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關(guān)于這場(chǎng)演講：james cameron的大筆預(yù)算(票房更龐大)的電影創(chuàng)造出想象的世界。在這個(gè)演講中，他揭露了自己從小就喜歡奇幻體驗(yàn)的背景：閱讀科幻小說(shuō)，深海潛水，以及這一切如何轉(zhuǎn)變成成功的巨片如《異形二》、《終結(jié)者》、《泰坦尼克號(hào)》與《阿凡達(dá)》。

i grew up on a steady diet of science fiction. in high school i took a bus to school an hour each way every day. and i was always absorbed in a book, science fiction book, which took my mind to other worlds, and satisfied, in a narrative form, this insatiable sense of curiosity that i had.

and you know that curiosity also manifested itself in the fact that whenever i wasn’t in school i was out in the woods, hiking and taking "samples"——frogs and snakes and bugs, and bringing them back, looking at them under the microscope. you know, i was a real science geek. but it was all about trying to understand the world, understand the limits of possibility.

and my love of science fiction actually seemed to mirrored in the world around me, because what was happening, this was in the late’ 60s, we were going to the moon, we were e_ploring the deep oceans. jacques cousteau was coming into our living rooms with his amazing specials that showed us animals and places and a wondrous world that we could never really have previously imagined. so, that seemed to resonate with the whole science fiction part of it.

and i was an artist. i could draw. i could paint. and i found that because there weren’t video games and this saturation of cg movies and all of this imagery in the media landscape, i had to create these images in my head. you know, we all did, as kids having to read a book, and through the author’s description put something on the movie screen in our heads. and so, my response to this was to paint, to draw alien creatures，alien worlds, robots, spaceships, all that stuff. i was endlessly getting busted in math class doodling behind the te_tbook. that was, the creativity had to find its outlet somehow.

and an interesting thing happened——jacques cousteau shows actually got me very e_cited about the fact that there was an alien world right here on earth. i might not really go to an alien world on a spaceship someday. that seemed pretty darn unlikely. but that was a world i could really go to, right here on earth, that was as rich and e_otic as anything that i had imagined from reading these books.

so, i decided i was going to become an e_otic scuba diver at the age of 15. and the only problem with that was that i lived in a little village in canada, 600 miles from the nearest ocean. but i didn’t let that daunt me. i pestered my father until he finally found a scuba class in buffalo, new york, right across the border from where we live. and i actually got certified in a pool in a ymca in the dead of winter in buffalo, new york. and i didn’t see the ocean, a real ocean, for another two years, until we moved to california.

since then, in the intervening 40 years, i’ve spent about 3,000 hours underwater, and 500 hours of that were in submersibles. and i’ve learned that deep ocean environment, and even the shallow ocean, is so rich with amazing life that really is beyond our imagination. nature’s imagination is so boundless compared to our own meager human imagination. i still, to this day, stand in absolute awe of what i see when i make these dives. and my love affair with the ocean is ongoing, and just as strong as it ever was.

but, when i chose a career, as an adult, it was film making. and that seemed to be the best way to reconcile this urge i had to tell stories, with my urges to create images. and i was, as a kid, constantly drawing comic books, and so on. so, film making was the way to put pictures and stories together. and that made sense. and of course the stories that i chose to tell were science fiction stories: terminator, aliens and the abyss. and with the abyss, i was putting together my love of underwater and diving, with film making. so, you know, merging the two passions.

something interesting came out of the abyss, which was that to solve a specific narrative problem on that film, which was to create this kind of liquid water creature, we actually embraced computer generated animation, cg. and this resulted in the first soft-surface character, cg animation that was ever in a movie. and even though the film didn’t make any money, barely broke even, i should say, i witnessed something amazing, which is that the audience, the global audience, was mesmerized by this apparent magic.

you know, it’s arthur clarke’s law that any sufficiently advanced technology is indistinguishable from magic. they were seeing something magical. and so that got me very e_cited. and i thought, "wow, this is something that needs to be embraced into the cinematic art." so, with terminator 2, which was my ne_t film, we took that much farther. working with ilm, we created the liquid metal dude in that film. the success hung in the balance on whether that effect would work. and it did. and we created magic again. and we had the same result with an audience. although we did make a little more money on that one.

so, drawing a line through those two dots of e_perience, came to, this is going to be a whole new world, this was a whole new world of creativity for film artists. so, i started a company with stan winston, my good friend stan winston, who is the premier make-up and creature designer at that time, and it was called digital domain. and the concept of the company was that we would leap-frog past the analog processes of optical printers and so on, and we would go right to digital production. and we actually did that and it gave us a competitive advantage for a while.

but we found ourselves lagging in the mid’90s in the creature and character design stuff that we had actually founded the company to do. so, i wrote this piece called avatar, which was meant to absolutely push the envelope of visual effects, of cg effects, beyond, with realistic human emotive characters generated in cg, and the main characters would all be in cg, and the world would be in cg. and the envelope pushed back. and i was told by the folks at my company that we weren’t going to be able to do this for a while.

so, i shelved it, and i made this other movie about a big ship that sinks. you know, i went and pitched it to the studio as romeo and juliet on a ship. it’s going to be this epic romance, passionate film. secretly, what i wanted to do was i wanted to dive to the real wreck of "titanic". and that’s why i made the movie. and that’s the truth. now, the studio didn’t know that. but i convinced them. i said, "we’re going to dive to the wreck. we’re going to film it for real. we’ll be using it in the opening of the film. it will be really important. it will be a great marketing hook." and i talked them into funding an e_pedition.

sounds crazy. but this goes back to that theme about your imagination creating a reality. because we actually created a reality where si_ months later i find myself in a russian submersible two and a half miles down in the north atlantic, looking at the real "titanic" through a view port, not a movie, not hd, for real.

now, that blew my mind. and it took a lot of preparation, we had to build cameras and lights and all kinds of things. but, it struck me how much this dive, these deep dives was like a space mission. where it was highly technical, and it required enormous planning. you get in this capsule, you go down to this dark hostile environment where there is no hope of rescue if you can’t get back by yourself. and i thought like, "wow. i am like living in a science fiction movie. this is really cool."

and so, i really got bitten by the bug of deep ocean e_ploration. of course, the curiosity, the science component of it. it was everything. it was adventure. it was curiosity. it was imagination. and it was an e_perience that hollywood couldn’t give me. because, i could imagine a creature and we could create a visual effect for it. but i couldn’t imagine what i was seeing out that window. as we did some of our subsequent e_peditions i was seeing creatures at hydrothermal vents and sometimes things that i had never seen before, sometimes things that no one had seen before, that actually were not described by science at the time that we saw them and imaged them.

so, i was completely smitten by this, and had to do more. and so, i actually made a kind of curious decision. after the success of titanic, i said, "okay, i’m going to park my day job as a hollywood movie maker, and i’m going to go be a full time e_plorer for a while." and so, we started planning these e_peditions. and we wound up going to the bismark, and e_ploring it with robotic vehicles. we went back to the "titanic" wreck. we took little bots that we had created that spoolled a fiber optic. and the idea was to go in and do an interior survey of that ship, which had never been done. nobody had ever looked inside the wreck. they didn’t have the means to do it, so we created technology to do it.

so, you know, here i am now, on the deck of "titanic", sitting in a submersible, and looking out at planks that look much like this, where i knew that the band had played. and i’m flying a little robotic vehicle through the corridor of the ship. when i say, i’m operating it, but my mind is in the vehicle. i felt like i was physically present inside the shipwreck of "titanic". and it was the most surreal kind of deja vu e_perience i’ve ever had, because i would know before i turned a corner what was going to be there before the lights of the vehicle actually revealed it, because i had walked the set for months when we were making the movie. and the set was based as an e_act replica on the blueprints of the ship.

