的理由， 但如果有人跟你说火星 是个人类生存地的备胎的话， 那就像泰坦尼克号的船长 告诉你，“一会儿真正的派对 将在救生船上展开”一样的胡扯。

There are many excellent reasons to go to Mars, but for anyone to tell you that Mars will be there to back up humanity is like the captain of the Titanic telling you that the real party is happening later on the lifeboats.


然而，事实上星际探索和 保护星球这两个目标 并不互相矛盾。

But the goals of interplanetary exploration and planetary preservation are not opposed to one another.


实际上，它们是同一个 目标的两个方面： 那就是了解、保护和改善生命， 使生命延续。

No, they're in fact two sides of the same goal: to understand, preserve and improve life into the future.


我们星球上的极端环境就是 外星的景象。

The extreme environments of our own world are alien vistas.


只是它们离我们比较近而已。


如果我们能知道如何在地球上 十分恶劣，不宜居住的环境中 创造并维持可居住的空间， 也许我们就能满足既保护我们的环境， 又“走出去”的 双重需求了。

If we can understand how to create and maintain habitable spaces out of hostile, inhospitable spaces here on Earth, perhaps we can meet the needs of both preserving our own environment and moving beyond it.


最后我想给大家出一个思考题： “费米悖论”。

I leave you with a final thought experiment: Fermi's paradox.


许多年前，物理学家恩里科·费米 提出了一个问题：那就是， 我们的宇宙存在了 很长很长的时间是个事实， 我们也知道宇宙中有无数的行星， 那我们现在应该已经找到 外星生命存在的迹象了。

Many years ago, the physicist Enrico Fermi asked that, given the fact that our universe has been around for a very long time and we expect that there are many planets within it, we should have found evidence for alien life by now.


“费米悖论”的一种可能的解释是这样的： 随着文明的进步，科技变得足够先进， 能够开始考虑如何在宇宙中生存时， 人们也就会忽视 保护自己的家园，这个孕育了高科技的 地方的重要性。

Well, one possible solution to Fermi's paradox is that, as civilizations become technologically advanced enough to consider living amongst the stars, they lose sight of how important it is to safeguard the home worlds that fostered that advancement to begin with.


简单地迷信殖民于其他星球就可以 拯救我们自己 恐怕是自不量力， 其实环境保护和星际探索 这两项工作 是可以结合着进行的。

It is hubris to believe that interplanetary colonization alone will save us from ourselves, but planetary preservation and interplanetary exploration can work together.


如果我们对为了人类居住 而改变火星恶劣环境的 能力足够自信的话， 那我们更应该可以完成保护 地球宜居性 这个超级简单的任务。

If we truly believe in our ability to bend the hostile environments of Mars for human habitation, then we should be able to surmount the far easier task of preserving the habitability of the Earth.


几年前，我闯入了自己的家。

A few years ago, I broke into my own house.


我开车回到家， 在蒙特利尔的寒冬， 大约午夜时分， 我开车从城镇一边到另一边， 去看望我的朋友Jeff, 门廊上的温度计显示零下40度—— 不需要知道是摄氏度还是华氏度, 到了零下40度， 两个温度显示都一样—— 天气非常冷。

I had just driven home, it was around midnight in the dead of Montreal winter, I had been visiting my friend, Jeff, across town, and the thermometer on the front porch read minus 40 degrees -- and don't bother asking if that's Celsius or Fahrenheit, minus 40 is where the two scales meet -- it was very cold.


当我站在门廊，摸索着我的口袋， 发现找不到钥匙。

And as I stood on the front porch fumbling in my pockets, I found I didn't have my keys.


实际上，我透过窗户能看到我的钥匙， 我把它们留在了餐桌上。

In fact, I could see them through the window, lying on the dining room table where I had left them.


我赶紧围着房子转， 找能进去的门和窗户， 而它们都被锁紧了。

So I quickly ran around and tried all the other doors and windows, and they were locked tight.


我想到打电话给锁匠， 至少我还有手机， 但在午夜， 锁匠要过来可能需要一段时间， 并且天气真的很冷。

I thought about calling a locksmith -- at least I had my cellphone, but at midnight, it could take a while for a locksmith to show up, and it was cold.


当晚我又不能回朋友Jeff的家， 因为第二天我要坐早班机到欧洲， 必须要进屋里拿护照和行李。

I couldn't go back to my friend Jeff's house for the night because I had an early flight to Europe the next morning, and I needed to get my passport and my suitcase.


因此，在绝望和寒冷中， 我找到一块大石头， 打破了地下室的窗户， 清理了玻璃碎片后， 我爬进屋里， 找到了一块硬纸板，用胶带 把它封贴在打破的窗户上， 我想着早晨去机场的路上， 可以打电话给承包商， 请他来修理窗户。

So, desperate and freezing cold, I found a large rock and I broke through the basement window, cleared out the shards of glass, I crawled through, I found a piece of cardboard and taped it up over the opening, figuring that in the morning, on the way to the airport, I could call my contractor and ask him to fix it.


修理费会很昂贵， 但不会比在午夜时 找锁匠来开锁更贵， 所以我觉得，在这种情况下 即使打破了窗户，也还划得来。

This was going to be expensive, but probably no more expensive than a middle-of-the-night locksmith, so I figured, under the circumstances, I was coming out even.


我是一个职业的神经科学家， 我大概知道在压力下 大脑是如何工作的。

Now, I'm a neuroscientist by training and I know a little bit about how the brain performs under stress.


大脑会释放皮质醇引起你的心率加速， 它调节你的肾上腺素水平 并阻碍你的思维能力。

It releases cortisol that raises your heart rate, it modulates adrenaline levels and it clouds your thinking.


第二天早晨， 我醒来的时候严重睡眠不足， 还在担心窗户上打破的洞， 心里想着必须打电话给承包商， 还有，天气非常寒冷， 在欧洲有个会要开， 还有，因为我大脑释放的皮质醇， 我的思维变得混沌， 但我没觉察到它很混沌， 因为我的思维很混沌。

So the next morning, when I woke up on too little sleep, worrying about the hole in the window, and a mental note that I had to call my contractor, and the freezing temperatures, and the meetings I had upcoming in Europe, and, you know, with all the cortisol in my brain, my thinking was cloudy, but I didn't know it was cloudy because my thinking was cloudy.


直到我在登机手续办理柜台时， 才意识到我忘了带护照。

And it wasn't until I got to the airport check-in counter, that I realized I didn't have my passport.


于是，我在冰天雪地中 用了40分钟赶回家， 拿了护照后，又赶回机场， 刚好赶上了飞机， 但他们已把我的座位给了别人， 我不得不坐在飞机最后一排， 紧挨着洗手间， 在八个小时的飞行中， 我的座椅都不能往后倾。

So I raced home in the snow and ice, 40 minutes, got my passport, raced back to the airport, I made it just in time, but they had given away my seat to someone else, so I got stuck in the back of the plane, next to the bathrooms, in a seat that wouldn't recline, on an eight-hour flight.


于是我就有了很多时间去思考， 因为我在八小时中无法睡觉。

Well, I had a lot of time to think during those eight hours and no sleep.


我开始想，我能做些什么， 有什么切实可行的方法， 可以防止不好的事发生呢？

And I started wondering, are there things that I can do, systems that I can put into place, that will prevent bad things from happening?


或者至少， 就算不好的事情真的会发生， 也能把损失降到最小。

Or at least if bad things happen, will minimize the likelihood of it being a total catastrophe.


所以，我开始思考这个问题， 但我没有想出来， 直到一个月后，

So I started thinking about that, but my thoughts didn't crystallize until about a month later.


我和同事，也是诺贝尔奖获得者 Danny Kahneman去吃晚餐， 我有点尴尬地告诉他， 我打破窗户爬进屋里， 还有忘记拿护照的事， 而Danny和我分享了 他一直在练习的 称为”预测后见之明“的东西。

I was having dinner with my colleague, Danny Kahneman, the Nobel Prize winner, and I somewhat embarrassedly told him about having broken my window, and, you know, forgotten my passport, and Danny shared with me that he'd been practicing something called prospective hindsight.


这是他从心理学家Gary Klein 那里学到的。 Gary 前几年已经写了这个理论， 也称为"事前剖析"。

It's something that he had gotten from the psychologist Gary Klein, who had written about it a few years before, also called the pre-mortem.


你们都知道事后剖析是什么意思。

Now, you all know what the postmortem is.


每当有灾难， 一个专家小组就会前去调查， 尝试找出导致灾难的原因，对吧 ？

Whenever there's a disaster, a team of experts come in and they try to figure out what went wrong, right?


而Danny解释，在事前剖析中， 你要预测， 尝试想出可能出错的所有事情， 然后你要尝试可能的方法来 防止这些错误发生， 或将损失降到最小。

Well, in the pre-mortem, Danny explained, you look ahead and you try to figure out all the things that could go wrong, and then you try to figure out what you can do to prevent those things from happening, or to minimize the damage.


所以，今天我想和你们谈谈关于 在事前剖析中， 我们能做的一些事情。

So what I want to talk to you about today are some of the things we can do in the form of a pre-mortem.


有些方式是显而易见的， 而有些则不那么明显。

Some of them are obvious, some of them are not so obvious.


在家里，指定一个地方， 放容易丢失的东西。

Around the home, designate a place for things that are easily lost.


这听起来就像是常识，也的确是， 但这符合我们空间记忆的工作原理， 有很多科学依据支持这一点。

Now, this sounds like common sense, and it is, but there's a lot of science to back this up, based on the way our spatial memory works.


在我们大脑里， 有一个叫海马体的结构， 已经进化超过数万年了， 它可以追踪重要东西的位置—— 例如，水井的位置， 能够发现鱼的地方， 果树的位置， 以及友好物种和敌对物种 分别居住在哪里。

There's a structure in the brain called the hippocampus, that evolved over tens of thousands of years, to keep track of the locations of important things -- where the well is, where fish can be found, that stand of fruit trees, where the friendly and enemy tribes live.


海马体是大脑的一部分， 伦敦出租车司机的 海马体结构通常比常人要大。

The hippocampus is the part of the brain that in London taxicab drivers becomes enlarged.


松鼠能找到坚果， 也要归功于它们大脑的海马体。

It's the part of the brain that allows squirrels to find their nuts.


你们可能对这点感到疑惑， 但有人的确做了一个实验。 他们切掉了松鼠的嗅觉器官， 松鼠仍然能找到它们的坚果。

And if you're wondering, somebody actually did the experiment where they cut off the olfactory sense of the squirrels, and they could still find their nuts.


它们不是用嗅觉， 而是用大脑的海马体， 这个进化完美的大脑机制 是用来找东西的。

They weren't using smell, they were using the hippocampus, this exquisitely evolved mechanism in the brain for finding things.


但只是对找固定的东西比较有效， 找会移动的东西却不是很管用。

But it's really good for things that don't move around much, not so good for things that move around.


这就是为什么我们会常常找不到 车钥匙，老花镜和护照。

So this is why we lose car keys and reading glasses and passports.


所以，在家里指定一个 地点存放你的钥匙—— 门上的挂钩，或是一个装饰碗。

So in the home, designate a spot for your keys -- a hook by the door, maybe a decorative bowl.


在一个特定的抽屉存放你的护照。


你的老花镜要放在特定的桌子上。

For your reading glasses, a particular table.


如果你指定了特定的地方， 并且一丝不苟地做这些事， 当你寻找它们时， 这些东西总是会在那里。

If you designate a spot and you're scrupulous about it, your things will always be there when you look for them.


用手机拍下你信用卡的照片， 还有你的驾照和护照， 把这些照片发到你的电子邮箱， 储存在数据云端。

Take a cell phone picture of your credit cards, your driver's license, your passport, mail it to yourself so it's in the cloud.


如果一旦丢失或被盗了， 你可以很方便地用电子件代替它们。

If these things are lost or stolen, you can facilitate replacement.


这些是一些显而易见的 事前剖析方法。

Now these are some rather obvious things.


记住，当你有压力时， 大脑会释放皮质醇。

Remember, when you're under stress, the brain releases cortisol.


皮质醇是有毒的， 它会导致思维不清晰。

Cortisol is toxic, and it causes cloudy thinking.


所以，做事前剖析的练习， 是要认识到在压力下， 你不是在最佳状态， 你还应该把事情做到井然有序。

So part of the practice of the pre-mortem is to recognize that under stress you're not going to be at your best, and you should put systems in place.


不过也许没有什么 比你要做医疗决策 更紧张的情况了。

And there's perhaps no more stressful a situation than when you're confronted with a medical decision to make.


有时，我们都会经历这种事情， 我们必须要做出一个很重要的决策， 为我们自己或自己爱的人 做医疗决策。

And at some point, all of us are going to be in that position, where we have to make a very important decision about the future of our medical care or that of a loved one, to help them with a decision.


所以，我想谈谈这个话题。


我要说一个非常特殊的医疗情况。

And I'm going to talk about a very particular medical condition.


但它代表了各种决策：医疗决策， 当然还有财政决策和社交决策—— 任何你必须做的决策， 可以让你从理性的事实评估中受益。

But this stands as a proxy for all kinds of medical decision-making, and indeed for financial decision-making, and social decision-making -- any kind of decision you have to make that would benefit from a rational assessment of the facts.


假设你去看医生，而医生说， “我刚拿到你验血结果， 你的胆固醇有点高。”

So suppose you go to your doctor and the doctor says, "I just got your lab work back, your cholesterol's a little high."


你们都知道，胆固醇高 会增加患心血管疾病， 心脏病和中风的风险。

Now, you all know that high cholesterol is associated with an increased risk of cardiovascular disease, heart attack, stroke.


所以，你会想 高胆固醇不是一件好事， 那么医生会说：“我给你开点药， 帮助你降低胆固醇， 他汀类药就可以。”

And so you're thinking having high cholesterol isn't the best thing, and so the doctor says, "You know, I'd like to give you a drug that will help you lower your cholesterol, a statin."


你可能已经听说过他汀类药物， 现如今是医生开的 最多的处方药之一。 你甚至可能认识服用这药的人。

And you've probably heard of statins, you know that they're among the most widely prescribed drugs you probably even know people who take them.


于是你想，“好吧，给我他汀类药。”

And so you're thinking, "Yeah! Give me the statin."


但这个时候，你必须问一个问题， 一个许多医生不愿谈论， 制药公司更不喜欢谈论到的

But there's a question you should ask at this point, a statistic you should ask for that most doctors don't like talking about, and pharmaceutical companies like talking about even less.


一个统计数字。 这个统计数字就是，治疗所需人数。


这是什么意思呢， 治疗所需人数？


它是指多少人服用了某种药， 或接收了手术或其他任何治疗方式， 才会有1人收益。

It's the number of people that need to take a drug or undergo a surgery or any medical procedure before one person is helped.


你心说， 这是哪门子统计数字？

And you're thinking, what kind of crazy statistic is that?


如果这药对我没有帮助， 那医生就不会开给我。

My doctor wouldn't prescribe something to me if it's not going to help.


但实际上， 医疗实践不是这样运行的。

But actually, medical practice doesn't work that way.


这不是医生的错， 如果是某些人的错， 那就是像我一样的科学家的错。

And it's not the doctor's fault, if it's anybody's fault, it's the fault of scientists like me.


我们还没有想出足够好的运作机制。

We haven't figured out the underlying mechanisms well enough.


但据葛兰素史克制药公司 估计， 90%的药品只对30%到50%的人有用。

But GlaxoSmithKline estimates that 90 percent of the drugs work in only 30 to 50 percent of the people.


所以，这种最广泛的处方药的 治疗所需人数， 你们猜是多少？

So the number needed to treat for the most widely prescribed statin, what do you suppose it is?


多少人要服用它 才会出现一个受益的人？

How many people have to take it before one person is helped?


这是根据研究工作者 Jerome Groopman 和 Pamela Hartzband 做的研究得出的数据， 这项研究由Bloomberg.com 权威网站独立证实过。

This is according to research by research practitioners Jerome Groopman and Pamela Hartzband, independently confirmed by Bloomberg.com.


我自己想了一下这个数字。


必须有300人服用此药一年， 才能预防一起心脏病， 中风或其他疾病。

300 people have to take the drug for a year before one heart attack, stroke or other adverse event is prevented.


现在你可能在想， “好吧，还有300分之1的机会 可以降低我的胆固醇。

Now you're probably thinking, "Well, OK, one in 300 chance of lowering my cholesterol.


为什么不服用呢？医生， 给我开这个药。”

Why not, doc? Give me the prescription anyway."


但是你应该问医生， 有关这药的另一个统计数字， 那就是，”告诉我这药的副作用。” 对吧？

But you should ask at this point for another statistic, and that is, "Tell me about the side effects." Right?


那么针对这种药， 副作用会发生在5%的患者身上。

So for this particular drug, the side effects occur in five percent of the patients.


这些副作用包括一些可怕的情况—— 肌无力，关节疼痛和肠胃不适 —— 但你可能觉得：“ 才5%的比例， 不太可能发生在我身上， 我还是会服用它。”

And they include terrible things -- debilitating muscle and joint pain, gastrointestinal distress -- but now you're thinking, "Five percent, not very likely it's going to happen to me, I'll still take the drug."


记住在压力下，你可能 思维混乱，不能考虑清楚。

Remember under stress you're not thinking clearly.


所以，要提前思考一下你该如何做， 这样你就不用事到临头时 再去进行一连串的推理了。

So think about how you're going to work through this ahead of time, so you don't have to manufacture the chain of reasoning on the spot.


300人要服用这药， 才会有一个人受益，对吧？ 300人中5%的人会 受药物副作用的影响， 也就是15人。

300 people take the drug, right? One person's helped, five percent of those 300 have side effects, that's 15 people.


你受药物副作用伤害的可能性 是你受益于药物的15倍。

You're 15 times more likely to be harmed by the drug than you are to be helped by the drug.


我并不是想表明 你该不该服用他汀类药物。

Now, I'm not saying whether you should take the statin or not.


我只是说，你应该咨询你的医生。

I'm just saying you should have this conversation with your doctor.


医德要求我们这样做， 这是知情同意原则的一部分。

Medical ethics requires it, it's part of the principle of informed consent.


你有权力要求知道这类信息， 有权和医生谈你是否 愿意承担这样的风险。

You have the right to have access to this kind of information to begin the conversation about whether you want to take the risks or not.


现在你可能会想 我为了制造震撼的效果 凭空捏造了这个数字， 但实际上，这个治疗所需人数 是相当具有代表性的。

Now you might be thinking I've pulled this number out of the air for shock value, but in fact it's rather typical, this number needed to treat.


对于50岁以上的男性， 做的最多的手术是为治疗 前列腺癌而切除前列腺， 治疗所需人数是49。

For the most widely performed surgery on men over the age of 50, removal of the prostate for cancer, the number needed to treat is 49.


是的，49个患者做了手术 才会出现一个受益的人。

That's right, 49 surgeries are done for every one person who's helped.


而这种情况手术的副作用 会发生在50%的患者身上。

And the side effects in that case occur in 50 percent of the patients.


这些副作用包括阳痿， 勃起功能障碍， 尿失禁，直肠撕裂， 大便失禁。

They include impotence, erectile dysfunction, urinary incontinence, rectal tearing, fecal incontinence.


如果你“有幸”成为了50% 受副作用影响的人中的一个， 这些副作用通常只会持续1-2年。

And if you're lucky, and you're one of the 50 percent who has these, they'll only last for a year or two.


所以，事前剖析是要提前想好 你想问医生的问题， 这样会深入推进你和医生的对话。

So the idea of the pre-mortem is to think ahead of time to the questions that you might be able to ask that will push the conversation forward.


毕竟你不想事到临头 再来思考所有事情。

You don't want to have to manufacture all of this on the spot.


而且你也需要考虑一下生活质量。

And you also want to think about things like quality of life.


因为通常你是有选择的， 你想要较短的没有痛苦的人生， 或想要较长的最终 要承受巨大痛苦的人生呢？

Because you have a choice oftentimes, do you I want a shorter life that's pain-free, or a longer life that might have a great deal of pain towards the end?


这些都是现在需要 谈论和思考的问题， 和你的家人，爱人一起。

These are things to talk about and think about now, with your family and your loved ones.


你可能会在事发时改变你的想法， 但至少你练习了这种思维方法。

You might change your mind in the heat of the moment, but at least you're practiced with this kind of thinking.


请记住，我们的大脑 在压力下会释放皮质醇， 在那一刻发生的一件事是 你整个思维系统似乎停工了。

Remember, our brain under stress releases cortisol, and one of the things that happens at that moment is a whole bunch on systems shut down.


这里有一个进化方面的原因。

There's an evolutionary reason for this.


和一个捕食者面对面时， 你不需要你的消化系统， 性欲或者免疫系统的帮助。 因为如果你的身体忙着在 这些事情上进行新陈代谢， 你就不能迅速作出反应， 那么你可能会成为狮子的午餐， 然后那些事情也就不重要了，

Face-to-face with a predator, you don't need your digestive system, or your libido, or your immune system, because if you're body is expending metabolism on those things and you don't react quickly, you might become the lion's lunch, and then none of those things matter.


不幸的是， 在紧张时，其中一件会出错的事情是 理性地，有逻辑地思考。 Danny Kahneman和他的同事 已经证明了这点。

Unfortunately, one of the things that goes out the window during those times of stress is rational, logical thinking, as Danny Kahneman and his colleagues have shown.


所以，我们需要培养 自己超前思考的习惯， 去面对这类事情。

So we need to train ourselves to think ahead to these kinds of situations.


这里很重要的一点是，要认识 到我们所有人都不是完美的。

I think the important point here is recognizing that all of us are flawed.


我们都会不时地经历失败，


事前剖析就要超前思考 可能的失败会是什么， 井然有序地做事有助于 把伤害减到最小， 或者在第一时间 防止糟糕的事情发生。

The idea is to think ahead to what those failures might be, to put systems in place that will help minimize the damage, or to prevent the bad things from happening in the first place.


说回到我在蒙特利尔 那个冰天雪地的晚上， 当我从欧洲返程回到家时， 我的承包商在门旁边安装了密码锁， 还有一把钥匙以及 一个简单易记的密码。

Getting back to that snowy night in Montreal, when I got back from my trip, I had my contractor install a combination lock next to the door, with a key to the front door in it, an easy to remember combination.


我不得不承认， 我还是有一堆没有分类的信件， 以及一堆没有处理的邮件。

And I have to admit, I still have piles of mail that haven't been sorted, and piles of emails that I haven't gone through.


所以，我还没能完全做到井然有序， 但我把井然有序做事 看成是一个渐进的过程， 也正在慢慢实现这个目标。

So I'm not completely organized, but I see organization as a gradual process, and I'm getting there.


在钢琴乐理中，“p”是我最喜欢的音乐符号

Interpreter: Piano, "p," is my favorite musical symbol.


如果你在弹奏乐器时注意到了乐谱中的“P” 那么你的弹奏力度就要相对弱一点

If you're playing a musical instrument and you notice a "p" in the score, you need to play softer.


两个P 的意思是弹奏力度还更弱


这是我画的有关符号“p”的树状图 它表现了 无论有多少p符号存在 你的弹奏力度也永远不会 达到完全的静默（最弱）

This is my drawing of a p-tree, which demonstrates no matter how many thousands upon thousands of p's there may be, you'll never reach complete silence.


这是我目前对于静默（最弱）的定义 一种非常晦涩模糊的声音

That's my current definition of silence: a very obscure sound.


现在我想分享一些 关于美国手语的历史 和一些我的个人经历

I'd like to share a little bit about the history of American Sign Language, ASL, plus a bit of my own background.


在19世纪早期，法国手语传到了美国 并且随着时间的流逝与当地手语结合 逐渐发展成为了一种新的语言， 就是我们今天所熟知的美国手语

French sign language was brought to America during the early 1800s, and as time went by, mixed with local signs, it evolved into the language we know today as ASL.


所以美国手语的历史已经有200多年了


我出生的时候就伴随着语言和听力障碍 他们让我认为声音并不是我生活中的一部分

I was born deaf, and I was taught to believe that sound wasn't a part of my life.


但是现在我意识到其实不是这样的

Yet, I realize now that that wasn't the case at all.


其实声音是我过去生活中非常重要的一部分 真的，一直都在我的脑海中

Sound was very much a part of my life, really, on my mind every day.


作为一名生活在声音世界里的聋哑人 这中体验仿佛就像我生活在异国他乡 盲目地遵循这个国家的规则， 风俗，行为和标准 而并不去质疑它们。

As a Deaf person living in a world of sound, it's as if I was living in a foreign country, blindly following its rules, customs, behaviors and norms without ever questioning them.


那么我是怎样理解声音的呢？


其实， 我会去观察人们对声音的行为举止和反应

Well, I watch how people behave and respond to sound.


你们就像我的扩音器 帮我放大这些声音

You people are like my loudspeakers, and amplify sound.


我会学习并且映射这些行为


与此同时，我知道自己可以创造出声音 也知道了人们是怎么反应

At the same time, I've learned that I create sound, and I've seen how people respond to me.


当你从土豆片包装袋中吃薯片时 不要发出太多的杂音

"Don't make too much noise when you're eating from the potato-chip bag!"


不要打嗝 并且当你吃东西时 要确保不要将餐具刮到你的盘子

"Don't burp, and when you're eating, make sure you don't scrape your utensils on the plate."


以上的这些事情我都称作“声音礼仪”

All of these things I term "sound etiquette."


也许我考虑到的声音礼仪 会比一般（拥有正常听力）的人们更多

Maybe I think about sound etiquette more than the average hearing person does.


并且自己总是保持着急切的期待 对于声音，和将要发生的事情

And I'm always waiting in eager nervous anticipation around sound, about what's to come next.


TBA， 表示有待宣布的


你会注意到这种五线谱 并没有包含任何的注释

And you notice the staff -- there are no notes contained in the lines.


因为这些线已经包含了声音 贯穿于由铅笔擦痕形成的污迹和污点之间

That's because the lines already contain sound through the subtle smudges and smears.


在聋哑人的文化中， 动作有和声音一样的地位

In Deaf culture, movement is equivalent to sound.


在美国手语中，这是“五线谱”的意思


一个典型的五线谱包括五条线


但对于我来说， 像这样竖起我的拇指来表示它 显得并不自然

Yet for me, signing it with my thumb sticking up like that doesn't feel natural.


这就是为什么你会注意到我的图画中， 只用了4条线

That's why you'll notice in my drawings, I stick to four lines on paper.


在2008年， 我有一个机会去德国柏林旅行 作为一名艺术家访问那里

In the year 2008, I had the opportunity to travel to Berlin, Germany, for an artist residency there.


在此之前，我做过一段时间画家

Prior to this time, I had been working as a painter.


这个夏天 我参观了很多不同的博物馆和画廊 当我从一个地方启程到下一个参观点， 发现竟然没有视觉艺术在那里

During this summer, I visited different museums and gallery spaces, and as I went from one place to the next, I noticed there was no visual art there.


那个时候，声音是流行的主题

At that time, sound was trending, and this struck me ...


令我痛心的是视觉艺术完全被忽视了 所有的一切都是关于听觉（艺术）

there was no visual art, everything was auditory.


现在声音已经走进了我的艺术领域

Now sound has come into my art territory.


这是否将会疏远我于艺术的联系？

Is it going to further distance me from art?


I realized that doesn't have to be the case at all.


并且我非常了解它 声音并不全是从耳朵里所听到的东西

I know it so well that it doesn't have to be something just experienced through the ears.


我们其实也可以从触觉上感受到它 或者从视觉上 又或者是一个想法

It could be felt tactually, or experienced as a visual, or even as an idea.


所以我决定去收回属于我的声音 并且其融合进我的艺术实践中

So I decided to reclaim ownership of sound and to put it into my art practice.


所有其他人告诉我的有关声音的一切 我决定全部抛弃和忘却

And everything that I had been taught regarding sound, I decided to do away with and unlearn.


当我向艺术界展示它们时 大家的支持和关注深深地打动了我

And when I presented this to the art community, I was blown away with the amount of support and attention I received.


我意识到 声音就像财富 权力， 支配 和社会认同

I realized: sound is like money, power, control -- social currency.


在我之前的印象中， 我总是觉得声音只是属于你们的 属于有听觉的人

In the back of my mind, I've always felt that sound was your thing, a hearing person's thing.


声音是多么的强大 即可以剥夺和削弱我的一切 也可以给予我力量

And sound is so powerful that it could either disempower me and my artwork, or it could empower me.


我选择了让自己变得更加有力量


口语是大多数文化的重要构成

There's a massive culture around spoken language.


仅仅是因为我没有使用语音去交流 在社会的眼中 仿佛我不能表达出任何的声音

And just because I don't use my literal voice to communicate, in society's eyes it's as if I don't have a voice at all.


所以我需要和那些 平等对待我的人一起工作 让他们成为我的声音

So I need to work with individuals who can support me as an equal and become my voice.