so, it was this absolutely remarkable e_perience. and it really made me realize that the telepresense e_perience that you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of e_istence. it was really really quite profound. and may be a little bit of a glimpse as to what might be happening some decades out as we start to have cyborg bodies for e_ploration or for other means in many sort of post-human futures that i can imagine, as a science fiction fan.

so, having done these e_peditions, and really beginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing animals. they are basically aliens right here on earth. they live in an environment of chemosynthesis. they don’t survive on sunlight based system the way we do. and so, you’re seeing animals that are living ne_t to a 500 degree centigrade water plumes. you think they can’t possibly e_ist.

at the same time i was getting very interested in space science as well, again, it’s the science fiction influence, as a kid. and i wound up getting involved with the space community, really involved with nasa, sitting on the nasa advisory board, planning actual space missions, going to russia, going to the pre-cosmonaut biomedical protocols, and all these sorts of things, to actually go and fly to the international space station with our 3d camera systems. and this was fascinating. but what i wound up doing was bringing space scientists with us into the deep. and taking them down so that they had access astrobiologists, planetary scientists, people who were interested in these e_treme environments, taking them down to the vents, and letting them see, and take samples and test instruments, and so on.

so, here we were making documentary films, but actually doing science, and actually doing space science. i’d completely closed the loop between being the science fiction fan, as a kid, and doing this stuff for real. and you know, along the way in this journey of discovery, i learned a lot. i learned a lot about science. but i also learned a lot about leadership. now you think director has got to be a leader, leader of, captain of the ship, and all that sort of thing.

i didn’t really learn about leadership until i did these e_peditions. because i had to, at a certain point, say, "what am i doing out here? why am i doing this? what do i get out of it?" we don’t make money at these damn shows. we barely break even. there is no fame in it. people sort of think i went away between titanic and avatar and was buffing my nails someplace, sitting at the beach. made all these films, made all these documentary films for a very limited audience.

no fame, no glory, no money. what are you doing? you’re doing it for the task itself, for the challenge —— and the ocean is the most challenging environment there is, for the thrill of discovery, and for that strange bond that happens when a small group of people form a tightly knit team. because we would do these things with 10-12 people working for years at a time. sometimes at sea for 2-3 months at a time.

and in that bond, you realize that the most important thing is the respect that you have for them and that they have for you, that you’ve done a task that you can’t e_plain to someone else. when you come back to the shore and you say, "we had to do this, and the fiber optic, and the attentuation, and the this and that, all the technology of it, and the difficulty, the human performance aspects of working at sea, you can’t e_plain it to people. it’s that thing that maybe cops have, or people in combat that have gone through something together and they know they can never e_plain it. creates a bond, creates a bond of respect.

so, when i came back to make my ne_t movie, which was avatar, i tried to apply that same principle of leadership which is that you respect your team, and you earn their respect in return. and it really changed the dynamic. so, here i was again with a small team, in uncharted territory doing avatar, coming up with new technology that didn’t e_ist before. tremendously e_citing. tremendously challenging. and we became a family, over a four and half year period. and it completely changed how i do movies. so, people have commented on how, well, you brought back the ocean organisms and put them on the planet of pandora. to me it was more of a fundamental way of doing business, the process itself, that changed as a result of that.

so, what can we synthesize out of all this? you know, what are the lessons learned? well, i think number one is curiosity. it’s the most powerful thing you own. imagination is a force that can actually manifest a reality. and the respect of your team is more important than all the laurels in the world. i have young film makers come up to me and say, "give me some advice for doing this." and i say, "don’t put limitations on yourself. other people will do that for you, don’t do it to yourself, and don’t bet against yourself. and take risks."

nasa has this phrase that they like: "failure is not an option." but failure has to be an option in art and in e_ploration, because it’s a leap of faith. and no important endeavor that required innovation was done without risk. you have to be willing to take those risks. so, that’s the thought i would leave you with, is that in whatever you’re doing, failure is an option, but fear is not. thank you.

可以失敗，不能畏懼

詹姆斯?卡梅隆

ted大會(huì)上的演講

20__年2月

在我成長(zhǎng)過(guò)程中，科幻小說(shuō)一直是我的精神食糧。高中時(shí)我每天搭巴士上下學(xué)，單程要一小時(shí)。坐公車(chē)時(shí)，我總是沉浸在科幻小說(shuō)里，仿佛被帶入另一個(gè)世界，書(shū)中講述的一個(gè)個(gè)故事極大地滿足了我無(wú)休無(wú)止的好奇心。

事實(shí)上，在課余時(shí)間，我常常在好奇心的驅(qū)使下，去徒步旅行，鉆進(jìn)樹(shù)林去采集"標(biāo)本"——青蛙、蛇、昆蟲(chóng)之類，把它們帶回家，放在顯微鏡下觀察。我是個(gè)真正的科學(xué)怪人，總是想盡可能的去了解這個(gè)世界，去揭示它可能存在的極限。

我非常熱愛(ài)科幻小說(shuō)，因?yàn)樗鼈兯坪蹙褪乾F(xiàn)實(shí)的寫(xiě)照，書(shū)中的一切都確實(shí)發(fā)生在我們身邊，60年代末期，人類登上了月球，探索了深海。電影攝影師雅克.格斯特讓我們?cè)陔娨暽峡吹搅松衿娴暮Ｑ笊铮蛉祟愓故玖藦奈聪胂蟮降膭?dòng)物，竟和奇妙的水下世界。這似乎與科幻小說(shuō)中的構(gòu)想遙相呼應(yīng)。

我還是個(gè)畫(huà)家，能繪畫(huà)，能創(chuàng)作。那時(shí)的我接觸不到電視游戲，缺乏登峰造極的cg電影技術(shù)，連多媒體領(lǐng)域的素材庫(kù)都沒(méi)有，所以我不得不在腦海中臆造這些形象。就像孩子們讀書(shū)時(shí)會(huì)想象書(shū)中的場(chǎng)景那樣，我們讀小說(shuō)時(shí)，作者所描繪的影像就會(huì)腦海中不斷放映。這些影像一出現(xiàn)，我就會(huì)把它們畫(huà)下來(lái)，于是我開(kāi)始畫(huà)外星人、外星世界、機(jī)器人、宇宙飛船等等。老師不止一次在數(shù)學(xué)課上逮到我在課本后面亂涂亂畫(huà)，因?yàn)槲业媒o我的想象力開(kāi)啟一扇讓其肆意奔涌的閘門(mén)。

然而一件有趣的事——雅克.格斯特的電視節(jié)目的播出，著實(shí)讓我興奮不已，我相信地球上就存在一個(gè)外星世界。雖然我可能永遠(yuǎn)無(wú)法進(jìn)入這個(gè)世界，因?yàn)檫@確實(shí)不現(xiàn)實(shí)。但是我能游歷水下世界，它就在地球上，富饒又充滿異星情調(diào)，就像我讀了科幻小說(shuō)后所幻想的那樣。

所以15歲時(shí)，我決定成為一個(gè)潛水員,去探索神秘的海洋。唯一的問(wèn)題是，我生活在加拿大的一個(gè)小山村，距離最近的海也有600英里。但我沒(méi)有因此氣餒，而是纏著父親，而是纏著父親，直到他同意讓我參加在邊境紐約州布法羅市——需要從我家穿過(guò)美加國(guó)界線——的一個(gè)潛水培訓(xùn)班。于是在一個(gè)寒冬，我在布法羅基督教青年會(huì)的一個(gè)泳池里獲得了潛水證書(shū)。然而，直到兩年后，我們?nèi)野岬搅思永Ｄ醽?，我才?jiàn)到了真正的大海，進(jìn)行真正的潛水。