正是因为这种方式， 我现今才得以保持与社会的关联性

And that way, I'm able to maintain relevancy in society today.


在学校，工作和机构中 我与很多美国手语翻译人员工作在一起

So at school, at work and institutions, I work with many different ASL interpreters.


他们的声音成为了我的声音和身份

And their voice becomes my voice and identity.


他们使我得以倾听外面的世界


他们的声音蕴含了价值和认可度

And their voices hold value and currency.


讽刺的是，通过借用他们的声音 我得以维持一种临时的认可形式 这有点像借高利贷的感觉

Ironically, by borrowing out their voices, I'm able to maintain a temporary form of currency, kind of like taking out a loan with a very high interest rate.


如果我不继续这样做 我感觉自己会渐渐会被遗忘 而且再也不能保持任何形式的社会认可

If I didn't continue this practice, I feel that I could just fade off into oblivion and not maintain any form of social currency.


所以当声音作为我的新艺术媒介时 我陶醉于在音乐的世界当中

So with sound as my new art medium, I delved into the world of music.


我很惊讶的发现音乐与手语的相似性

And I was surprised to see the similarities between music and ASL.


比如 一个音符 是不能完全被记录到纸上的

For example, a musical note cannot be fully captured and expressed on paper.


对于美国手语系统来说也是这样的

And the same holds true for a concept in ASL.


它们都具有高度空间感和复杂多变的性质 任何微妙的变化 都会影响整个 手语同声音的意义

They're both highly spatial and highly inflected -- meaning that subtle changes can affect the entire meaning of both signs and sounds.


我想和大家分享一个有关钢琴的比喻 让你们更好地理解美国手语的表现方式

I'd like to share with you a piano metaphor, to have you have a better understanding of how ASL works.


美国手语系统 被分散成不同的语法单元

ASL is broken down into many different grammatical parameters.


如果你把不同的语法单元 分配到每一个手指上 就像你的面部表情，身体的移动 手速和手型等等 当你在弹钢琴时 英语是一门线形语言 好比一次只能表达一种音符一样

If you assign a different parameter to each finger as you play the piano -- such as facial expression, body movement, speed, hand shape and so on, as you play the piano -- English is a linear language, as if one key is being pressed at a time.


但是，美国手语更像是一种和弦 10指需要一起敲击 来表达一个清晰地美国手语概念

However, ASL is more like a chord -- all 10 fingers need to come down simultaneously to express a clear concept or idea in ASL.


如果我们用一个音符来改变和弦 那么就会创造出完全不同的含义

If just one of those keys were to change the chord, it would create a completely different meaning.


音乐的音高，音调和音量也是如此

The same applies to music in regards to pitch, tone and volume.


在美国手语中， 通过对语法单元多样地变化 你可以表达出不同的思想

In ASL, by playing around with these different grammatical parameters, you can express different ideas.


”笑声“ ”笑声“ 啊，糟糕了


”笑声“ 然后我开始想 如果我从音乐的角度 看待美国手语系统会是怎样的呢？

I then started thinking, "What if I was to look at ASL through a musical lens?"


如果我去创造一个手势然后不同的重复它 也许它会变成一段视觉音乐的形式

If I was to create a sign and repeat it over and over, it could become like a piece of visual music.


例如这是表现”天“的手势 这是日出和日落（手势）

For example, this is the sign for "day," as the sun rises and sets.


这个是表现”一整天“的手势


如果我去重复它并且放慢速度 从视觉上来看它就像是一段音乐

If I was to repeat it and slow it down, visually it looks like a piece of music.


我觉得”整晚“也可以这样来表现

I feel the same holds true for "all night."


这张图表现的就是”整晚“

This is ALL-NIGHT, represented in this drawing.


此外我也想到了3中类型的夜晚（形式） ”昨夜“ ”一夜“ （哼曲）”整整一夜“

And this led me to thinking about three different kinds of nights: "last night," "overnight," "all night long."


”笑声“ 我感觉第三种（夜晚的形式） 比前两者具备更强的音乐表现力

I feel like the third one has a lot more musicality than the other two.


”笑声“ 这张图表明了美国手语系统中 表达时间的方式 与你肢体不同的距离 是可以表现出不同的时间变化的

This represents how time is expressed in ASL and how the distance from your body can express the changes in time.


例如 "1H"是一只手的意思,"2H"是两只手 贴近你身体的前侧可以表现现在时 身体前侧用来表达将来时， 过去时是身体后侧

For example, 1H is one hand, 2H is two hand, present tense happens closest and in front of the body, future is in front of the body and the past is to your back.


第一个例子是”很久以前“

So, the first example is "a long time ago."


紧接着是”过去“ ”过去经常“ 然后最后一个是我最喜欢的 因为它具有非常浪漫和令人注目的概念 ”从前“

Then "past," "used to" and the last one, which is my favorite, with the very romantic and dramatic notion to it, "once upon a time."


”笑声“ ”四分之四拍“ 是一个音乐术语 意思是在一定时间内打四次节拍

"Common time" is a musical term with a specific time signature of four beats per measure.


然而当我看到”四分之四拍“ 脑海里总是自动联想到”于此同时“这个词

Yet when I see the word "common time," what automatically comes to mind for me is "at the same time."


所以注意”RH“代表右手，”LH“代表左手

So notice RH: right hand, LH: left hand.


We have the staff across the head and the chest.


头部：右手，紧握成爪型 ”四分之四拍“ 胸前，左手，紧握成爪型 我现在来描述一下”flash claw“的手形

[Head: RH, Flash claw] [Common time] [Chest: LH, Flash claw] I'm now going to demonstrate a hand shape called the "flash claw."


现在我们在头部和胸前做这个动作 有点像”四分之四拍“或者”与此同时“

Now we're going to do it in both the head and the chest, kind of like "common time" or at the same time.


这个意思”相爱“（在国际手语系统里）

That means "to fall in love" in International [Sign].


”笑声“ 国际手语就像一个音符 是一种视觉工具来促进 跨文化和手语系统的交流

International [Sign], as a note, is a visual tool to help communicate across cultures and sign languages around the world.


那么第二个手语动作是这个 请大家再次跟随我做出动作

The second one I'd like to demonstrate is this -- please follow along with me again.


在美国手语中这是”殖民“的意思


”笑声“ 第三个 请再次跟随我的动作

Now the third -- please follow along again.


在美国手语中它代表了”启示“的意思


那么请让我们连贯的做出三个动作


”坠入爱河“ ”殖民“ 和”启示“

"Fall in love," "colonization" and "enlightenment."


”笑声“ 值得注意的是无论这三种手势有多麽相近 你都要在头部和胸前做出它们 但是它们又传达了想到不同的含义

Notice how all three signs are very similar, they all happen at the head and the chest, but they convey quite different meanings.


所以美国手语的发展和壮大真的很令人惊讶 就像音乐一样

So it's amazing to see how ASL is alive and thriving, just like music is.


但是在这个时代 我们生活在以声音为核心的世界里

However, in this day and age, we live in a very audio-centric world.


因为美国手语并没有融合声音元素在其中 自然而然造成了它没有得到社会认可

And just because ASL has no sound to it, it automatically holds no social currency.


我们需要开始进一步的去思考如何定义社会认可 并且允许美国手语建立一种特有的的认可形式 在没有声音元素融入的环境下

We need to start thinking harder about what defines social currency and allow ASL to develop its own form of currency -- without sound.


这样做可以很大程度上提升社会的包容性

And this could possibly be a step to lead to a more inclusive society.


也许人们以后会理解 即使不是聋哑人也可以学习美国手语 也并不只有听力健全的人才可以学习音乐

And maybe people will understand that you don't need to be deaf to learn ASL, nor do you have to be hearing to learn music.


美国手语是一笔宝贵的财富 我希望你们也都能体会到这一点

ASL is such a rich treasure that I'd like you to have the same experience.


我诚挚的邀请你们打开双耳 睁开自己的双眼 融入到我们的文化中去 然后感受视觉语言的魅力

And I'd like to invite you to open your ears, to open your eyes, take part in our culture and experience our visual language.


你永远不会知道 你有可能就会爱上了我们（和手语文化）

And you never know, you might just fall in love with us.


当我还是个孩子时， 我父母告诉我， “你可以把东西搞得一团糟， 但是之后你必须收拾好。”

When I was a kid, my parents would tell me, "You can make a mess, but you have to clean up after yourself."


所以自由和责任其实是伴随发生的。


我的想象力会把我带到 一个什么都可以发生的， 神奇的地方。

But my imagination would take me to all these wonderful places, where everything was possible.


我在一个充满天真的世界中成长—— 或者应该说是一个无知的世界， 因为大人们会对我们说谎， 来避免我们接触到丑恶的现实。

So I grew up in a bubble of innocence -- or a bubble of ignorance, I should say, because adults would lie to us to protect us from the ugly truth.


当我们逐渐长大，我发现 其实大人们的世界一团糟， 而且他们并不善于收拾烂摊子。

And growing up, I found out that adults make a mess, and they're not very good at cleaning up after themselves.


现在，我变成了个大人， 我在香港港口小学教科学和发明课。

Fast forward, I am an adult now, and I teach citizen science and invention at the Hong Kong Harbour School.


没过多久， 我的学生们走在海滩上的时候， 就发现了成堆的垃圾。

And it doesn't take too long before my students walk on a beach and stumble upon piles of trash.


作为好公民，我们清理了海滩—— 不，他不是在喝酒， 就算是，酒也不是我给的。

So as good citizens, we clean up the beaches -- and no, he is not drinking alcohol, and if he is, I did not give it to him.


很遗憾地说， 如今超过80%的海洋里有塑料制品。

And so it's sad to say, but today more than 80 percent of the oceans have plastic in them.


在过去的几十年里， 我们用这些大船拖着大网把垃圾捞出来， 我们把塑料垃圾收集起来， 用显微镜观察， 然后把它们分类， 之后我们把这些数据写在了一张地图上。

And in past decades, we've been taking those big ships out and those big nets, and we collect those plastic bits that we look at under a microscope, and we sort them, and then we put this data onto a map.


但那要花很长时间，成本也非常高， 而且开那些大船是很危险的。

But that takes forever, it's very expensive, and so it's quite risky to take those big boats out.


所以我，和我的6到15岁的学生们， 一直都梦想创造一个更好的办法。

So with my students, ages six to 15, we've been dreaming of inventing a better way.


于是，我们把在香港的 一个小教室变成了一个工作室。

So we've transformed our tiny Hong Kong classroom into a workshop.


然后我们就开始建造这个小工作台， 把它们做成不同的高度，就算是个子矮的 小朋友也可以参加进来了。

And so we started building this small workbench, with different heights, so even really short kids can participate.


告诉你们吧，拿着电动工具的孩子们 其实很酷炫而且很安全。

And let me tell you, kids with power tools are awesome and safe.


咱们回到塑料制品那个话题。


我们收集了一些塑料制品然后把它们 磨成了在海里找到它们时的大小， 特别特别小，因为它们在海里都分解了。

We collect this plastic and we grind it to the size we find it in the ocean, which is very small because it breaks down.


我让我的学生们充分发挥想象力。

I let the imaginations of my students run wild.


而我的工作就是尽量收集 每个孩子最好的想法， 然后试着去把这些想法和一些 期望能行的通的东西结合起来。

And my job is to try to collect the best of each kid's idea and try to combine it into something that hopefully would work.


之后我们就达成了一致， 我们不收集塑料品了， 我们决定仅仅收集数据。

And so we have agreed that instead of collecting plastic bits, we are going to collect only the data.


我们打算用机器人来获取 塑料制品的图片—— 有了机器人，孩子们简直兴奋死了。

So we're going to get an image of the plastic with a robot -- so robots, kids get very excited.


我们的下一步工作—— 我们称之为“快速原型设计”。

And the next thing we do -- we do what we call "rapid prototyping."


我们的原型设计做得非常快， 以至于我们午饭还没吃完， 饭盒就被征用了。

We are so rapid at prototyping that the lunch is still in the lunchbox when we're hacking it.


我们把桌灯和网络摄像头 装到了卫生洁具上， 然后把它们组装在漂浮机器人上， 机器人会在水面上缓缓移动， 穿过水面上的塑料漂浮物—— 这就是我们用机器人得到的照片。

And we hack table lamps and webcams, into plumbing fixtures and we assemble that into a floating robot that will be slowly moving through water and through the plastic that we have there -- and this is the image that we get in the robot.


我们可以看到塑料碎片缓缓地 流经感应器， 内置的计算机就会分析这些影像， 并且计算出每个颗粒的大小， 所以我们就能对水中塑料品的数量 有一个粗略的估计了。

So we see the plastic pieces floating slowly through the sensor, and the computer on board will process this image, and measure the size of each particle, so we have a rough estimate of how much plastic there is in the water.


我们在一个叫Instructables的 发明家网站上 一步一步地记录下我们的发明， 希望有人可以继续完善它。

So we documented this invention step by step on a website for inventors called Instructables, in the hope that somebody would make it even better.


这个项目的精彩之处在于， 孩子们自己看到了当地的问题， 然后灵光一现——他们就马上开始 试着去解决这个问题了。

What was really cool about this project was that the students saw a local problem, and boom -- they are trying to immediately address it.


不过，我在香港的学生是 非常与时俱进的孩子。

[I can investigate my local problem] But my students in Hong Kong are hyperconnected kids.


他们常看新闻， 他们会上网， 然后他们就看到了这张照片。

And they watch the news, they watch the Internet, and they came across this image.


这是一个大概不到10岁的孩子， 在徒手清理流出的油污， 地点在孟加拉国，拥有世界最大的 红树林的孙德尔本斯地区。

This was a child, probably under 10, cleaning up an oil spill bare-handed, in the Sundarbans, which is the world's largest mangrove forest in Bangladesh.


孩子们感到非常震惊， 因为这里的水就是当地人喝的水， 他们也常在这里洗澡， 在这里钓鱼—— 这是他们赖以生存的地方。

So they were very shocked, because this is the water they drink, this is the water they bathe in, this is the water they fish in -- this is the place where they live.


现在你们可以看到水是棕色的， 泥土是棕色的，油污也是棕色的， 当所有的东西都掺在一起时， 很难分清水里有什么东西。

And also you can see the water is brown, the mud is brown and oil is brown, so when everything is mixed up, it's really hard to see what's in the water.


但是，有一项相当简单的技术， 叫做光谱测定法， 可以让你看清水中物质的成分。

But, there's a technology that's rather simple, that's called spectrometry, that allows you see what's in the water.


所以我们就做了一个分光仪的 简单原型， 让光线透过不同的物质， 产生不同的光谱， 这样就能帮你分辨水里的东西了。

So we built a rough prototype of a spectrometer, and you can shine light through different substances that produce different spectrums, so that can help you identify what's in the water.


我们就把这个感应器的原型打包好， 寄到了孟加拉国。

So we packed this prototype of a sensor, and we shipped it to Bangladesh.


这个项目有意思的地方在于 这不只是解决一个本地问题， 或者研究一个本地问题了， 我的学生们用他们的同情心 和丰富的想象力 远程帮助了其他的孩子。

So what was cool about this project was that beyond addressing a local problem, or looking at a local problem, my students used their empathy and their sense of being creative to help, remotely, other kids.


我做第二个实验时有一种 很强的使命感， 想要更进一步—— 或许我们可以解决一个更加困难， 同时也是我打心底里想研究的问题。

[I can investigate a remote problem] So I was very compelled by doing the second experiments, and I wanted to take it even further -- maybe addressing an even harder problem, and it's also closer to my heart.


我是日法混血， 可能你们还记得在2011年 日本遭受了一次很强的地震。

So I'm half Japanese and half French, and maybe you remember in 2011 there was a massive earthquake in Japan.


地震破坏力很强，还引发了惊天巨浪—— 也就是海啸—— 海啸破坏了日本东边沿海地区的 很多城市。

It was so violent that it triggered several giant waves -- they are called tsunami -- and those tsunami destroyed many cities on the eastern coast of Japan.


一瞬间，超过一万四千人失去了生命。

More than 14,000 people died in an instant.


而且，海啸还摧毁了福田核电站， 一个建在海边的核电站。

Also, it damaged the nuclear power plant of Fukushima, the nuclear power plant just by the water.


今天，我读了一些报告， 知道了大概300吨的核污水 从核电站流到了太平洋。

And today, I read the reports and an average of 300 tons are leaking from the nuclear power plant into the Pacific Ocean.


今天，整个太平洋都 受到了铯-137的污染。

And today the whole Pacific Ocean has traces of contamination of cesium-137.


如果你去美国的西海岸， 到处都能够发现福岛核泄露的痕迹。

If you go outside on the West Coast, you can measure Fukushima everywhere.


但如果你从地图上看， 你会看到似乎大部分的放射物质 都从日本海岸冲走了， 现在核泄露的大部分—— 看起来都是安全的，因为是蓝色的。

But if you look at the map, it can look like most of the radioactivity has been washed away from the Japanese coast, and most of it is now -- it looks like it's safe, it's blue.


然而，现实要比这复杂得多。

Well, reality is a bit more complicated than this.


自从那次事故以来，我每年都会去福岛， 我和其他的科学家一起， 在陆地上、在水里 进行独立调查—— 这次我想带上孩子们。

So I've been going to Fukushima every year since the accident, and I measure independently and with other scientists, on land, in the river -- and this time we wanted to take the kids.


当然我们没有真的把孩子们带过去， 家长们不会让我们这样做的。

So of course we didn't take the kids, the parents wouldn't allow that to happen.


但每晚我们都要向“任务控制部”汇报， 他们带着不同的面具。

But every night we would report to "Mission Control" -- different masks they're wearing.


看起来好像他们并没有认真工作， 但其实不然， 因为他们一辈子都要在这种 放射性的环境下生活。

It could look like they didn't take the work seriously, but they really did because they're going to have to live with radioactivity their whole life.


我们跟他们一起做的工作 就是研究我们当天收集的数据， 并且讨论我们下一步该做什么—— 策略、行程等等······

And so what we did with them is that we'd discuss the data we collected that day, and talk about where we should be going next -- strategy, itinerary, etc...


于是，我们做了一个 核电站周围区域的 很简单的地形图。

And to do this, we built a very rough topographical map of the region around the nuclear power plant.


我们做了这个高程图， 在上面撒上颜料 来代表核放射的实时数据， 我们还会喷水来模拟下雨。

And so we built the elevation map, we sprinkled pigments to represent real-time data for radioactivity, and we sprayed water to simulate the rainfall.


用这种方法我们看到了放射性尘埃 被雨水从山顶冲到了河流里， 最后流向大海。

And with this we could see that the radioactive dust was washing from the top of the mountain into the river system, and leaking into the ocean.


基于这种方法， 我们组织了一次探索活动， 这也是公民们距离核电站 最近的一次了。

But with this in mind, we organized this expedition, which was the closest civilians have been to the nuclear power plant.


我们在离核电站1.5公里远的地方航行， 在当地渔民的帮助下， 我们用自己发明制作的 沉淀物采样器在海底 收集了一些沉淀物。

We are sailing 1.5 kilometers away from the nuclear power plant, and with the help of the local fisherman, we are collecting sediment from the seabed with a custom sediment sampler we've invented and built.


我们把这些沉淀物打成一个个的小包， 然后把这数百个小包封装好 寄给了很多大学， 我们做出了这个 海床放射活动的地图， 特别是在鱼类繁殖的河口地区， 我希望我们所做的这些 可以使当地的渔民和你们最爱的寿司 安全一点。

We pack the sediment into small bags, we then dispatch them to hundreds of small bags that we send to different universities, and we produce the map of the seabed radioactivity, especially in estuaries where the fish will reproduce, and I will hope that we will have improved the safety of the local fishermen and of your favorite sushi.


你们可以看到我们的进步—— 我们从本地问题开始， 到外地的问题，最后再到世界问题。

You can see a progression here -- we've gone from a local problem to a remote problem to a global problem.


做这些不同规模项目的感觉 真的特别爽， 我们使用的技术也是 非常简单和开源的。

And it's been super exciting to work at these different scales, with also very simple, open-source technologies.


但同时，我们也逐渐地感觉有些沮丧， 因为我们现在做的仅仅是测量 我们过去所造成的危害。

But at the same time, it's been increasingly frustrating because we have only started to measure the damage that we have done.


我们还没有开始解决这些问题。

We haven't even started to try to solve the problems.


所以我想知道， 我们能不能有一个飞跃， 想出一些更好的办法来解决这些问题呢？

And so I wonder if we should just take a leap and try to invent better ways to do all these things.


然后教室就显得有点小了， 我们找了香港的一处废弃工厂， 然后把它变成了一个最大的多用空间， 专门来研究社会和环境影响。

And so the classroom started to feel a little bit small, so we found an industrial site in Hong Kong, and we turned it into the largest mega-space focused on social and environmental impact.


这是在香港市中心， 是一个我们可以做木工、 金工和化学实验的地方， 还可以做一些生物学和光学的实验， 在那里，基本上你什么都可以做。

It's in central Hong Kong, and it's a place we can work with wood, metal, chemistry, a bit of biology, a bit of optics, basically you can build pretty much everything there.


这是一个大人和孩子 可以一起玩的地方。

And its a place where adults and kids can play together.


这是一个在大人的帮助下， 孩子们可以梦想成真的地方， 在这里，大人们也返老还童了。

It's a place where kids' dreams can come true, and where adults can be kids again.


塞萨尔·原田： 我们经常提出这样的问题， 我们可以打造一个利用可再生能源的 移动设备的未来吗？

Cesar Harada: We're asking questions such as, can we invent the future of mobility with renewable energy?


还有，我们能把非常常见的轮椅 变成很酷的电动车， 让老年人的行动更加方便吗？

by transforming very standard wheelchairs into cool, electric vehicles?


塑料制品、油污和核辐射 都是非常非常可怕的残留物， 但是最最可怕的 还是我们对孩子们说的谎话。

So plastic, oil and radioactivity are horrible, horrible legacies, but the very worst legacy that we can leave our children is lies.


我们不能再对孩子们隐瞒丑恶的真相了， 因为我们需要他们解决问题的想象力。

We can no longer afford to shield the kids from the ugly truth because we need their imagination to invent the solutions.


所以，科学家们、制造商们、 梦想家们—— 我们必须让我们的下一代开始 关心现在的环境和人们， 这样他们就可以采取行动解决问题了。

So citizen scientists, makers, dreamers -- we must prepare the next generation that cares about the environment and people, and that can actually do something about it.


两个宛如双胞胎的圆顶建筑， 两种截然相反的设计文化。

Two twin domes, two radically opposed design cultures.


一个由成千上万的钢件制成， 另一个由单一丝线构成。

One is made of thousands of steel parts, the other of a single silk thread.


一个是人工合成的，另一个是有机的。


一个被嵌入环境之中， 另一个创造环境。

One is imposed on the environment, the other creates it.


一个为自然设计，另一个由自然设计。

One is designed for nature, the other is designed by her.


米开朗琪罗说，当他看着天然的大理石， 他看到跃跃欲出的图案。

Michelangelo said that when he looked at raw marble, he saw a figure struggling to be free.


米开朗琪罗唯一的工具是凿子。

The chisel was Michelangelo's only tool.


但自然生物不是凿刻出来的，


在我们生命的最小单位—— 我们的细胞里，包含了 所有其他细胞得以运作和复制的信息。

And in our smallest units of life, our cells, we carry all the information that's required for every other cell to function and to replicate.


至少自工业革命以来，我们的设计被 制造业和大规模生产的严格标准所控制。

At least since the Industrial Revolution, the world of design has been dominated by the rigors of manufacturing and mass production.


装配线主宰了一个由部件构成的世界， 限制了设计师和建筑师的想象力。 他们被训练设计出的作品 都由功能不同的分立部件组装而成。

Assembly lines have dictated a world made of parts, framing the imagination of designers and architects who have been trained to think about their objects as assemblies of discrete parts with distinct functions.


但你不能在自然界中 找到同质材料的组合。

But you don't find homogenous material assemblies in nature.


我们的面部皮肤薄，毛孔大。

Our facial skins are thin with large pores.


我们的背部皮肤厚，毛孔小。

Our back skins are thicker, with small pores.


一个主要充当过滤器， 一个主要充当屏障。 但它是一张皮肤：没有部件，没有组装。

One acts mainly as filter, the other mainly as barrier, and yet it's the same skin: no parts, no assemblies.


这是一个系统，通过改变弹性 逐渐改变它的功能。

It's a system that gradually varies its functionality by varying elasticity.


这里有两个分开的屏幕， 代表我不同的世界观， 以及每个设计师和建筑师设计时 两种不同的个性： 凿子相对基因， 机器相对生物体，组装相对生长， 亨利．福特相对查尔斯．达尔文，

So here this is a split screen to represent my split world view, the split personality of every designer and architect operating today between the chisel and the gene, between machine and organism, between assembly and growth, between Henry Ford and Charles Darwin.


这两种世界观，我的左脑和右脑， 分析和综合， 等下会在我身后的两个屏幕上显示。

These two worldviews, my left brain and right brain, analysis and synthesis, will play out on the two screens behind me.


我的工作，用最简单的说法， 就是结合这两种世界观。 远离组装， 靠近生长。

My work, at its simplest level, is about uniting these two worldviews, moving away from assembly and closer into growth.


各位可能会问自己： 为什么是现在？

You're probably asking yourselves: Why now?


为什么不是在10年甚至是5年前？

Why was this not possible 10 or even five years ago?


我们生活在史上一个特殊的时期， 一个罕见的时期。 在这个时期设计师可以综合运用 我们之前从未接触过的 四个领域中的工具去设计。

We live in a very special time in history, a rare time, a time when the confluence of four fields is giving designers access to tools we've never had access to before.


这些领域分别是：运算化设计， 让我们可以运用简单代码设计复杂事物； 增材制造，让我们可以 通过添加材料 而不是通过凿刻生产部件； 材料工程，让我们可以精细地 设计材料行为； 合成生物学 让我们可以通过编辑DNA 设计新的生物功能。

These fields are computational design, allowing us to design complex forms with simple code; additive manufacturing, letting us produce parts by adding material rather than carving it out; materials engineering, which lets us design the behavior of materials in high resolution; and synthetic biology, enabling us to design new biological functionality by editing DNA.


通过综合运用这4个领域， 我的团队和我进行创造。

And at the intersection of these four fields, my team and I create.


请看我学生们 通过匠心巧手创造的作品。

Please meet the minds and hands of my students.


我们设计的对象、产品、结构和工具 跨越各种规模。 大的像这个有80英尺直径的机械手臂， 装载在车辆上， 它在不远的将来可以打印整栋楼。 小的像 完全由转基因微生物制成的纳米图案 它在黑暗里会发光。

We design objects and products and structures and tools across scales, from the large-scale, like this robotic arm with an 80-foot diameter reach with a vehicular base that will one day soon print entire buildings, to nanoscale graphics made entirely of genetically engineered microorganisms that glow in the dark.


这里我们重塑了mashrabiya， 阿拉伯古代建筑的原型。 我们创建一个屏幕， 屏幕上每个毛孔都有独特的大小， 当光和热穿过它们时可以形成这个图案。

Here we've reimagined the mashrabiya, an archetype of ancient Arabic architecture, and created a screen where every aperture is uniquely sized to shape the form of light and heat moving through it.


在我们的下一个项目中， 我们尝试创造一件披肩和一条裙子—— 这是和Iris van Herpen 为巴黎时装展创造的作品。 它像是由单一部件制成的第二层皮肤， 硬朗的轮廓，灵活地缠绕在腰间。

In our next project, we explore the possibility of creating a cape and skirt -- this was for a Paris fashion show with Iris van Herpen -- like a second skin that are made of a single part, stiff at the contours, flexible around the waist.


通过和Stratasys 3D打印机 的长时间合作， 我们3D打印出的披肩和裙子浑然一体，没有缝线。 我会展示更多类似的作品。

Together with my long-term 3D printing collaborator Stratasys, we 3D-printed this cape and skirt with no seams between the cells, and I'll show more objects like it.


这个头盔结合了软硬不同的材质， 具有20微米的精细度，

This helmet combines stiff and soft materials in 20-micron resolution.


也是CT扫描仪的精细度。

It's also the resolution of a CT scanner.


设计师运用 如此高精细度的分析合成工具， 设计出的作品不仅符合我们身体的形状， 还符合我们组织的生理构造。

That designers have access to such high-resolution analytic and synthetic tools, enables to design products that fit not only the shape of our bodies, but also the physiological makeup of our tissues.


接下来，我们设计了一张声学椅子， 它可以快速变型，很舒服 并且可以吸音。

Next, we designed an acoustic chair, a chair that would be at once structural, comfortable and would also absorb sound.