從那時(shí)算起到現(xiàn)在的40年間，我在海底潛水共約3000小時(shí)，其中500小時(shí)是在潛水艇里度過(guò)的。無(wú)論是深海還是淺海環(huán)境，大海都豐富多彩，充滿奧秘，超乎我們想象。比起人類的想象力，自然的想象力更加浩瀚。直到今天，每次下潛時(shí)，我仍舊對(duì)眼中的海洋世界充滿敬畏，而我與大海的不解情緣仍在延續(xù)著，上演著。

但成年后，我并沒(méi)有以潛水為職業(yè)，而是選擇了電影攝制作為自己的事業(yè)。孩提時(shí)，我就喜歡畫(huà)漫畫(huà)，畫(huà)很多東西。我喜歡講故事，畫(huà)圖畫(huà)，而要把它們結(jié)合起來(lái)，電影攝制是再合適不過(guò)的工作了。電影攝制將圖片和故事有機(jī)結(jié)合，并賦予它們更深刻的意義。當(dāng)然，我選來(lái)拍成電影的都是科幻故事，比如《終結(jié)者》、《異型》、《深淵》。 拍攝《深淵》時(shí)，我把自己對(duì)水下世界的愛(ài)、對(duì)潛水活動(dòng)的愛(ài)融入其中，把對(duì)這兩件事的激情融合到了一起。

拍攝《深淵》時(shí)，又出現(xiàn)了些有趣的事：我們要塑造一個(gè)水狀的生物，為了解決這一特效上的問(wèn)題，我們使用了"計(jì)算機(jī)生成動(dòng)畫(huà)"技術(shù)，即cg。電影史上第一個(gè)軟表面的電腦繪制形象在此技術(shù)下誕生了。雖然這部電影沒(méi)讓公司賺到一分錢(qián)，還差點(diǎn)虧本，我還是得說(shuō)，我看到了令人驚奇的一幕，全世界的觀眾都為這種像魔法一般的新技術(shù)神魂顛倒。

根據(jù)亞瑟?克拉克定律——任何非常先進(jìn)的技術(shù)，初看都與魔法無(wú)異。很多觀眾都像是看到了神奇的魔法。這讓我非常興奮。我想cg技術(shù)也應(yīng)該用到電影藝術(shù)中去。所以，在下一部電影《終結(jié)者2》中，我們把這種技術(shù)又推進(jìn)了一步。和工業(yè)光魔特效制作公司一起，創(chuàng)造了一個(gè)液態(tài)金屬人。這部電影能否大放異彩就要看特效了。事實(shí)證明，特效不負(fù)眾望。我們又一次施展了魔法，觀眾們依舊為之瘋狂。盡管這部電影還是沒(méi)讓我們沒(méi)賺到什么錢(qián)。

這兩次經(jīng)歷是一條分界線，對(duì)電影大師們來(lái)說(shuō)，這意味著一個(gè)全新的、充滿想象與創(chuàng)造的世界即將誕生。于是我和好友斯坦?溫斯頓——拍攝前幾部電影時(shí)的首席特效化妝和角色設(shè)計(jì)師——?jiǎng)?chuàng)立了"數(shù)字領(lǐng)域"公司。這個(gè)名字意味著，我們要跳過(guò)光學(xué)影印模擬制作過(guò)程直接進(jìn)入數(shù)字電影制作。實(shí)際上，我們也確實(shí)是這么做的，這使得我們?cè)谝欢螘r(shí)間內(nèi)有了一定的競(jìng)爭(zhēng)優(yōu)勢(shì)。

雖然我們確實(shí)已經(jīng)組建了公司進(jìn)行造型設(shè)計(jì)，但在90年代中期，我發(fā)現(xiàn)我們有些落后了。 我寫(xiě)了《阿凡達(dá)》這部電影，想要以此大力推動(dòng)視覺(jué)效果和cg效果，用cg生成具有真實(shí)人類情感的角色，完全用cg詮釋主要角色和世界。但這電影不得不延期拍攝，因?yàn)楣締T工告訴我，我們一時(shí)半會(huì)還沒(méi)有能力做到這點(diǎn)。

于是我把《阿凡達(dá)》擱到一邊，轉(zhuǎn)而制作了另一部電影，這部電影主要描述了一艘巨輪——"泰坦尼克號(hào)"——的沉沒(méi)。 我告訴電影制片方，我把它定位為巨輪上的《羅密歐與朱麗葉》，一部關(guān)于愛(ài)情的電影，就像羅密歐與朱麗葉的故事一樣凄美動(dòng)人。而實(shí)際是因?yàn)槲蚁霛撊牒５讓ふ艺嬲?泰坦尼克號(hào)"的殘骸，所以我才要做這部電影。但制片方并不知道這一真相。為說(shuō)服他們，我說(shuō)："我們要潛入海底，尋找真正的"泰坦尼克號(hào)"，這樣可以拍攝真實(shí)的畫(huà)面。如果把這個(gè)片段用在首映式上，會(huì)引起很大的轟動(dòng)，也會(huì)有良好的市場(chǎng)反響的。"我真的說(shuō)服了制片方組建了一支探險(xiǎn)隊(duì)呢。

雖然這聽(tīng)起來(lái)有些瘋狂，但這就回到了"想象創(chuàng)造現(xiàn)實(shí)"的主題。因?yàn)槲覀兇_實(shí)創(chuàng)造了現(xiàn)實(shí)，6個(gè)月后，我乘一艘俄羅斯?jié)撏?，在北大西?.5英里深的水下，從觀察艙里看到了真實(shí)的"泰坦尼克號(hào)"，不是電影里的，也不是高清屏幕上的，而是真實(shí)的"泰坦尼克號(hào)"。

《泰坦尼克號(hào)》的拍攝著實(shí)讓我興奮。我們做了很多準(zhǔn)備工作，搭建相機(jī)、設(shè)置燈光及各種設(shè)備。但令我震驚的是，這次深海拍攝就像是一次太空任務(wù)，需要尖端的科技和周全的計(jì)劃。我乘坐潛水艇潛入深海，那里漆黑又充滿危險(xiǎn)，如果無(wú)法靠自己返回水面，其他人也無(wú)法開(kāi)展?fàn)I救工作。我想："這就像生活在科幻電影中似的，真是太酷了。"

不過(guò)，我真的熱衷于海底探險(xiǎn)。當(dāng)然，探求科學(xué)的那種好奇心才是最重要的，科學(xué)需要冒險(xiǎn)，需要好奇心，也需要想象力。只是在好萊塢拍電影是無(wú)法體驗(yàn)到這些經(jīng)歷的。我能夠想象出一個(gè)生物并為它創(chuàng)造出視覺(jué)效果。但是透過(guò)潛艇窗戶看到的那些生物，這是我永遠(yuǎn)想象不到的。在隨后的探險(xiǎn)中，我在深海熱泉里看到了一些無(wú)人見(jiàn)過(guò)、無(wú)人知曉的生物，實(shí)際上，我們看到它們并拍下照片時(shí)，它們還沒(méi)有科學(xué)記載。

這一切讓我感到非常震撼，我必須做的更多。為了滿足自己的好奇心，我做了一個(gè)決定。 在《泰坦尼克號(hào)》成功后，我決定暫別好萊塢導(dǎo)演這一主業(yè)，做一段時(shí)間全職探險(xiǎn)家。于是我們開(kāi)始計(jì)劃一些探險(xiǎn)，一行人興致勃勃的去了俾斯麥海域，在自動(dòng)探測(cè)車(chē)幫助下，對(duì)這一海域展開(kāi)了探索。然后我們重回"泰坦尼克號(hào)"的殘骸we took little bots that we had created that spooled a fiber optic.我們決定進(jìn)到"泰坦尼克號(hào)"內(nèi)部做一次內(nèi)部調(diào)查，這是史無(wú)前例的，從沒(méi)有人看過(guò)沉船內(nèi)部，因?yàn)樗麄儫o(wú)計(jì)可施，然而我們想出了辦法。

我坐在潛水艇里，到了"泰坦尼克號(hào)"的甲板上，看著這些厚木板，感覺(jué)這里很像當(dāng)年船上的樂(lè)隊(duì)演奏的地方。我操控著自動(dòng)探測(cè)儀在穿廊間穿梭，操作儀器時(shí)，我的思想像是跟著它走了。我感覺(jué)我自己真的到了泰坦尼克號(hào)，這艘遇難船的內(nèi)部。這種似曾相識(shí)的感覺(jué)像夢(mèng)一樣，從未有過(guò)。假如我想轉(zhuǎn)彎，沒(méi)等探測(cè)器的燈光照到那，我就能知道接下來(lái)會(huì)看到什么。這是因?yàn)檫€在拍電影的時(shí)候，我就在"泰坦尼克號(hào)"的模型上工作了數(shù)月，而那個(gè)模型恰恰是根據(jù)它的設(shè)計(jì)圖制作的精確復(fù)制品。

這是一次不同尋常的體驗(yàn)。這次遠(yuǎn)程控制的經(jīng)歷讓我清楚的認(rèn)識(shí)到，我們可以把自己的意識(shí)注入這些機(jī)器化身中，它們是另一種形式上的生命存在。這種體驗(yàn)意義重大。如管中窺豹，可見(jiàn)未來(lái)一斑，或許我們馬上就能用機(jī)器生命體進(jìn)行科學(xué)探索，或者為未來(lái)的人類做各種事情，只要是我這個(gè)科幻小說(shuō)迷能想到的。

在這些探險(xiǎn)之后，我開(kāi)始真正欣賞那些海底生物，比如我們?cè)谏詈崛?jiàn)到的那些神奇生物。這些生物雖生活在地球上，但基本可以稱為外星生物。它們生活在一個(gè)化學(xué)合成的環(huán)境中。它們無(wú)法像我們一樣在太陽(yáng)為生命基礎(chǔ)的體系下生存。在海底，還能看到生活在500攝氏度水汽下的動(dòng)物。你無(wú)法相信它們能在那生存。

與此同時(shí)，因?yàn)閺男∈芸苹眯≌f(shuō)影響，我對(duì)太空科學(xué)也非常有興趣。我迫不及待的加入了空間社，真正參與到nasa中，同咨詢委員會(huì)一起，策劃真實(shí)的太空任務(wù)，我們前往俄羅斯，參加前天體生物醫(yī)學(xué)會(huì)的研討等等諸如此類的任務(wù)，讓宇航員帶著3d攝像機(jī)進(jìn)入國(guó)際空間站。這令人著迷，但我急切的想讓這些太空專家同我們一起潛入深海，天體生物學(xué)家，行星專家，都對(duì)特殊環(huán)境充滿興趣，帶他們?nèi)ド詈崛^察深海生物，取一些樣本，測(cè)試儀器等等。

所以我們既是在拍紀(jì)錄片，也在研究科學(xué)，更確切的說(shuō)是在研究空間科學(xué)。i"d completely closed the loop between being the science fiction fan, as a kid, and doing this stuff for real.在探索發(fā)現(xiàn)的旅途中，我學(xué)到了很多，不僅僅是科學(xué)知識(shí)，還有領(lǐng)導(dǎo)能力。很多人認(rèn)為導(dǎo)演就是領(lǐng)導(dǎo)者，像船長(zhǎng)或者其他領(lǐng)導(dǎo)者一樣。

沒(méi)進(jìn)行這些探險(xiǎn)以前，我并不真正了解領(lǐng)導(dǎo)力的內(nèi)涵。因?yàn)橛袝r(shí)我會(huì)問(wèn)自己，我到底在這干什么呢?為什么要做這些節(jié)目? 我從中得到了什么? 我們并沒(méi)有從這些見(jiàn)鬼的節(jié)目中賺到錢(qián)，還差點(diǎn)破產(chǎn)。我也沒(méi)有賺到名聲。很多人以為我拍了《泰坦尼克號(hào)》、《阿凡達(dá)》后，就在沙灘上修磨著指甲，享受生活呢。 其實(shí)，我拍了這些電影，這些記錄片，只換來(lái)了為數(shù)不多的觀眾。

得不到名聲，等不到榮耀，也得不到金錢(qián)，我問(wèn)自己，你在做什么呢?其實(shí)只是為了任務(wù)本身，是為了挑戰(zhàn)——海洋就是現(xiàn)在最具挑戰(zhàn)性的環(huán)境了;是為了探索發(fā)現(xiàn)時(shí)的驚喜;也為了一個(gè)小而緊密的團(tuán)隊(duì)所產(chǎn)生的那種不可思議的團(tuán)隊(duì)感。我們這10到12人在一起共事多年。有時(shí)要在海里一起工作兩三個(gè)月。

在這個(gè)團(tuán)隊(duì)中，我發(fā)現(xiàn)最重要的東西就是互相尊重。每個(gè)人做的工作都無(wú)以言表。我回到海邊告訴其他人，我們必須這樣做，用光學(xué)纖維，用這種技術(shù)那種技術(shù)，各種技術(shù)，戰(zhàn)勝一切困難，考慮演員在海里的表現(xiàn)。這種互相配合并肩作戰(zhàn)的默契是無(wú)法言明的，這些事情只有警察或者參加過(guò)戰(zhàn)斗的人經(jīng)歷后才能明白，他們知道這是無(wú)法向他人表達(dá)的。我們必須建立起這種默契，建立起互相尊重的默契。

所以，我開(kāi)始拍攝接下來(lái)的電影《阿凡達(dá)》時(shí)，試著運(yùn)用了這種領(lǐng)導(dǎo)原則，我尊重我的團(tuán)隊(duì)，他們也很尊重我。這讓團(tuán)隊(duì)變得很有活力。所以，這次我也帶了一支小團(tuán)隊(duì)，在未經(jīng)探索的地區(qū)拍攝《阿凡達(dá)》，創(chuàng)造前所未有的新技術(shù)，這非常有意思，也頗具有挑戰(zhàn)性。在這四年半多的時(shí)間里，我們就像一家人一樣。這完全改變了我拍電影的方式。 有人評(píng)論說(shuō)，卡梅隆只是把一些海洋生物放到了潘多拉星球上。但我來(lái)說(shuō)，建立這種互相尊重的默契不僅僅是做商業(yè)電影的基本法則，而是過(guò)程本身改變了事情的結(jié)果。

我能從這些經(jīng)歷中總結(jié)出什么，又能學(xué)到什么?首先要有好奇心，這是你擁有的最強(qiáng)大的東西;其次要有想象力，這是你展現(xiàn)現(xiàn)實(shí)的力量;第三：尊重團(tuán)隊(duì)，這是比世界上一切榮譽(yù)都更為重要。 有不少年輕電影導(dǎo)演向我討教成功經(jīng)驗(yàn)，我告訴他們："不要作繭自縛。別人會(huì)束縛你，但你自己不要作繭自縛。不要說(shuō)自己不行，要敢于承擔(dān)風(fēng)險(xiǎn)。"

nasa里流行一句話："只能成功，不能失敗"但是，在藝術(shù)領(lǐng)域和探索發(fā)現(xiàn)時(shí)是允許失敗的，因?yàn)檫@是需要運(yùn)氣的。只有冒險(xiǎn)，創(chuàng)新，才能成功。你必須愿意承擔(dān)風(fēng)險(xiǎn)，這就是我給你們的建議，無(wú)論你做什么，可以失敗，不能畏懼。