卡特教授是我的合作者， 我们一起去大自然寻找灵感。 通过设计这个不规则的表面， 使这张椅子可以吸音。

Professor Carter, my collaborator, and I turned to nature for inspiration, and by designing this irregular surface pattern, it becomes sound-absorbent.


我们打印了44种不同材质的这种表面， 硬度、透明度和颜色都不同， 并且与人体的压力点对应。

We printed its surface out of 44 different properties, varying in rigidity, opacity and color, corresponding to pressure points on the human body.


这个表面，正如自然界的东西， 改变功能 不是通过添加其他材料或进行组装， 而是通过持续精细地改变材料属性。

Its surface, as in nature, varies its functionality not by adding another material or another assembly, but by continuously and delicately varying material property.


我不是生长在一个犹太教的家庭， 但我小的时候， 我的祖母曾经告诉我希伯来圣经的故事。 其中有一个故事我一直记得 并且影响了我对很多重要事情的看法。

I wasn't raised in a religious Jewish home, but when I was young, my grandmother used to tell me stories from the Hebrew Bible, and one of them stuck with me and came to define much of what I care about.


她是这样描述的： “在创世纪的第三天，上帝让地球 长出结实累累的果树。”

As she recounts: "On the third day of Creation, God commands the Earth to grow a fruit-bearing fruit tree."


这第一棵果树， 树干，树枝，叶子和果实 都没有什么区别，

For this first fruit tree, there was to be no differentiation between trunk, branches, leaves and fruit.


但从土地里长出来的树 却有树皮，茎和花。

Instead, the land grew trees that have bark and stems and flowers.


土地创造了一个由不同部件组成的世界。


我经常问自己： “如果我们的设计作品 都由单一的部件组成将会是怎样？

I often ask myself, "What would design be like if objects were made of a single part?


我们会回归到一个更好的创造状态吗？”

Would we return to a better state of creation?"


所以我们开始寻找圣经里的那种材料， 类似于那种果树的材料， 然后我们找到了。

So we looked for that biblical material, that fruit-bearing fruit tree kind of material, and we found it.


地球上第二丰富的生物聚合物叫甲壳素。 每年大约1亿吨的甲壳素 由虾、蟹、蝎子和蝴蝶生产出。

The second-most abundant biopolymer on the planet is called chitin, and some 100 million tons of it are produced every year by organisms such as shrimps, crabs, scorpions and butterflies.


我们想如果可以调整它的属性， 我们就可以从单一部件中 获得多功能的结构。

We thought if we could tune its properties, we could generate structures that are multifunctional out of a single part.


我们打电话给「合法海鲜」 —— 我们订购了一批虾壳， 把它们磨碎，然后做成甲壳素糊。

We called Legal Seafood -- we ordered a bunch of shrimp shells, we grinded them and we produced chitosan paste.


通过改变化学浓度 我们可以得到许多不同的属性—— 从深色的、硬的和不透明的， 到浅色的，柔软的和透明的。

By varying chemical concentrations, we were able to achieve a wide array of properties -- from dark, stiff and opaque, to light, soft and transparent.


为了打印大型的结构， 我们设计了一个由机器控制的喷出系统， 具有多个喷嘴，

In order to print the structures in large scale, we built a robotically controlled extrusion system with multiple nozzles.


机器手臂可以在空中改变材料属性， 创造出这些12英尺长的结构， 全由单一材料组成， 100%可以回收利用。

The robot would vary material properties on the fly and create these 12-foot-long structures made of a single material, 100 percent recyclable.


当这些部件做好之后，它们自然风干 并通过接触空气自然成型。

When the parts are ready, they're left to dry and find a form naturally upon contact with air.


所以我们何必还用塑料进行设计呢？

So why are we still designing with plastics?


这些气泡是打印过程的副产品， 我们用来容纳光合微生物。 这些微生物在35亿年前 第一次在我们的星球上出现， 就如我们昨天学到的那样。

The air bubbles that were a byproduct of the printing process were used to contain photosynthetic microorganisms that first appeared on our planet 3.5 billion year ago, as we learned yesterday.


通过我们与哈佛和麻省理工学院的合作， 我们植入基因改造过的细菌。 这些细菌能迅速捕获空气中的碳， 并将其转化为糖。

Together with our collaborators at Harvard and MIT, we embedded bacteria that were genetically engineered to rapidly capture carbon from the atmosphere and convert it into sugar.


这是第一次， 我们可以无缝地 将梁状结构转变成网状结构， 甚至再大一些，可以变成窗户，

For the first time, we were able to generate structures that would seamlessly transition from beam to mesh, and if scaled even larger, to windows.


通过使用一种古老的材料， 地球上最早的生命形式之一， 足够的水以及一点点合成生物学， 我们可以将一个虾壳的结构转变成 一个像树一样生长的建筑。

Working with an ancient material, one of the first lifeforms on the planet, plenty of water and a little bit of synthetic biology, we were able to transform a structure made of shrimp shells into an architecture that behaves like a tree.


最棒的一点是： 它们是可以生物降解的， 把它们放入大海， 他们可以滋养海洋生物， 将它们放入土壤， 它们可以帮助树木生长。

And here's the best part: for objects designed to biodegrade, put them in the sea, and they will nourish marine life; place them in soil, and they will help grow a tree.


在使用同样的设计原则的前提下， 我们的下一个探索目标是太阳系统。

The setting for our next exploration using the same design principles was the solar system.


我们尝试探索为星际航行 制造维持生命的服装。

We looked for the possibility of creating life-sustaining clothing for interplanetary voyages.


要做到这一点， 我们要控制细菌并控制它们的生长趋势。

To do that, we needed to contain bacteria and be able to control their flow.


正如元素周期表那样， 我们想出自己的元素表： 运算培养的新生命形态， 增材制造的新生命形态， 以及生物增长的新生命形态。

So like the periodic table, we came up with our own table of the elements: new lifeforms that were computationally grown, and biologically augmented.


我喜欢把合成生物技术想成液体炼金术， 只是你不是炼化贵重金属， 而是在非常小的管道里 合成新的生物功能。

I like to think of synthetic biology as liquid alchemy, only instead of transmuting precious metals, you're synthesizing new biological functionality inside very small channels.


我们3D打印了我们自己的管道， 以控制这些液体细菌的生长趋势。

We 3D-printed our own channels in order to control the flow of these liquid bacterial cultures.


在我们的第一件衣服中， 我们结合了两种微生物。

In our first piece of clothing, we combined two microorganisms.


它生活在我们的海洋以及谈水塘中。

It lives in our oceans and in freshwater ponds.


第二个是大肠杆菌， 这种细菌居住在人类的肠道中。

And the second, E. coli, the bacterium that inhabits the human gut.


蓝藻将光转变成糖， 大肠杆菌消耗那些糖， 并生产出对保护环境有用的生物燃料。

One converts light into sugar, the other consumes that sugar and produces biofuels useful for the built environment.


这两种细菌在自然界中从未有过互动，

Now, these two microorganisms never interact in nature.


它们在这里第一次被设计到一起， 在一件衣服里产生了联系。

They've been here, engineered for the first time, to have a relationship inside a piece of clothing.


它不是自然选择的产物， 而是设计的产物。

Think of it as evolution not by natural selection, but evolution by design.


为了控制这些关系， 我们创建了一条类似于消化道的单管道。 这可以帮助这些细菌生长 并沿途改变它的功能，

In order to contain these relationships, we've created a single channel that resembles the digestive tract, that will help flow these bacteria and alter their function along the way.


然后我们开始在人体上种植这种通道， 根据想要的功能改变材料的属性。

We then started growing these channels on the human body, varying material properties according to the desired functionality.


在我们需要更多光合作用的地方， 我们就设计更多的透明管道。

Where we wanted more photosynthesis, we would design more transparent channels.


这是可以穿戴的消化系统， 如果将它从头到尾伸展开来， 大约有60米，

This wearable digestive system, when it's stretched end to end, spans 60 meters.


这是半个足球场的长度， 是我们小肠长度的十倍。

This is half the length of a football field, and 10 times as long as our small intestines.


在TED大会上我们首次展示—— 我们第一件会自行生长、 可行光合作用、有生命的液体管道服饰。

And here it is for the first time unveiled at TED -- our first photosynthetic wearable, liquid channels glowing with life inside a wearable clothing.


玛丽.雪莱曾说： “我们是未成形的生物，只被完成了一半”

Mary Shelley said, "We are unfashioned creatures, but only half made up."


那么如果设计可以提供另一半呢？

What if design could provide that other half?


如果我们可以创造出 一种能扩充生物组织的结构呢？

What if we could create structures that would augment living matter?


如果我们可以创造私人的微生物群 能扫描我们皮肤，修复损伤的组织 以及维持我们身体运作呢？

What if we could create personal microbiomes that would scan our skins, repair damaged tissue and sustain our bodies?


让我们把它想成生物编辑的形态。

Think of this as a form of edited biology.


这整套称为【漫游者】的 以各行星命名的系列服饰， 对我来说并不只是时尚本身， 它还提供了一个机会， 让我们想象人类在地球甚至地球以外的未来。 以及进一步地 将科学视角和很多神秘事物结合。 远离机器的时代， 进入一个新时代，让我们的身体， 我们身边的微生物， 我们的产品甚至我们的建筑可以共生。

This entire collection, Wanderers, that was named after planets, was not to me really about fashion per se, but it provided an opportunity to speculate about the future of our race on our planet and beyond, to combine scientific insight with lots of mystery and to move away from the age of the machine to a new age of symbiosis between our bodies, the microorganisms that we inhabit, our products and even our buildings.


我将此称为材料生态系统。


要做到这一点，我们永远要回归到自然。

To do this, we always need to return back to nature.


目前为止，你知道3D打印机 是一层层地打印材料的，

By now, you know that a 3D printer prints material in layers.


自然生物生长，用非常复杂的方式。


比如这个蚕茧， 一个高度复杂的结构， 一个蚕在里面羽化的家。

This silkworm cocoon, for example, creates a highly sophisticated architecture, a home inside which to metamorphisize.


今天没有任何增材制造 可以做到这种复杂的水平。

No additive manufacturing today gets even close to this level of sophistication.


这个蚕茧不是由两种材料组成， 而是由不同浓度的两种蛋白组成。

It does so by combining not two materials, but two proteins in different concentrations.


一种做蚕茧的结构， 另一种充当粘合剂或是基质， 然后可以将这些纤维聚到一起，

One acts as the structure, the other is the glue, or the matrix, holding those fibers together.


这个蚕开始时将它自己附在环境上—— 创建一个有张力的结构—— 然后它开始编织一个抗压的茧。

The silkworm first attaches itself to the environment -- it creates a tensile structure -- and it then starts spinning a compressive cocoon.


张力和压力，生命的两种力量， 体现在一种材料中。

Tension and compression, the two forces of life, manifested in a single material.


为了更好地 了解这个复杂的工程是如何运作的。 我们将一个小的磁铁 粘到蚕的头部，也就是吐丝头处。

In order to better understand how this complex process works, we glued a tiny earth magnet to the head of a silkworm, to the spinneret.


我们将它放到有磁感应头的盒子里， 这样我们就可以绘制三维点云图像， 并且能观察到蚕茧的复杂构造。

We placed it inside a box with magnetic sensors, and that allowed us to create this 3-dimensional point cloud and visualize the complex architecture of the silkworm cocoon.


然而当我们将它放在平板上， 而不是盒子里时， 我们发现它会编织一个平面的茧， 并且它仍然能健康地羽化。

However, when we placed the silkworm on a flat patch, not inside a box, we realized it would spin a flat cocoon and it would still healthily metamorphisize.


所以我们开始设计 不同的环境，不同的支架， 我们发现这些茧的形状、成分、结构 都是直接受环境影响的。

So we started designing different environments, different scaffolds, and we discovered that the shape, the composition, the structure of the cocoon, was directly informed by the environment.


蚕通常在茧里被煮沸而死， 它们的蚕丝被解开用在纺织工业中。

Silkworms are often boiled to death inside their cocoons, their silk unraveled and used in the textile industry.


我们意识到设计这些模板 可以让我们塑造原始蚕丝的形状， 不用煮沸任何一个茧。

We realized that designing these templates allowed us to give shape to raw silk without boiling a single cocoon.


它们还能健康地羽化， 而我们能创造这样的衣服。

They would healthily metamorphisize, and we would be able to create these things.


我们将这个过程扩大到建筑规模。

So we scaled this process up to architectural scale.


我们有一个机器人 用丝线编织了一个模板， 然后我们将它放到我们的工作场地。

We had a robot spin the template out of silk, and we placed it on our site.


我们知道蚕喜欢 迁移到黑暗和寒冷的地方， 所以我们用阳光路径图在这个结构上 显示光和热的分布。

We knew silkworms migrated toward darker and colder areas, so we used a sun path diagram to reveal the distribution of light and heat on our structure.


然后我们创建了一些孔，或者说是孔径 锁定光和热的射线， 决定蚕在这个结构上的分布。

We then created holes, or apertures, that would lock in the rays of light and heat, distributing those silkworms on the structure.


We were ready to receive the caterpillars.


我们从网上蚕丝农场订到6500只蚕，

We ordered 6,500 silkworms from an online silk farm.


喂养4周之后，它们开始为我们吐丝。

And after four weeks of feeding, they were ready to spin with us.


我们将它们小心翼翼地 放在支架的底部边缘， 它们在那里吐丝、羽化、交配、产卵， 然后重新开始新生命—— 就像我们人类一样，但是过程短得多。

We placed them carefully at the bottom rim of the scaffold, and as they spin they pupate, they mate, they lay eggs, and life begins all over again -- just like us but much, much shorter.


巴基．富勒说张力有十足的完整性， 他是对的。

Bucky Fuller said that tension is the great integrity, and he was right.


当它们在机器纺织的丝线上 进行生物纺织时， 它们让整个建筑完整无缺。

As they spin biological silk over robotically spun silk, they give this entire pavilion its integrity.


在经过两到三周时间后， 6500只蚕纺织了6500公里的丝线，

And over two to three weeks, 6,500 silkworms spin 6,500 kilometers.


巧合的是，这也是丝绸之路的长度。

In a curious symmetry, this is also the length of the Silk Road.


这些蛾在孵化后， 生产了150万颗蛋，

The moths, after they hatch, produce 1.5 million eggs.


这些蛋以后可以用来 创造另外250个临时建筑物。

This could be used for 250 additional pavilions for the future.


一个通过机器臂膀编织丝线， 另一个填补其中的缝隙。

One spins silk out of a robotic arm, the other fills in the gaps.