失敗英語(yǔ)演講稿 模板3

閱讀小貼士：模板3共計(jì)1054個(gè)字，預(yù)計(jì)閱讀時(shí)長(zhǎng)3分鐘。朗讀需要6分鐘，中速朗讀8分鐘，在莊重嚴(yán)肅場(chǎng)合朗讀需要10分鐘，有231位用戶喜歡。

成功與失敗英語(yǔ)演講稿（一）

failure is what often happens.it is everywhere in your life.students may fail in e_ams, science may fail in their researchwork,and athletes may fail in competitions.

although failure happens to everyone, attitudes towards failure are various. some people don't think their failure is a very important thing at all. so they pay no attention to it. as a result, they will have the same failure a previously later.they spend their thime and energy on useless things and they may really be fools as they have thought.

success is not easy to talk about because the word success it-self has hundreds of definitions. for some it means power, for some it means wealth, for others it is fame or great achieve-ments. but i have my own understanding of it.

success means to try your best.

many people believe that success means to win. in my opin-ion, it means to try your best when you do everything, no matter you will win or not. when you are taking part in a long-distance race, if you keep on running as fast as you can, you are successful, although you may be the last to pass the finishing-line. because you have showed your best to others, and you have made i your greatest effort to be the winner.

success means to work hard.

no one can succeed without any hard work. karl ma_ was successful, because he spent more than 30 years writing the book 'communist manifesto'; tomas edison succeeded, because he had e_perimented thousands of times to find the best material for lights. every success calls for hard work. if you want to suc-ceed, work hard first.

other people are quite different from the two kinds of people mentiond above. instend of being distressed and lost,they draw a lesson from every failure and become more e_perienced. after hard work, they will be successful in the end. it is said that failure is the mother of success. success will be gained after times of failures so long as we are good at drawong lesson from our failures.

in my opinion , failure is not a bad thing , the really bad thing is taking a failure as failure or even lose our heart after failure.

more importantly, today, the world is undergoing fast rhythm of changing, some issues occur in one way this time and reoccur in another way that time.such instability and inconstancy make many long-time-lasting conventions and traditions not valid any longer. people encounter pile of new conditions everyday in current society, it is hard to find adequate reference from the wisdom of conventions for all of these new thing, what can really lead people to success is rational mind and creative ways of thinking. to meet the requirement of new missions, only creative activities could give out adaptive strategies. without creative thinking ways, there would no such increasingly development of science and technology in the past two centuries, no new type america-style democracy in the world, no so many products making modern life so comfortable and convenient. creative practices and original idea are the engine of the fast development of modern life, and are most essential for people to accomplish successful achievement in all kinds of fields.

失敗英語(yǔ)演講稿 模板4

閱讀小貼士：模板4共計(jì)212個(gè)字，預(yù)計(jì)閱讀時(shí)長(zhǎng)1分鐘。朗讀需要2分鐘，中速朗讀2分鐘，在莊重嚴(yán)肅場(chǎng)合朗讀需要2分鐘，有171位用戶喜歡。

no winning or no losing

perhaps the sky is still blue, but i can see the black sky. perhaps the flowers are still beautiful, but i can see the ugly flowers. perhaps the sun still shines, but there’s no sun in my world. perhaps the world doesn’t change, but my world is changing. the e_am has been over, but i can’t wake up because i think i did very badly.

but i know, even if you didn’t do well this time, but you can do well ne_t time. time can’t run backwards, you can try your best to do something well in the future.

i think, there’s no winning or losing in the world. tomorrow, the sun rises again; we will have a new day!

失敗英語(yǔ)演講稿 模板5

閱讀小貼士：模板5共計(jì)8686個(gè)字，預(yù)計(jì)閱讀時(shí)長(zhǎng)22分鐘。朗讀需要44分鐘，中速朗讀58分鐘，在莊重嚴(yán)肅場(chǎng)合朗讀需要79分鐘，有168位用戶喜歡。

a man with a friend is not failed!

演說(shuō)者：tanya menon

i started teaching mba students 17 yearsago. sometimes i run into my students years later. and when i run into them, afunny thing happens. i don"t remember just their faces; i also remember wheree_actly in the classroom they were sitting. and i remember who they weresitting with as well. this is not because i have any special superpowers of memory. the reason i can remember them is because they are creatures of habit.they are sitting with their favorite people in their favorite seats. they findtheir twins, they stay with them for the whole year.

我教企業(yè)管理碩士學(xué)生有十七年的時(shí)間。有時(shí)，我會(huì)在幾年后巧遇我的學(xué)生。當(dāng)我巧遇他們時(shí)，會(huì)發(fā)生一件有趣的事。我不只記得他們的臉，我還記得他們?cè)诮淌抑惺亲谀膫€(gè)位置，以及和誰(shuí)坐在一起。我能記住這些，不是因?yàn)槲矣杏洃洺芰?。是因?yàn)樗麄兪橇?xí)慣性的生物。他們會(huì)和最喜歡的人一起坐，坐在他們最喜歡的座位，找和自己極相似的人，一整年都和這些人待在一起。

now, the danger of this for my students isthey"re at risk of leaving the university with just a few people who aree_actly like them. they"re going to squander their chance for an international,diverse network. how could this happen to them? my students are open-minded.they come to business school precisely so that they can get great networks.

這情況對(duì)我的學(xué)生的危險(xiǎn)之處在于他們擔(dān)當(dāng)?shù)娘L(fēng)險(xiǎn)是只和極少數(shù)與自身非常相像的人一起離開(kāi)大學(xué)，他們將會(huì)浪費(fèi)掉國(guó)際性、多元化網(wǎng)絡(luò)的機(jī)會(huì)。他們?cè)趺磿?huì)發(fā)生這種事?我的學(xué)生是心胸開(kāi)放的。他們來(lái)到商學(xué)院為的正是能取得很好的網(wǎng)絡(luò)。

now, all of us socially narrow in ourlives, in our school, in work, and so i want you to think about this one. howmany of you here brought a friend along for this talk? i want you to look atyour friend a little bit. are they of the same nationality as you? are they ofthe same gender as you? are they of the same race? really look at them closely.don"t they kind of look like you as well?

我們所有人在生活上、在學(xué)校、在工作中的社交都是狹窄的，所以，我希望你們能想想這一點(diǎn)。在座有多少人，帶了朋友一起來(lái)聽(tīng)這場(chǎng)演講?我希望你們能看一下你們的朋友。他們的國(guó)籍和你相同嗎?他們的性別和你相同嗎?他們的種族相同嗎?真正去近看他們。他們是不是看起來(lái)也和你很像?

the muscle people are together, and thepeople with the same hairstyles and the checked shirts.

肌肉發(fā)達(dá)的人在一起，還有發(fā)型相同的人，都穿格子上衣的人。

we all do this in life. we all do it inlife, and in fact, there"s nothing wrong with this. it makes us comfortable tobe around people who are similar. the problem is when we"re on a precipice,right? when we"re in trouble, when we need new ideas, when we need new jobs,when we need new resources -- this is when we really pay a price for living ina clique.

我們?cè)谌松卸紩?huì)這么做。我們?cè)谌松卸紩?huì)這么做，事實(shí)上，這并沒(méi)有什么不好。和相似的人在一起讓我們感到舒服。當(dāng)我們?cè)谖＜碧幘持袝r(shí)才會(huì)有問(wèn)題，對(duì)嗎?當(dāng)我們有麻煩時(shí)，需要新點(diǎn)子時(shí)，需要新工作時(shí)，需要新資源時(shí)──這時(shí)，身在小團(tuán)體中，就會(huì)要付出代價(jià)。

mark granovetter, the sociologist, had afamous paper "the strength of weak ties," and what he did in thispaper is he asked people how they got their jobs. and what he learned was thatmost people don"t get their jobs through their strong ties -- their father,their mother, their significant other. they instead get jobs through weak ties,people who they just met.

社會(huì)學(xué)家馬克格蘭諾維特有著名的論文，叫「弱連結(jié)的力量」，他在這篇論文中做的是去問(wèn)人們他們?nèi)绾蔚玫剿麄兊墓ぷ?。他發(fā)現(xiàn)大部分的人不是從他們的強(qiáng)連結(jié)──父親、母親、另一半──得到工作，而是從弱連結(jié)──剛認(rèn)識(shí)的人──得到工作。

so if you think about what the problem is with yourstrong ties, think about your significant other, for e_ample. the network isredundant. everybody that they know, you know. or i hope you know them. right?your weak ties -- people you just met today -- they are your ticket to a wholenew social world.

所以，如果你要思考強(qiáng)連結(jié)的問(wèn)題在哪，想想比如你的另一半。這網(wǎng)絡(luò)是多余的。他們認(rèn)識(shí)的人，你也都認(rèn)識(shí)。我希望你認(rèn)識(shí)他們，對(duì)吧?你的弱連結(jié)──你今天才認(rèn)識(shí)的人──他們是讓你通往全新社交世界的門(mén)票。

the thing is that we have this amazingticket to travel our social worlds, but we don"t use it very well. sometimes westay awfully close to home. and today, what i want to talk about is: what arethose habits that keep human beings so close to home, and how can we be alittle bit more intentional about traveling our social universe?

問(wèn)題是，我們有這張很棒的門(mén)票，可以遨游我們的社交世界，但我們沒(méi)有好好用它。有時(shí)，我們待在離家非常近的地方。今天，我想要談的是這個(gè)：是什么習(xí)慣讓人類持續(xù)待在離家近的地方，以及我們要如何更刻意一點(diǎn)去游遍我們的社交宇宙?

so let"s look at the first strategy. thefirst strategy is to use a more imperfect social search engine. what i mean bya social search engine is how you are finding and filtering your friends. andso people always tell me, "i want to get lucky through the network. i wantto get a new job. i want to get a great opportunity."

讓我們先來(lái)談第一條策略。第一條策略是要用更多不完美的社交搜索引擎。我所謂的社交搜索引擎是你如何找到和篩選你的朋友。人們總是告訴我：「我想要透過(guò)網(wǎng)絡(luò)來(lái)走運(yùn)。我想要找份新工作。我想要有很好的機(jī)會(huì)?！?/p>

and i say,"well, that"s really hard, because your networks are so fundamentallypredictable." map out your habitual daily footpath, and what you"llprobably discover is that you start at home, you go to your school or yourworkplace, you maybe go up the same staircase or elevator, you go to thebathroom -- the same bathroom -- and the same stall in that bathroom, you endup in the gym, then you come right back home.

我說(shuō)：「嗯，那真的很難，因?yàn)槟愕木W(wǎng)絡(luò)基本上是非?？深A(yù)測(cè)的?！巩?huà)出你習(xí)慣的日常路徑，你很可能會(huì)發(fā)現(xiàn)，你從家里開(kāi)始，你去上學(xué)或上班，你可能會(huì)從同樣的樓梯或電梯上樓，你去廁所，同一間廁所，用那廁所的同一隔間，你最后到了健身房，然后你就回家了。

it"s like stops on a trains chedule. it"s that predictable. it"s efficient, but the problem is, you"reseeing e_actly the same people. make your network slightly more inefficient. goto a bathroom on a different floor. you encounter a whole new network ofpeople.

就像火車(chē)靠站時(shí)刻表一樣。就是那么可預(yù)測(cè)。它很有效率，但問(wèn)題是，你遇見(jiàn)的人都一樣。讓你的網(wǎng)絡(luò)稍微不要那么有效率。去不同樓層的廁所。你會(huì)遇到一個(gè)全新的人脈網(wǎng)絡(luò)。

the other side of it is how we are actuallyfiltering. and we do this automatically. the minute we meet someone, we arelooking at them, we meet them, we are initially seeing, "you"reinteresting." "you"re not interesting." "you"re relevant."we do this automatically. we can"t even help it. and what i want to encourageyou to do instead is to fight your filters. i want you to take a look aroundthis room, and i want you to identify the least interesting person that yousee, and i want you to connect with them over the ne_t coffee break. and i wantyou to go even further than that. what i want you to do is find the mostirritating person you see as well and connect with them.

它的另一面，是我們實(shí)際上做篩選的方式。我們會(huì)自動(dòng)篩選。在我們見(jiàn)到一個(gè)人時(shí)，我們會(huì)看他們，見(jiàn)到他們，我們一開(kāi)始就會(huì)看到：「你很有趣?！埂改悴挥腥ぁ！埂改愫苤匾！刮覀儠?huì)自動(dòng)做這件事。我們無(wú)法控制。我想要鼓勵(lì)各位做的是，對(duì)抗你的篩選器。我希望你們能環(huán)視一下這間房間，我希望你們找出你所看見(jiàn)最無(wú)趣的人，我希望你們能在下次休息時(shí)間去和他們做連結(jié)。我希望你們還能做更多。我也希望你們能去找到你們所看見(jiàn)最惱人的人，去與他們做連結(jié)。

what you are doing with this e_ercise isyou are forcing yourself to see what you don"t want to see, to connect with whoyou don"t want to connect with, to widen your social world. to truly widen,what we have to do is, we"ve got to fight our sense of choice. we"ve got tofight our choices. and my students hate this, but you know what i do?

做這項(xiàng)練習(xí)的目的是要強(qiáng)迫你自己去看見(jiàn)你不想看見(jiàn)的，去和你不想連結(jié)的人連結(jié)，去拓寬你的社交世界。要真正拓寬，我們得要做的是，我們得要對(duì)抗我們對(duì)選擇的感受。我們得要對(duì)抗我們的選擇。我的學(xué)生很討厭這樣，但猜猜我怎么做?

i won"tlet them sit in their favorite seats. i move them around from seat to seat. iforce them to work with different people so there are more accidental bumps inthe network where people get a chance to connect with each other. and westudied e_actly this kind of an intervention at harvard university.

我不讓他們坐在他們最愛(ài)的位子。我讓他們一直換位子坐。我強(qiáng)迫他們?nèi)ズ筒煌娜撕献?，在網(wǎng)絡(luò)中就會(huì)有更意外的顛簸起伏，讓人們有機(jī)會(huì)可以彼此連結(jié)。我們?cè)诠鸫髮W(xué)就是在研究這種干預(yù)方法。

at harvard,when you look at the rooming groups, there"s freshman rooming groups, peopleare not choosing those roommates. they"re of all different races, all differentethnicities. maybe people are initially uncomfortable with those roommates, butthe amazing thing is, at the end of a year with those students, they"re able toovercome that initial discomfort. they"re able to find deep-level commonalitieswith people.

在哈佛，如果去看住宿的團(tuán)體，會(huì)有新鮮人住宿團(tuán)體，人們不選擇室友。他們都是不同的種族、不同的人種。許多人一開(kāi)始對(duì)自己的室友感到不舒服，但，讓人驚奇的是，在年末，那些學(xué)生能夠克服一開(kāi)始的不舒服。他們能在人身上找到更深層的共同性。

so the takeaway here is not just "takesomeone out to coffee." it"s a little more subtle. it"s "go to thecoffee room." when researchers talk about social hubs, what makes a socialhub so special is you can"t choose; you can"t predict who you"re going to meetin that place. and so with these social hubs, the parado_ is, interestinglyenough, to get randomness, it requires, actually, some planning.