如果设计的最终边界是 在我们周边的产品或建筑中注入生命， 形成双材料的生态， 那么设计师必须结合这两种世界观。

If the final frontier of design is to breathe life into the products and the buildings around us, to form a two-material ecology, then designers must unite these two worldviews.


当然，这让我们回到生命的起点。

Which brings us back, of course, to the beginning.


这是设计的新时代、创造的新时代， 将我们从启发于大自然的设计， 带到由设计唤醒的大自然。 而这将首次要求我们 孕育大自然。

Here's to a new age of design, a new age of creation, that takes us from a nature-inspired design to a design-inspired nature, and that demands of us for the first time that we mother nature.


如果你们曾被问过这个问题，请举手 “你长大之后想干什么？”

Raise your hand if you've ever been asked the question "What do you want to be when you grow up?"


现在大家回想一下， 你们第一次被问这个问题是多大？

Now if you had to guess, how old would you say you were when you were first asked this question?


你们可以举手指头来示意一下。


三岁，五岁，三岁，五岁，五岁，好的。


接下来，如果刚刚说的这个问题， “你长大之后想干什么？”

Now, raise your hand if the question "What do you want to be when you grow up?"


曾经让你感到焦虑，请举手。


我永远无法回答这个问题， “你长大之后想干什么？”

I'm someone who's never been able to answer the question "What do you want to be when you grow up?"


并不是说我没有兴趣爱好， 而是我的兴趣爱好太多。

See, the problem wasn't that I didn't have any interests -- it's that I had too many.


高中的时候，我喜欢英语、 数学和艺术，建过网站 在一个叫“失意电话话务员” 的朋克乐队当吉他手。

In high school, I liked English and math and art and I built websites and I played guitar in a punk band called Frustrated Telephone Operator.


也许你们还听说过我们乐队呢。


高中毕业后我也依旧兴趣广泛， 某一天，我发现自己有一个行为模式， 我会对某一个领域感兴趣， 然后一头扎进去，认真钻研， 变得越来越擅长， 但到了某一个阶段， 我就会开始觉得无聊。

This continued after high school, and at a certain point, I began to notice this pattern in myself where I would become interested in an area and I would dive in, become all-consumed, and I'd get to be pretty good at whatever it was, and then I would hit this point where I'd start to get bored.


通常我会继续坚持下去， 因为我已经投入了很多时间和精力， 有时候还有金钱。

And usually I would try and persist anyway, because I had already devoted so much time and energy and sometimes money into this field.


但是最终这种无聊的感觉， 就像在说，哦，这事我已经会了， 已经没有任何挑战了， 再继续也不会有多大成就了。

But eventually this sense of boredom, this feeling of, like, yeah, I got this, this isn't challenging anymore -- it would get to be too much.


但之后我可能又会对另一些事感兴趣， 跟之前完全不同的领域， 我又会一头扎进去， 认真钻研，然后说， “太棒了！这就是我的菜！” 之后我又会达到那个阶段， 开始觉得无聊。

But then I would become interested in something else, something totally unrelated, and I would dive into that, and become all-consumed, and I'd be like, "Yes! I found my thing," and then I would hit this point again where I'd start to get bored.


之后我又会发现新的兴趣，不同的领域 然后一头扎进去。

But then I would discover something new and totally different, and I would dive into that.


这种模式让我非常焦虑， 原因有两点。

This pattern caused me a lot of anxiety, for two reasons.


一是我不确定 如何才能将这些兴趣变成我的职业。

The first was that I wasn't sure how I was going to turn any of this into a career.


我觉得自己最终会从 里面挑一个， 而对其他爱好忍痛割爱， 做好将来一定会无聊的心理准备。

I thought that I would eventually have to pick one thing, deny all of my other passions, and just resign myself to being bored.


让我非常焦虑的第二个原因， 跟我自身有关。

The other reason it caused me so much anxiety was a little bit more personal.


我担心自己的这种行为模式是错的， 自己这么朝三暮四，是不是错了。

I worried that there was something wrong with this, and something wrong with me for being unable to stick with anything.


我是不是害怕做出承诺， 或者自由散漫，破罐子破摔， 惧怕成功。

I worried that I was afraid of commitment, or that I was scattered, or that I was self-sabotaging, afraid of my own success.


如果你能理解我的故事和我的感受， 请你们问自己一个问题， 这个问题我早就该问自己的。

If you can relate to my story and to these feelings, I'd like you to ask yourself a question that I wish I had asked myself back then.


就是，你是从哪里学到该如何判断 我们的所作所为 是错误的或者不正常的。

Ask yourself where you learned to assign the meaning of wrong or abnormal to doing many things.


我来告诉你答案： 是从我们的文化中学到的。

I'll tell you where you learned it: you learned it from the culture.


我们第一次被问到“你长大之后想干什么？”

We are first asked the question "What do you want to be when you grow up?"


其实像你那么大的时候 没有人会真的关心你说了什么。

And the truth is that no one really cares what you say when you're that age.


这仅仅是一个无伤大雅的问题， 为的是让小朋友做出可爱的回应， 比如，“我想当宇航员”， 或者“我想当芭蕾舞演员”， 或者“我想当海盗”。

It's considered an innocuous question, posed to little kids to elicit cute replies, like, "I want to be an astronaut," or "I want to be a ballerina," or "I want to be a pirate."


此处应加万圣节服装的特效。


然而这个问题，在我们 成长的过程中会不断被问到 形式多种多样，比如，高中生会被问到， 你们在大学准备选什么专业。

But this question gets asked of us again and again as we get older in various forms -- for instance, high school students might get asked what major they're going to pick in college.


突然有一天， “你长大之后想干什么？”

And at some point, "What do you want to be when you grow up?"


从原本一种秀可爱的方式 变成了让我们寝食难安的难题。

goes from being the cute exercise it once was to the thing that keeps us up at night.


尽管这个问题鼓励小朋友 想象自己将来要做什么， 但它并未给小朋友充分想象的自由。

See, while this question inspires kids to dream about what they could be, it does not inspire them to dream about all that they could be.


恰恰相反，它限制了小朋友想象的自由， 因为有人问你长大后想做什么， 你不可能回答20种不同的职业， 尽管有些善良的大人会笑呵呵地说， “哦，你太可爱了，但是你不能 同时成为小提琴制作家和心理学家啊。

In fact, it does just the opposite, because when someone asks you what you want to be, you can't reply with 20 different things, though well-meaning adults will likely chuckle and be like, "Oh, how cute, but you can't be a violin maker and a psychologist.


这位是鲍勃·柴尔兹博士， 他是一名弦乐器工匠和心理医生。

This is Dr. Bob Childs -- and he's a luthier and psychotherapist.


这位是艾米·恩，之前是杂志编辑， 后来成为插画作家，企业家 教师和创意总监。

And this is Amy Ng, a magazine editor turned illustrator, entrepreneur, teacher and creative director.


但大部分孩子都没听说过他们。

But most kids don't hear about people like this.


他们听到的 只是要他们进行选择和取舍。

All they hear is that they're going to have to choose.


一生都心无旁骛的这一观念， 在我们的文化中被过分浪漫化了。

The notion of the narrowly focused life is highly romanticized in our culture.


这种命运论或者说 “命中注定的职业”的概念， 意思是我们每个人都有一份 命中注定的伟大事业， 我们需要找到它， 并为之奋斗一生。

It's this idea of destiny or the one true calling, the idea that we each have one great thing we are meant to do during our time on this earth, and you need to figure out what that thing is and devote your life to it.


但如果你不是这样的人呢？

But what if you're someone who isn't wired this way?


如果你对很多事都有好奇心， 想去尝试各种各样的职业呢？

What if there are a lot of different subjects that you're curious about, and many different things you want to do?


那么在现有体系中，你很难有容身之处。

Well, there is no room for someone like you in this framework.


你也许会觉得自己没有目标。

You might feel like you don't have a purpose.


你也许会觉得自己是不是有问题。

And you might feel like there's something wrong with you.


你是一名“多重潜力者”。


“多重潜力者”拥有多种兴趣并且追求创新。

A multipotentialite is someone with many interests and creative pursuits.


如果把它拆成三部分可能比较好理解： 多重的，有潜力的，人。

It might help if you break it up into three parts: multi, potential, and ite.


你也可以用其他词来表述类似的意思， 比如“博学者”，或者“文艺复兴者”。

You can also use one of the other terms that connote the same idea, such as polymath, the Renaissance person.


实际上，在文艺复兴时代， 精通多个学科是非常被推崇的。

Actually, during the Renaissance period, it was considered the ideal to be well-versed in multiple disciplines.


芭芭拉·谢尔称我们为“扫描仪”。

Barbara Sher refers to us as "scanners."


你可以选择一个自己喜欢的词， 或者创造一个新的。

Use whichever term you like, or invent your own.


我感觉自己找到了组织， 因为我们无法接受只有一种身份。

I have to say I find it sort of fitting that as a community, we cannot agree on a single identity.


人们很容易把多重潜力 视为一种局限或者痛苦，需要克服。

It's easy to see your multipotentiality as a limitation or an affliction that you need to overcome.


但我通过与人们交流， 以及把这些观点发到我的网站上， 我发现多重潜力者有很多优点。

But what I've learned through speaking with people and writing about these ideas on my website, is that there are some tremendous strengths to being this way.


多重潜力者 拥有三种“超能力”。

Here are three multipotentialite super powers.


就是说，结合两个或两个以上领域 从结合处寻求创新。

That is, combining two or more fields and creating something new at the intersection.


黄沙和瑞秋·宾克斯 找到了共同的兴趣爱好， 像制图，数据可视化，旅行，数学和设计， 之后他们创办了Meshu。

Sha Hwang and Rachel Binx drew from their shared interests in cartography, data visualization, travel, mathematics and design, when they founded Meshu.


Meshu是一家定制珠宝公司， 专门制作具有地域特色的珠宝。

Meshu is a company that creates custom geographically-inspired jewelry.


黄沙和瑞秋之所以能产生这个独特的创意， 正是因为他俩博学多才，经历丰富。

Sha and Rachel came up with this unique idea not despite, but because of their eclectic mix of skills and experiences.


Innovation happens at the intersections.


而多重潜力者，拥有丰富的背景， 能够在各领域交叉处找到突破点。

And multipotentialites, with all of their backgrounds, are able to access a lot of these points of intersection.


多重潜力者的第二种超能力 是快速学习。

The second multipotentialite superpower is rapid learning.


当多重潜力者对某件事产生兴趣时， 我们会全身心投入。

When multipotentialites become interested in something, we go hard.


我们仔细观察，勤于实践。

We observe everything we can get our hands on.


我们已经习惯于当初学者， 因为我们过去曾当过无数次初学者， 我们不怕尝试新事物， 勇于走出舒适区。

We're also used to being beginners, because we've been beginners so many times in the past, and this means that we're less afraid of trying new things and stepping out of our comfort zones.


除此以外，很多能力在各个学科都是通用的， 我们将之前所学用于新领域， 而不用从零开始。

What's more, many skills are transferable across disciplines, and we bring everything we've learned to every new area we pursue, so we're rarely starting from scratch.


诺拉·邓恩是一位全职旅行家和自由作家。

Nora Dunn is a full-time traveler and freelance writer.


作为一名儿童钢琴演奏家， 她磨练出了非凡的能力 来发展肌肉记忆。

As a child concert pianist, she honed an incredible ability to develop muscle memory.


因此，她是她所有认识的人中打字最快的。

Now, she's the fastest typist she knows.


在当作家之前，诺拉是一名理财师。

Before becoming a writer, Nora was a financial planner.


在初入这行的时候， 她不得不学习一些高明的销售技巧， 如今这项技能被她用来 给编辑写精彩的推荐语。

She had to learn the finer mechanics of sales when she was starting her practice, and this skill now helps her write compelling pitches to editors.


追求你感兴趣的东西并不是浪费时间， 即使最后你并没有坚持到底。

It is rarely a waste of time to pursue something you're drawn to, even if you end up quitting.


也许将来你会把这些知识 用在一个完全不同的领域， 用一种你完全预料不到的方式。

You might apply that knowledge in a different field entirely, in a way that you couldn't have anticipated.


第三种“超能力” 是适应性。 也就是说，如果有需要， 你能变成任何角色， 以适应不同的情况。

The third multipotentialite superpower is adaptability; that is, the ability to morph into whatever you need to be in a given situation.


艾比·卡胡多有时候是视频导演， 有时候是网站设计师， 有时候是众筹顾问， 有时候是老师， 有时候，很明显，是詹姆斯·邦德。

Abe Cajudo is sometimes a video director, sometimes a web designer, sometimes a Kickstarter consultant, sometimes a teacher, and sometimes, apparently, James Bond.


He's valuable because he does good work.


更重要的是他可以随时切换自己的角色， 来满足客户的需要。

He's even more valuable because he can take on various roles, depending on his clients' needs.


《快公司》杂志认为， 要想在21世纪取得成功，适应性是 最重要的一项技能。

Fast Company magazine identified adaptability as the single most important skill to develop in order to thrive in the 21st century.


经济界的变化如此迅速且无法预测， 那些能够根据市场需要进行调整 的个人和公司才有可能取得成功。

The economic world is changing so quickly and unpredictably that it is the individuals and organizations that can pivot in order to meet the needs of the market that are really going to thrive.


产生创意，快速学习和适应性 是多重潜力者非常擅长的三种能力， 如果强迫他们缩小自己的关注范围， 这三种能力也许就会丧失。

Idea synthesis, rapid learning and adaptability: three skills that multipotentialites are very adept at, and three skills that they might lose if pressured to narrow their focus.


作为一个社会，鼓励多重潜力者保持本色 对我们有利。

As a society, we have a vested interest in encouraging multipotentialites to be themselves.


我们如今面临许多复杂问题，涉及许多方面， 我们需要有创意的、能破除思维定式的 思想者来解决这些问题。

We have a lot of complex, multidimensional problems in the world right now, and we need creative, out-of-the-box thinkers to tackle them.


我们假设，内心深处，你是一名专家。

Now, let's say that you are, in your heart, a specialist.


你从打娘胎里出来就知道 你想当一名儿童神经外科医生。

You came out of the womb knowing you wanted to be a pediatric neurosurgeon.


别担心，即使这样你也挺正常的。

Don't worry -- there's nothing wrong with you, either.


事实上，一些顶尖团队就是由专家 和多重潜力者搭配组成。

In fact, some of the best teams are comprised of a specialist and multipotentialite paired together.


专家可以深入研究，实践想法， 而多重潜力者可以为项目 带来更广泛的知识支持。

The specialist can dive in deep and implement ideas, while the multipotentialite brings a breadth of knowledge to the project.