這里要給各位的訊息不只是「找人出去喝杯咖啡」。還要更微妙一點(diǎn)。是「去咖啡廳」。當(dāng)研究者談?wù)撋缃恢行臅r(shí) ，社交中心之所以特別，就是因?yàn)槟銦o(wú)法選擇;你無(wú)法預(yù)測(cè)你在那個(gè)地方會(huì)遇見(jiàn)誰(shuí)。關(guān)于這些社交中心，有趣的是一個(gè)矛盾：若要有隨機(jī)性，需要的其實(shí)是規(guī)劃。

in one university that i worked at, there was a mail room on every single floor. whatthat meant is that the only people who would bump into each other are those whoare actually on that floor and who are bumping into each other anyway. at another university i worked at, there was only one mail room, so all the faculty from all over that building would run into each other in that social hub.a simple change in planning, a huge difference in the traffic of people and theaccidental bumps in the network.

在我工作的其中一間大學(xué)，在每層樓都有一間收發(fā)室。那就意味著，會(huì)巧遇到的人都只有在同一層樓的人，而他們本來(lái)就會(huì)遇見(jiàn)彼此。在我工作的另一間大學(xué)，只有一間收發(fā)室，所以整棟大樓所有的教職員就會(huì)在那社交中心巧遇彼此。在規(guī)劃上做個(gè)簡(jiǎn)單的改變，就能對(duì)人的交流及網(wǎng)絡(luò)中的意外巧遇造成很大的不同。

here"s my question for you: what are youdoing that breaks you from your social habits? where do you find yourself inplaces where you get injections of unpredictable diversity? and my studentsgive me some wonderful e_amples. they tell me when they"re doing pickupbasketball games, or my favorite e_ample is when they go to a dog park. theytell me it"s even better than online dating when they"re there.

我想要問(wèn)各位的問(wèn)題是：你能做什么，來(lái)讓你脫離你的社交習(xí)慣?你在什么地方能夠被注入無(wú)法預(yù)測(cè)的多樣性?我的學(xué)生給了我一些很棒的例子。他們告訴我：在比賽籃球時(shí)，和我最愛(ài)的例子──去公園遛狗時(shí)。他們告訴我，在那里甚至比在線約會(huì)還要更好。

so the real thing that i want you to thinkabout is we"ve got to fight our filters. we"ve got to make ourselves a littlemore inefficient, and by doing so, we are creating a more imprecise socialsearch engine. and you"re creating that randomness, that luck that is going tocause you to widen your travels, through your social universe.

我真正希望各位去思考，我們得要對(duì)抗我們的篩選器。我們得要讓自己不那么有效率，這么做時(shí)，我們就是在創(chuàng)造一個(gè)不那么精準(zhǔn)的社交搜索引擎。你是在創(chuàng)造隨機(jī)性，它就是運(yùn)氣，能拓展你在社交宇宙中所旅行的范圍。

but in fact, there"s more to it than that.sometimes we actually buy ourselves a second-class ticket to travel our socialuniverse. we are not courageous when we reach out to people. let me give you ane_ample of that. a few years ago, i had a very eventful year. that year, imanaged to lose a job, i managed to get a dream job overseas and accept it, ihad a baby the ne_t month, i got very sick, i was unable to take the dream job.

但，事實(shí)上，不只是如此。有時(shí)，我們真的會(huì)買(mǎi)到二等艙的票，在我們的社交宇宙中旅行。當(dāng)我們接觸別人時(shí)，我們不夠勇敢。讓我舉個(gè)例子。幾年前，我有一年遇到非常多事。那一年，我失去了一個(gè)工作，在海外得到了一個(gè)夢(mèng)想的工作，且我接受了，再下一個(gè)月我生了孩子，我病得非常重，我無(wú)法去接那份夢(mèng)想的工作。

and so in a few weeks, what ended up happening was, i lost my identity as afaculty member, and i got a very stressful new identity as a mother. what ialso got was tons of advice from people. and the advice i despised more thanany other advice was, "you"ve got to go network with everybody." whenyour psychological world is breaking down, the hardest thing to do is to tryand reach out and build up your social world.

所以，在僅僅幾周，最后發(fā)生的結(jié)果是，我失去了教職員的身份，我得了到一個(gè)非常有壓力的新身份：母親。我還得到了人們給的一大堆意見(jiàn)。在所有意見(jiàn)中，我最鄙視的一則是：「你得要去和大家建立網(wǎng)絡(luò)?！巩?dāng)你的精神世界在崩壞時(shí)，最困難的事就是試著向外伸出手，建立你的社交世界。

and so we studied e_actly this idea on amuch larger scale. what we did was we looked at high and low socioeconomicstatus people, and we looked at them in two situations. we looked at them firstin a baseline condition, when they were quite comfortable. and what we foundwas that our lower socioeconomic status people, when they were comfortable,were actually reaching out to more people. they thought of more people.

所以，我們更大規(guī)模地探究了這個(gè)想法。我們的做法是，我們?nèi)タ瓷鐣?huì)經(jīng)濟(jì)地位高與低的人，我們?cè)趦煞N情況下去看他們。我們先在基線條件下去看他們，也就是他們很舒適的時(shí)候。我們發(fā)現(xiàn)，社會(huì)經(jīng)濟(jì)地位較低的人在舒適的時(shí)候，其實(shí)比較會(huì)向外接觸更多的人。他們會(huì)去想更多的人。

theywere also less constrained in how they were networking. they were thinking ofmore diverse people than the higher-status people. then we asked them to thinkabout maybe losing a job. we threatened them. and once they thought about that,the networks they generated completely differed. the lower socioeconomic statuspeople reached inwards.

他們?cè)诮⒕W(wǎng)絡(luò)上比較沒(méi)有受限制。比起高社會(huì)經(jīng)濟(jì)地位的人，他們會(huì)去想更多樣化的人。接著，我們要他們?nèi)ハ胂罂赡苁スぷ鞯那闆r。我們威脅他們。一旦他們有那樣的想法，他們產(chǎn)生出的網(wǎng)絡(luò)就全然不同了。社會(huì)經(jīng)濟(jì)地位較低的人會(huì)向內(nèi)接觸人。

they thought of fewer people. they thought ofless-diverse people. the higher socioeconomic status people thought of morepeople, they thought of a broader network, they were positioning themselves tobounce back from that setback.

他們會(huì)去想的人比較少。他們會(huì)去想的人比較不多樣化。社會(huì)經(jīng)濟(jì)地位較高的人會(huì)去想比較多的人，他們會(huì)去想比較廣的網(wǎng)絡(luò)，他們會(huì)把自己放在受挫之后重整旗鼓的位置。

let"s consider what this actually means.imagine that you were being spontaneously unfriended by everyone in yournetwork other than your mom, your dad and your dog.

讓我們來(lái)想想這到底是什么意思。想象一下，你被你網(wǎng)絡(luò)中的所有人都自發(fā)性地解除朋友關(guān)系，只剩下你的媽媽、爸爸，和你的狗。

this is essentially what we are doing atthese moments when we need our networks the most. imagine -- this is what we"redoing. we"re doing it to ourselves. we are mentally compressing our networkswhen we are being harassed, when we are being bullied, when we are threatenedabout losing a job, when we feel down and weak. we are closing ourselves off,isolating ourselves, creating a blind spot where we actually don"t see ourresources. we don"t see our allies, we don"t see our opportunities.

基本上，這就是我們?cè)谧钚枰W(wǎng)絡(luò)的時(shí)刻所做的事。想象一下──這就是我們?cè)谧龅?，我們?duì)自己做的事。我們?cè)谛睦砩蠅嚎s我們的網(wǎng)絡(luò)，當(dāng)我們被騷擾時(shí)，當(dāng)我們被霸凌時(shí)，當(dāng)我們被威脅會(huì)失去工作時(shí)，當(dāng)我們感到消沉且軟弱時(shí)，就會(huì)發(fā)生。我們把自己封閉，把自己孤立，創(chuàng)造出一個(gè)盲點(diǎn)，讓我們看不見(jiàn)我們的資源?？床灰?jiàn)我們的盟友，看不見(jiàn)我們的機(jī)會(huì)。

how can we overcome this? two simplestrategies. one strategy is simply to look at your list of facebook friends andlinkedin friends just so you remind yourself of people who are there beyondthose that automatically come to mind. and in our own research, one of thethings we did was, we considered claude steele"s research on self-affirmation:simply thinking about your own values, networking from a place of strength.what leigh thompson, hoon-seok choi and i were able to do is, we found thatpeople who had affirmed themselves first were able to take advice from peoplewho would otherwise be threatening to them.

我們要如何克服這狀況?有兩項(xiàng)簡(jiǎn)單的策略。其一很簡(jiǎn)單，就是去看你的臉書(shū)朋友名單，還有l(wèi)inkedin，讓你能夠提醒自己，除了自動(dòng)出現(xiàn)在你腦海中的人之外，還有別人在。在我們自己的研究中，我們做的其中一件事是我們從自我肯定的角度來(lái)思考克勞德斯蒂爾的研究：只要想想你自己的價(jià)值，從一個(gè)有力量的地方建立網(wǎng)絡(luò)。邁克湯普森、崔勛石，和我一起做的是，我們發(fā)現(xiàn)，先肯定自己的人，能夠接受別人的意見(jiàn)，其他情況下，給意見(jiàn)者會(huì)被視為威脅。

here"s a last e_ercise. i want you to lookin your email in-bo_, and i want you to look at the last time you askedsomebody for a favor. and i want you to look at the language that you used. didyou say things like, "oh, you"re a great resource," or "i oweyou one," "i"m obligated to you." all of this languagerepresents a metaphor. it"s a metaphor of economics, of a balance sheet, ofaccounting, of transactions. and when we think about human relations in atransactional way, it is fundamentally uncomfortable to us as human beings. wemust think about human relations and reaching out to people in more humaneways.

以下是最后一個(gè)練習(xí)。我希望各位去看看自己的電子郵件收件匣，找出最近一次你請(qǐng)別人幫忙是什么時(shí)候。請(qǐng)看看你所使用的表意方式。你是否有說(shuō)這類的話：「你是很棒的資源。」或「我欠你一個(gè)人情?！埂肝覍?duì)你有義務(wù)?！顾羞@些表意方式背后都有一個(gè)象征。那象征就是經(jīng)濟(jì)、資產(chǎn)負(fù)債表、會(huì)計(jì)、交易。如果你用交易的方式來(lái)看待人際關(guān)系，對(duì)我們?nèi)祟惗?，從根本上就?huì)覺(jué)得不舒服。我們應(yīng)該要用更人性的方式，來(lái)看待人際關(guān)系及向外去接觸人。

here"s an idea as to how to do so. look atwords like "please," "thank you," "you"rewelcome" in other languages. look at the literal translation of thesewords. each of these words is a word that helps us impose upon other people inour social networks. and so, the word "thank you," if you look at itin spanish, italian, french, "gracias," "grazie,""merci" in french. each of them are "grace" and"mercy." they are godly words. there"s nothing economic or transactional about those words.

至于要怎么做，這里有個(gè)想法。看看像「請(qǐng)」、「謝謝你」、「不客氣」這些詞在其他語(yǔ)言怎么說(shuō)?？纯催@些詞的字面翻譯。這每一個(gè)詞，都是在協(xié)助我們利用社交網(wǎng)絡(luò)中的其他人。所以，針對(duì)「謝謝你」這個(gè)詞，它們?cè)谖靼嘌牢?、意大利文、法文分別是「gracias」、「grazie」，以及「merci」。意思都是「優(yōu)雅」和「慈悲」。它們是虔誠(chéng)的詞。這些詞沒(méi)有任何經(jīng)濟(jì)或交易的元素。

the word "you"re welcome" isinteresting.the great persuasion theorist robert cialdini says we"ve got toget our favors back. so we need to emphasize the transaction a little bit more.he says, "let"s not say "you"re welcome." instead say, "i know you"d dothe same for me."" but sometimes it may be helpful to not think intransactional ways, to eliminate the transaction, to make it a little bit moreinvisible.

「不客氣」這個(gè)詞很有趣。偉大的說(shuō)服理論學(xué)家羅伯特喬爾第尼說(shuō)：我們得把人情要回來(lái)。所以我們得要多強(qiáng)調(diào)一點(diǎn)交易。他說(shuō)：「讓我們別說(shuō)『不客氣』」。改成「我知道換成你也會(huì)為我這么做。」但，有時(shí)，不用交易的方式來(lái)思考，可能會(huì)比較有幫助，把交易元素除去，讓它更不顯眼。

and in fact, if you look in chinese, the word "bú kè qì"in chinese, "you"re welcome," means, "don"t be formal; we"refamily. we don"t need to go through those formalities." and "kembali"in indonesian is "come back to me." when you say "you"rewelcome" ne_t time, think about how you can maybe eliminate thetransaction and instead strengthen that social tie. maybe "it"s great tocollaborate," or "that"s what friends are for."

事實(shí)上，如果看中文怎么說(shuō)，「不客氣」在中文的意思是「別這么拘泥禮節(jié)，我們是一家人，不需要這些禮節(jié)形式?！乖谟《饶嵛鱽喺Z(yǔ)中「kembali」的意思是「回來(lái)我這里」。下次當(dāng)你要說(shuō)「不客氣」時(shí)，想想看你可以如何除去一些交易元素，改成加強(qiáng)社交連結(jié)。也許說(shuō)「能一起合作很棒」，或「朋友不就該如此嗎」。

i want you to think about how you thinkabout this ticket that you have to travel your social universe. here"s onemetaphor. it"s a common metaphor: "life is a journey." right? it"s atrain ride, and you"re a passenger on the train, and there are certain peoplewith you. certain people get on this train, and some stay with you, some leaveat different stops, new ones may enter. i love this metaphor, it"s a beautifulone.

我希望各位能思考一下要怎么用你手上的這張票，在你的社交宇宙中旅行。以下是一個(gè)比喻。它是常見(jiàn)的比喻：「人生是一趟旅程?！箤?duì)吧?它是趟火車(chē)旅程，你是火車(chē)上的一名乘客，有些人和你在一起。有些人會(huì)搭上這臺(tái)火車(chē)，有些人會(huì)留下，有些人會(huì)在不同的站下車(chē)，可能有新乘客上車(chē)。我喜歡這個(gè)比喻，它很美麗。

but i want you to consider a different metaphor. this one is passive,being a passenger on that train, and it"s quite linear. you"re off to someparticular destination. why not instead think of yourself as an atom, bumpingup against other atoms, maybe transferring energy with them, bonding with thema little and maybe creating something new on your travels through the socialuniverse.

但我希望各位能想想另一個(gè)比喻。身為火車(chē)乘客的這個(gè)比喻很被動(dòng)，且它是很線性的。你要前往特定的目的地。為什么不改個(gè)方式，把你自己想成一個(gè)原子，和其他原子碰撞，也許和它們一起傳送能量，和它們結(jié)合一下，也許在你的社交宇宙中旅行時(shí)，創(chuàng)造出新東西來(lái)。

thank you so much. and i hope we bump intoeach other again.(applause)

非常謝謝。我希望我們有機(jī)會(huì)再次碰撞。(掌聲)

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