但是我们都应该根据自己的天赋 来规划与之相适应的人生和职业。

But we should all be designing lives and careers that are aligned with how we're wired.


不幸的是，多重潜力者往往被要求 成为团队中的那个专家。

And sadly, multipotentialites are largely being encouraged simply to be more like their specialist peers.


所以， 如果你从今天的演讲中学到了一件事的话， 我希望会是： 接受你内心的真实想法。

So with that said, if there is one thing you take away from this talk, I hope that it is this: embrace your inner wiring, whatever that may be.


如果你是专家型的人， 那就用尽一切办法，成为专家。

If you're a specialist at heart, then by all means, specialize.


但对于在座的多重潜力者们， 包括那些在过去的12分钟里 刚刚意识到自己是多重潜力者的人， 我要对你们说： 接受你的众多爱好。

But to the multipotentialites in the room, including those of you who may have just realized in the last 12 minutes that you are one -- to you I say: embrace your many passions.


Follow your curiosity down those rabbit holes.


让真实的自我引领我们 去过更快乐、更真实的人生。

Embracing our inner wiring leads to a happier, more authentic life.


也许更重要的是， 多重潜力者， 这个世界需要我们。

And perhaps more importantly -- multipotentialites, the world needs us.


1901年， 一个叫Auguste的女人被带到 法兰克福医疗收容所。

In the year 1901, a woman called Auguste was taken to a medical asylum in Frankfurt.


Auguste有妄想症， 并且连生活中常见的琐事也记不住。

Auguste was delusional and couldn't remember even the most basic details of her life.


她的医生叫做 Alois。


Alois不知道该怎么治疗Auguste， 但是一直都关注着她的病情， 直到1906年她去世。

Alois didn't know how to help Auguste, but he watched over her until, sadly, she passed away in 1906.


Auguste死后，Alois对她进行了尸检， 在她的脑子里 发现了奇怪的斑块和纤维缠结—— Alois从来没有见到过这种情况。

After she died, Alois performed an autopsy and found strange plaques and tangles in Auguste's brain -- the likes of which he'd never seen before.


Now here's the even more striking thing.


如果Auguste生活在今天， 我们能为她提供的帮助也不会比 在114年前Alois为她做的更多。

If Auguste had instead been alive today, we could offer her no more help than Alois was able to 114 years ago.


Alois就是爱罗斯·阿兹海默医生。


而Auguste Deter 是被诊断为阿茨海默症的第一例病人。

And Auguste Deter was the first patient to be diagnosed with what we now call Alzheimer's disease.


从1901年到现在，医学得到了巨大发展。

Since 1901, medicine has advanced greatly.


我们发明了抗生素和疫苗 来保护我们不受疾病的传染， 开发了许多方法来治疗癌症， 抗逆转录病毒药物来治疗艾滋病， 还有抑制剂药物来对抗心脏疾病等等。

We've discovered antibiotics and vaccines to protect us from infections, many treatments for cancer, antiretrovirals for HIV, statins for heart disease and much more.


但是在治疗阿茨海默症方面， 我们几乎没有取得任何进展。

But we've made essentially no progress at all in treating Alzheimer's disease.


我所在的科学家团队 用了十几年时间来寻找 治疗阿茨海默症的方法。

I'm part of a team of scientists who has been working to find a cure for Alzheimer's for over a decade.


所以我一直都在思考这个问题。


目前全世界有4000万阿茨海默患者。

Alzheimer's now affects 40 million people worldwide.


但是到2050年， 这一数字将是1亿5000万—— 很有可能包括我们在座的人。

But by 2050, it will affect 150 million people -- which, by the way, will include many of you.


如果你们想要活到85岁或更久， 那么每2个人中就有1个 可能患上阿茨海默症。

If you're hoping to live to be 85 or older, your chance of getting Alzheimer's will be almost one in two.


换句话说，本应安度晚年的你 要么会饱受阿茨海默症的折磨， 要么是需要照顾患有阿茨海默症的 朋友或者爱人。

In other words, odds are you'll spend your golden years either suffering from Alzheimer's or helping to look after a friend or loved one with Alzheimer's.


目前仅仅在美国， 阿茨海默症的治疗费用 就会达到每年2000亿美元。

Already in the United States alone, Alzheimer's care costs 200 billion dollars every year.


每5美元的医疗保险费用就有1美元 用在阿茨海默患者身上。

One out of every five Medicare dollars get spent on Alzheimer's.


它是目前最昂贵的疾病， 并且到2050年，费用可能增加5倍， 那时婴儿潮年代出生的人都步入了老年。

It is today the most expensive disease, and costs are projected to increase fivefold by 2050, as the baby boomer generation ages.


听上去可能有些不可思议，简单地说， 阿茨海默症可能是我们这一代人 所面临的最大的医学和社会挑战之一。

It may surprise you that, put simply, Alzheimer's is one of the biggest medical and social challenges of our generation.


但是我们采取的行动却少之又少。

But we've done relatively little to address it.


今天，全世界导致死亡的十个主要原因中， 阿茨海默是唯一一个我们 无法预防、治愈甚至抑制的。

Today, of the top 10 causes of death worldwide, Alzheimer's is the only one we cannot prevent, cure or even slow down.


我们了解阿茨海默症的原理 并不像了解其他疾病那样多， 因为我们对其投入的时间和资金 都相对较少。

We understand less about the science of Alzheimer's than other diseases because we've invested less time and money into researching it.


美国政府每年花费在研究癌症上的费用 是研究阿茨海默症的10倍， 尽管用于治疗阿茨海默症的费用更多， 并且每年造成的死亡人数 几乎与癌症相等。

The US government spends 10 times more every year on cancer research than on Alzheimer's despite the fact that Alzheimer's costs us more and causes a similar number of deaths each year as cancer.


但研究匮乏的一个根本的原因是： 对这种疾病不够重视和了解。

The lack of resources stems from a more fundamental cause: a lack of awareness.


因为几乎没有人知道这些 本该人人皆知的事情: 阿茨海默是一种疾病， 并且我们可以治愈它。

Because here's what few people know but everyone should: Alzheimer's is a disease, and we can cure it.


在过去的114年里， 几乎每个人，包括科学家都 错误地把阿茨海默症和衰老混淆。

For most of the past 114 years, everyone, including scientists, mistakenly confused Alzheimer's with aging.


我们认为老糊涂 是一种人在衰老后难以避免的常态。

We thought that becoming senile was a normal and inevitable part of getting old.


但是我们只需要看一下这张 健康的老年大脑与阿茨海默症患者 大脑的对比图， 就会发现这个疾病对大脑产生的 实际的物理伤害。

But we only have to look at a picture of a healthy aged brain compared to the brain of an Alzheimer's patient to see the real physical damage caused by this disease.


除了会导致一些严重的 记忆和精神力的丧失， 阿茨海默对大脑的伤害 还会严重影响人的寿命，并且是致命的。

As well as triggering severe loss of memory and mental abilities, the damage to the brain caused by Alzheimer's significantly reduces life expectancy and is always fatal.


回想一下一百年前 阿兹海默医生在Auguste大脑里 发现的奇怪的斑块和纤维缠结吧。

Remember Dr. Alzheimer found strange plaques and tangles in Auguste's brain a century ago.


在将近100年时间里 我们几乎对此一无所知。

For almost a century, we didn't know much about these.


现如今，我们知道它们是 由蛋白质分子构成。

Today we know they're made from protein molecules.


你可以把一个蛋白质分子想象成 一张纸，被折叠成一个复杂的结构。

You can imagine a protein molecule as a piece of paper that normally folds into an elaborate piece of origami.


在纸上有一些有粘性的点。

There are spots on the paper that are sticky.


折叠正确时 这些有粘性的点是在里面的。

And when it folds correctly, these sticky bits end up on the inside.


但有些时候弄错了， 一些有粘性的点就会露在外面。

But sometimes things go wrong, and some sticky bits are on the outside.


这就导致了一些蛋白质分子互相粘连， 行成了一些凝块， 最终成为了大的斑块和纤维缠结。

This causes the protein molecules to stick to each other, forming clumps that eventually become large plaques and tangles.


这就是我们在阿茨海默症患者 大脑中看到的。

That's what we see in the brains of Alzheimer's patients.


我们用过去的十年时间在剑桥大学 研究这种病变是如何产生的。

We've spent the past 10 years at the University of Cambridge trying to understand how this malfunction works.


有许多步骤会导致病变， 并且鉴定哪一步可以阻止病变非常复杂—— 就像是拆弹。

There are many steps, and identifying which step to try to block is complex -- like defusing a bomb.


切断一条线可能什么都不会发生。


切断另一条炸弹可能就会爆炸。

Cutting others might make the bomb explore.


我们必须要找到防止病变的关键环节， 然后发明一种药物来抑制这一步。

We have to find the right step to block, and then create a drug that does it.


就在不久之前，我们都还在 切断一根根的线，并且期待最好的结果。

Until recently, we for the most part have been cutting wires and hoping for the best.


但是现在我们聚集了一群不同背景的人—— 医生、生物学家、遗传学家、化学家、 物理学家、工程师和数学家。

But now we've got together a diverse group of people -- medics, biologists, geneticists, chemists, physicists, engineers and mathematicians.


通过合作，我们成功地确定了 病变中一个关键的步骤， 并且目前在测试一批新的药物 来抑制这个步骤， 控制住病情。

And together, we've managed to identify a critical step in the process and are now testing a new class of drugs which would specifically block this step and stop the disease.


我来给大家展示一下我们近期的成果。

Now let me show you some of our latest results.


目前为止还没有我们实验室外的人 看到过这些。

No one outside of our lab has seen these yet.


让我们通过短片看一下 用虫子测试这批新药的效果如何。

Let's look at some videos of what happened when we tested these new drugs in worms.


这些是健康的虫子， 你们可以看到它们能够正常地蠕动。

So these are healthy worms, and you can see they're moving around normally.


而这些虫子 体内有一些蛋白质分子粘连在一起， 就像是患有阿茨海默的病人。

These worms, on the other hand, have protein molecules sticking together inside them -- like humans with Alzheimer's.


你们还可以看到它们明显生病了。


但是如果在早期给这些虫子 提供我们的药物， 我们可以看到它们恢复了健康， 并且可以存活正常的寿命。

But if we give our new drugs to these worms at an early stage, then we see that they're healthy, and they live a normal lifespan.


这只是一个初期的较为乐观的结果， 但是像这样的研究 可以让我们知道阿茨海默 是一个我们能够了解并且治愈的疾病。

This is just an initial positive result, but research like this shows us that Alzheimer's is a disease that we can understand and we can cure.


在等待了114年之后， 我们终于看到了 在未来的10至20年中 我们能够实现的期望。

After 114 years of waiting, there's finally real hope for what can be achieved in the next 10 or 20 years.


但是要想梦想成真， 要战胜阿茨海默症，我们仍需要帮助。

But to grow that hope, to finally beat Alzheimer's, we need help.


这种帮助不是来自像我一样的科学家， 而是来自你们。

This isn't about scientists like me -- it's about you.


我们需要你们对阿茨海默症有更多了解， 并认识到如果我们去尝试，就可以打败它。

We need you to raise awareness that Alzheimer's is a disease and that if we try, we can beat it.


就其他疾病而言， 患者及家属促成了更多的研究， 他们给政府，制药业， 科学家和管理者施加了压力。

In the case of other diseases, patients and their families have led the charge for more research and put pressure on governments, the pharmaceutical industry, scientists and regulators.


这种努力对于上世纪80年代后期 推进艾滋病的治疗至关重要。

That was essential for advancing treatment for HIV in the late 1980s.


今天，我们看到了在对抗癌症时 同样的推动力。

Today, we see that same drive to beat cancer.


但是阿茨海默症患者 通常不能为自己说话。

But Alzheimer's patients are often unable to speak up for themselves.


而他们的家人，这些隐藏的受害者， 每天都在照顾他们所爱的人， 他们通常都太疲惫， 很难走出去寻求帮助。

And their families, the hidden victims, caring for their loved ones night and day, are often too worn out to go out and advocate for change.


所以，这就成了落在你们肩上的责任。


阿兹海默症大多不是由遗传因素导致的。

Alzheimer's isn't, for the most part, a genetic disease.


每个有大脑的人都有患病风险。


如今，有4000万像Auguste的病人， 他们自己无法改变现状来获得帮助。

Today, there are 40 million patients like Auguste, who can't create the change they need for themselves.


请帮助他们发声， 替他们推动阿兹海默症治疗的研究。

Help speak up for them, and help demand a cure.


今年1月份 我将这篇文章发表在 《纽约时报》“现代爱情”专栏。

I published this article in the New York Times Modern Love column in January of this year.


《想爱上某人，你要这么做》


这篇文章讲的是一项心理学研究， 如何在实验室创造出浪漫的爱情， 我自己在去年一个夏夜 也完成了这项试验。

And the article is about a psychological study designed to create romantic love in the laboratory, and my own experience trying the study myself one night last summer.


过程很简单： 两个陌生人轮流问对方 36个问题，问题越来越私人化， 然后四目相对， 一言不发地对视4分钟。

So the procedure is fairly simple: two strangers take turns asking each other 36 increasingly personal questions and then they stare into each other's eyes without speaking for four minutes.


So here are a couple of sample questions.


问题12:如果你明早醒来 能获得一项品质或能力， 你希望是什么？

Number 12: If you could wake up tomorrow having gained any one quality or ability, what would it be?


问题28:你上一次当着 别人的面哭是什么时候？

Number 28: When did you last cry in front of another person?


如大家所见， 这些问题的确越来越私人化。

As you can see, they really do get more personal as they go along.


问题30，我很喜欢这一个： 告诉对面的人，你喜欢他什么， 要非常诚实， 说一些你也许不会对 初次见面的人说的话。

Number 30, I really like this one: Tell your partner what you like about them; be very honest this time, saying things you might not say to someone you just met.


因此当我几年前偶然听说 这个实验的时候， 有一个细节真的打动了我， 我听到传言，说有两个参加实验的人 在半年后结婚了， 他俩邀请了整个实验团队去参加婚礼。

So when I first came across this study a few years earlier, one detail really stuck out to me, and that was the rumor that two of the participants had gotten married six months later, and they'd invited the entire lab to the ceremony.


当然，我非常怀疑 这种完全人造的浪漫爱情， 但同时我也很好奇。

So I was of course very skeptical about this process of just manufacturing romantic love, but of course I was intrigued.


当我自己也有机会去完成这个实验时 ——和一个我认识但不是很熟的人—— 我完全没想到我们会陷入爱河。

And when I got the chance to try this study myself, with someone I knew but not particularly well, I wasn't expecting to fall in love.


但是我们真的陷进去了，而且—— 我认为这是一个精彩的故事， 所以几个月后，我将它发给了 “现代爱情”专栏。

But then we did, and -- And I thought it made a good story, so I sent it to the Modern Love column a few months later.


今年一月，文章发表了， 现在是八月份， 所以我想你们中间肯定有人在想， 我俩是不是还在一起？

Now, this was published in January, and now it is August, so I'm guessing that some of you are probably wondering, are we still together?


我之所以知道你们想问， 是因为过去七个月里， 我已经被问了无数次。

And the reason I think you might be wondering this is because I have been asked this question again and again and again for the past seven months.


我今天真的想回答这个问题。

And this question is really what I want to talk about today.


在文章发表前一周， 我非常紧张。

So the week before the article came out, I was very nervous.


我一直在写一本关于爱情的书， 已经好几年了， 我已经习惯于在我的博客上 分享我自己的爱情经历。

I had been working on a book about love stories for the past few years, so I had gotten used to writing about my own experiences with romantic love on my blog.


然而博客可能最多只有几百人在看， 而且大多数是我“脸书”上的好友， 而我发表到《纽约时报》上的文章， 可能会有几千人看。

But a blog post might get a couple hundred views at the most, and those were usually just my Facebook friends, and I figured my article in the New York Times would probably get a few thousand views.


对一段刚刚确定的关系而言， 关注的人有点太多了 。

And that felt like a lot of attention on a relatively new relationship.


但对随之而来的事情，我毫无准备。


这篇文章上线 是在一个周五的晚上， 到周六的时候，我的博客访问量 成了这个样子。

So the article was published online on a Friday evening, and by Saturday, this had happened to the traffic on my blog.


到周日的时候， 《今日秀》和《早安美国》 都给我打电话了。

And by Sunday, both the Today Show and Good Morning America had called.


一个月之内，这篇文章 被点击超过800万次， 所以，对我而言， 我对如此高的关注度毫无准备。

Within a month, the article would receive over 8 million views, and I was, to say the least, underprepared for this sort of attention.


鼓起勇气，如实写出 自己的恋爱经历是一回事； 而发现自己的爱情故事 成为国际新闻就是另一回事了。 更别说全世界人民 都在关注你的新恋情进展了。

It's one thing to work up the confidence to write honestly about your experiences with love, but it is another thing to discover that your love life has made international news -- and to realize that people across the world are genuinely invested in the status of your new relationship.


人们每天给我打电话，发邮件， 持续了好几周， 他们都会问同样的问题： 你们还在一起吗？

And when people called or emailed, which they did every day for weeks, they always asked the same question first: are you guys still together?


实际上，在我准备这次演讲时， 我在收件箱里搜索句子， “你们还在一起吗？”

In fact, as I was preparing this talk, I did a quick search of my email inbox for the phrase "Are you still together?"


and several messages popped up immediately.


问的人有学生，有记者， 还有善意的陌生人，就像这一位。

They were from students and journalists and friendly strangers like this one.


我参加电台访谈节目，他们也会问我。


甚至有一次我在做演讲， 有一位女士大叫着跑上台， “嘿，曼迪，你的男朋友呢？”

I even gave a talk, and one woman shouted up to the stage, "Hey Mandy, where's your boyfriend?"


I understand that this is part of the deal.


既然你在一家国际性的报纸上 写出自己的爱情故事， 你就应该预料到 大家会毫无顾忌地问这问那。

If you write about your relationship in an international newspaper, you should expect people to feel comfortable asking about it.


但我只是没想到反响会如此之大。

But I just wasn't prepared for the scope of the response.


这36个问题仿佛有了自己的生命力。

The 36 questions seem to have taken on a life of their own.


实际上，《纽约时报》为情人节又发表了 一篇后续文章， 讲的是读者们自己进行实验的经历， 他们的成功率各不相同。

In fact, the New York Times published a follow-up article for Valentine's Day, which featured readers' experiences of trying the study themselves, with varying degrees of success.


所以面对如此多的关注， 我的第一反应 就是要保护我的恋爱关系。

So my first impulse in the face of all of this attention was to become very protective of my own relationship.


对于所有要我俩共同接受采访的媒体， 我都拒绝了。

I said no to every request for the two of us to do a media appearance together.


我不接受电视采访， 我拒绝提供两人的合照。

I turned down TV interviews, and I said no to every request for photos of the two us.


我觉得我是害怕被贴上 对待爱情太过随意的标签， 我接受不了这种评价。

I think I was afraid that we would become inadvertent icons for the process of falling in love, a position I did not at all feel qualified for.


我明白： 人们不光想知道这实验有没有效， 他们还想知道这实验会不会真的成功： 也就是说，刻意制造出来的 爱情能否持久， 不是昙花一现，而是能持续下去的真爱。

And I get it: people didn't just want to know if the study worked, they wanted to know if it really worked: that is, if it was capable of producing love that would last, not just a fling, but real love, sustainable love.


但这个问题我没办法回答。

But this was a question I didn't feel capable of answering.


因为我的感情也才开始几个月而已， 而且我觉得这个问题问得不对。

My own relationship was only a few months old, and I felt like people were asking the wrong question in the first place.


知道我俩是否在一起 能起什么作用呢？

What would knowing whether or not we were still together really tell them?


如果我们分手了， 是不是意味着做这36道题 就没什么意义了呢？

If the answer was no, would it make the experience of doing these 36 questions any less worthwhile?


这些问题最初是亚瑟·阿伦博士 在1997年的这项研究中设计出来的， 当时，研究者的目的 并不是要制造爱情。

Dr. Arthur Aron first wrote about these questions in this study here in 1997, and here, the researcher's goal was not to produce romantic love.


而是想增进 大学生之间的人际关系， 通过阿伦所谓的 “持续的、不断深入的、 双向的、自我人格剖析”。

Instead, they wanted to foster interpersonal closeness among college students, by using what Aron called "sustained, escalating, reciprocal, personalistic self-disclosure."


听起来真是浪漫啊，不是吗？


参与者确实感觉比实验前更亲密了， 随后的几项研究同样使用了 阿伦的快速交友模式， 以此来在陌生人之间 迅速地建立信任，消除隔阂。

The participants did feel closer after doing it, and several subsequent studies have also used Aron's fast friends protocol as a way to quickly create trust and intimacy between strangers.


他们将这种方法 用在警察和社区成员之间， 用在持不同政见的人群之间。

They've used it between members of the police and members of community, and they've used it between people of opposing political ideologies.


这个故事的初始版本， 也就是我去年夏天完成的， 将私人问题和4分钟眼神交流 结合在一起， 在这篇文章里也提到了， 但不幸的是这篇文章从未被发表。

The original version of the story, the one that I tried last summer, that pairs the personal questions with four minutes of eye contact, was referenced in this article, but unfortunately it was never published.


几个月前，我在一所小型文理学院 做演讲， 演讲结束后，一名男生过来找我， 他怯生生地说， “嗯，我试过你的方法了，但是不管用。”

So a few months ago, I was giving a talk at a small liberal arts college, and a student came up to me afterwards and he said, kind of shyly, "So, I tried your study, and it didn't work."


“你的意思是，你没有爱上 跟你一起做实验的那个人？”我问。

"You mean, you didn't fall in love with the person you did it with?" I asked.


“也许……”他停顿了一下。


“我觉得她只想与我做朋友。”


“但你们的关系是不是 比以前更好了？”我又问。

"But did you become better friends?" I asked.


“你有没有觉得实验之后， 你俩对彼此的了解都有所加深？”

"Did you feel like you got to really know each other after doing the study?"


“那么，这个实验就是管用的。”我说


我知道这不是他想得到的答案。

I don't think this is the answer he was looking for.


事实上，我认为这不是任何人 想要得到的答案， 尤其是他们在寻找爱情的时候。

In fact, I don't think this is the answer that any of us are looking for when it comes to love.


我第一次完成这个实验的时候 是29岁， 当时我正在经历一场非常痛苦的分手。

I first came across this study when I was 29 and I was going through a really difficult breakup.


这段感情是从我20岁时开始的， 几乎贯穿了我成年后的所有岁月， 他是我第一个真正爱的人， 我无法想象没有他的人生会是怎样。

I had been in the relationship since I was 20, which was basically my entire adult life, and he was my first real love, and I had no idea how or if I could make a life without him.


我研究了所有我能找到的 关于爱情的科学资料， 我觉得我当时是想以此来疗伤。

I researched everything I could find about the science of romantic love, and I think I was hoping that it might somehow inoculate me from heartache.


我不知道当时我有没有 意识到这一点—— 我认为自己只是在为写的书做研究—— 但事后回想，当时确实是想借此疗伤。

I don't know if I realized this at the time -- I thought I was just doing research for this book I was writing -- but it seems really obvious in retrospect.


我当时希望用爱情的知识武装自己， 也许失恋带来的伤害和孤独感 就不会那么强烈。

I hoped that if I armed myself with the knowledge of romantic love, I might never have to feel as terrible and lonely as I did then.


这些知识最后都或多或少发挥了作用，

And all this knowledge has been useful in some ways.


我对爱情更加有耐心。 我变得不那么执着。

I am more patient with love. I am more relaxed.


我也更加有自信去追求自己想要的。

I am more confident about asking for what I want.


但同时我也能更加清晰地认识自己， 我发现我想要的很多， 有时候甚至是一些只能意会的东西。

But I can also see myself more clearly, and I can see that what I want is sometimes more than can reasonably be asked for.


我希望爱情是一种保障， 并不仅仅是今天被爱， 或者明天被爱， 而是被我爱的这个人永远地爱下去。

What I want from love is a guarantee, not just that I am loved today and that I will be loved tomorrow, but that I will continue to be loved by the person I love indefinitely.


也许大家关心我俩是不是还在一起 真正的原因在于 大家都想看看 这种保障是否真的存在。

Maybe it's this possibility of a guarantee that people were really asking about when they wanted to know if we were still together.


因此媒体对这36道题的故事 感兴趣的真正原因 在于大家好奇：爱情是否存在捷径。

So the story that the media told about the 36 questions was that there might be a shortcut to falling in love.


也许存在某种方法， 可以降低爱情的风险， 而这个实验本身， 也非常吸引人， 因为爱上某人的感觉非常奇妙， 但同时也让人感到害怕。

There might be a way to somehow mitigate some of the risk involved, and this is a very appealing story, because falling in love feels amazing, but it's also terrifying.


当你承认爱上某人的那一刻起， 也就意味着你要放弃很多东西， 但这些问题的确提供了一种 快速了解一个人的途径， 同时也提供了你被人了解的途径， 我想，我们大多数人 都希望从爱情中获得以下东西： 被了解，被关注，被理解。

The moment you admit to loving someone, you admit to having a lot to lose, and it's true that these questions do provide a mechanism for getting to know someone quickly, which is also a mechanism for being known, and I think this is the thing that most of us really want from love: to be known, to be seen, to be understood.


但我也认为，当谈到爱情时， 我们有时太过简单粗暴，

But I think when it comes to love, we are too willing to accept the short version of the story.


简单到只想问“你们是否还在一起？”，

The version of the story that asks, "Are you still together?"


而这个问题只用是和否就可以回答。


因此相对这个问题， 我建议大家问一些更深的问题， 比如： 你如何确定谁值得你爱？ 谁不值得？

So rather than that question, I would propose we ask some more difficult questions, questions like: How do you decide who deserves your love and who does not?


当遇到困难时你如何维系爱情， 你如何判断何时该分手， 各走各的路？

How do you stay in love when things get difficult, and how do you know when to just cut and run?


你如何处理 每段感情都可能出现的信任问题， 甚至比这更难一点， 你如何处理伴侣的不信任？

How do you live with the doubt that inevitably creeps into every relationship, or even harder, how do you live with your partner's doubt?


我不一定知道这些问题的答案， 但我认为，我们以 更加成熟的方式来讨论爱情 会是一个不错的开始。

I don't necessarily know the answers to these questions, but I think they're an important start at having a more thoughtful conversation about what it means to love someone.


当然，如果你们坚持想要知道 我的爱情故事缩略版， 我满足你们： 一年前，我和一个熟人进行了一次实验， 看爱情能否被制造出来， 结果我们相爱了， 现在也没有分开， 我非常开心。

So, if you want it, the short version of the story of my relationship is this: a year ago, an acquaintance and I did a study designed to create romantic love, and we fell in love, and we are still together, and I am so glad.


但坠入爱河与维持爱情是两回事。

But falling in love is not the same thing as staying in love.


所以在文章结尾，我写到， “爱情不是从天而降的。

So at the end of my article, I wrote, "Love didn't happen to us.


我们相爱是因为我们选择了相爱。”

We're in love because we each made the choice to be."


再读这句话时，我有点不好意思， 不是因为这句话不对， 而是当时， 我对选择相爱意味着什么， 并没有考虑得那么周全。

And I cringe a little when I read that now, not because it isn't true, but because at the time, I really hadn't considered everything that was contained in that choice.


我没有考虑，有多少次 我们本应该下定决心相爱， 以及在不知道对方 是否选择我的前提下， 未来我还需要下多少次决心。

I didn't consider how many times we would each have to make that choice, and how many times I will continue to have to make that choice without knowing whether or not he will always choose me.


我希望通过36个问题的问和答， 通过选择一个如此慷慨、 善良、风趣的人相爱， 通过将我的选择在全美最大的报纸上曝光， 已经足够我认定这个选择了。

I want it to be enough to have asked and answered 36 questions, and to have chosen to love someone so generous and kind and fun and to have broadcast that choice in the biggest newspaper in America.


然而我所做的却是将我的爱情 变成了一个 我自己都不怎么相信的神话故事。

But what I have done instead is turn my relationship into the kind of myth I don't quite believe in.


我现在追求的， 也许我一辈子都会去追求的， 就是让这个神话成真。

And what I want, what perhaps I will spend my life wanting, is for that myth to be true.


我希望一个幸福的结局， 就像我文章标题所暗示的， 顺便说一句， 整篇文章只有那个标题不是我写的。

I want the happy ending implied by the title to my article, which is, incidentally, the only part of the article that I didn't actually write.


但是我有机会去选择我爱的人， 也希望他能爱我， 这事儿挺让人害怕的， 但这就是爱情。

But what I have instead is the chance to make the choice to love someone, and the hope that he will choose to love me back, and it is terrifying, but that's the deal with love.