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演讲者：Phil Hansen | TED2013
主 题：Embrace the shake
So, when I was in art school, I developed a shake in my hand, and this was the straightest line I could draw. Now in hindsight, it was actually good for some things, like mixing a can of paint or shaking a Polaroid, but at the time this was really doomsday. This was the destruction of my dream of becoming an artist.
当我就读艺术学院时 手开始出现颤抖症状 这是我能画出最直的线 现在看来 其实这对某些事来说还挺好的 例如摇匀罐中的颜料，或甩干拍立得相片 但当时的感觉确实像世界末日 这摧毁了我成为艺术家的梦想
The shake developed out of, really, a single-minded pursuit of pointillism, just years of making tiny, tiny dots. And eventually these dots went from being perfectly round to looking more like tadpoles, because of the shake. So to compensate, I’d hold the pen tighter, and this progressively made the shake worse, so I’d hold the pen tighter still. And this became a vicious cycle that ended up causing so much pain and joint issues, I had trouble holding anything. And after spending all my life wanting to do art, I left art school, and then I left art completely.
颤抖症状事实上来自于 我专研点画的结果 经年累月地描绘极小的点 最后这些点从完美的圆形 变成类似蝌蚪状，因为颤抖的缘故 为了改善这一点，我将笔握得更紧 却使颤抖症状地更加厉害 因此我只能将笔握得更紧 这成了恶性循环 最后导致剧痛和关节问题 我几乎握不住任何东西 就在努力追寻从事艺术的毕生梦想后 我离开艺术学院，同时与艺术分道扬镳
But after a few years, I just couldn’t stay away from art, and I decided to go to a neurologist about the shake and discovered I had permanent nerve damage. And he actually took one look at my squiggly line, and said, “Well, why don’t you just embrace the shake?”
但几年后，我对艺术依然无法忘怀 我决定求助神经科医生，诊治颤抖症状 却发现我的神经已永久受损 事实上，医生看了一眼我画的扭曲线条 开口说，「你何不试着与颤抖共处呢？」
So I did. I went home, I grabbed a pencil, and I just started letting my hand shake and shake. I was making all these scribble pictures. And even though it wasn’t the kind of art that I was ultimately passionate about, it felt great. And more importantly, once I embraced the shake, I realized I could still make art. I just had to find a different approach to making the art that I wanted.
因此我依言照办，回家后，我拿起笔来 任由我的手不停颤抖 我创作出类似这样的涂鸦 即使这并非 我理想中的艺术作品，感觉却很棒 即使这并非 我理想中的艺术作品，感觉却很棒 更重要的是，一旦我设法与颤抖共处 我发现我依然能创作艺术 我只需要寻找不同的方式 创作我想要的艺术
Now, I still enjoyed the fragmentation of pointillism, seeing these little tiny dots come together to make this unified whole. So I began experimenting with other ways to fragment images where the shake wouldn’t affect the work, like dipping my feet in paint and walking on a canvas, or, in a 3D structure consisting of two-by-fours, creating a 2D image by burning it with a blowtorch. I discovered that, if I worked on a larger scale and with bigger materials, my hand really wouldn’t hurt, and after having gone from a single approach to art, I ended up having an approach to creativity that completely changed my artistic horizons. This was the first time I’d encountered this idea that embracing a limitation could actually drive creativity.
现在，我依然喜爱点画的片段感 看着这些小点聚集成一幅完整的图画 看着这些小点聚集成一幅完整的图画 因此我开始尝试以其他方式分割图像 避免因颤抖而影响作品 例如用脚沾颜料，在画布上行走 或以木条组成二乘四的3D结构 用喷灯在表面烙上2D图像 我发现，如果使用大型素材从事大型创作 手部的问题完全不会造成影响 当我跳脱单一艺术创作方式后 我找到激发创造力的方法 使我的艺术视野完全改观 这是我第一次领悟到这个观点 处于局限中确实能激发创造力
At the time, I was finishing up school, and I was so excited to get a real job and
finally afford new art supplies. I had this horrible little set of tools, and I felt like I could do so much more with the supplies I thought an artist was supposed to have. I actually didn’t even have a regular pair of scissors. I was using these metal shears until I stole a pair from the office that I worked at.
当时我即将毕业 我十分高兴能找到一份正职 终于买得起新的美术工具 我有一套十分简陋的工具组 我自认能创作出更棒的作品 只要拥有我理想中的艺术家必备工具 事实上我连普通剪刀也没有 我一直使用金属剪代替 直到我从办公室偷来一把剪刀 我一直使用金属剪代替 直到我从办公室偷来一把剪刀
So I got out of school, I got a job, I got a paycheck, I got myself to the art store, and I just went nuts buying supplies. And then when I got home, I sat down and I set myself to task to really try to create something just completely outside of the box. But I sat there for hours, and nothing came to mind. The same thing the next day, and then the next, quickly slipping into a creative slump. And I was in a dark place for a long time, unable to create. And it didn’t make any sense, because I was finally able to support my art, and yet I was creatively blank.
因此我离开学校、找到工作、领到薪水 我前往美术用品店 疯狂地采购美术用品 回家后，我坐下来 全心投入工作，努力试着创作某些 完全跳脱框架的作品 但我坐了好几个小时，却毫无灵感 同样情形日复一日地上演 我瞬间陷入创作低潮 很长一段时间，我处于黑暗中，无法创作 这完全没道理，因为我终于能 致力于艺术创作，却丝毫没有创作灵感
But as I searched around in the darkness, I realized I was actually paralyzed by all of the choices that I never had before. And it was then that I thought back to my jittery hands. Embrace the shake. And I realized, if I ever wanted my creativity back, I had to quit trying so hard to think outside of the box and get back into it.
但当我在黑暗中摸索时 我意识到，事实上我已被 之前不曾拥有的众多选择麻痹 我意识到，事实上我已被 之前不曾拥有的众多选择麻痹 此时我想起那双颤抖的手 与颤抖共处 于是我领悟到，如果想找回创作力 必须不再专注于跳脱框架的念头 试着回到框架中
I wondered, could you become more creative, then, by looking for limitations? What if I could only create with a dollar’s worth of supplies? At this point, I was spending a lot of my evenings in — well, I guess I still spend a lot of my evenings in Starbucks — but I know you can ask for an extra cup if you want one, so I decided to ask for 50. Surprisingly, they just handed them right over, and then with some pencils I already had, I made this project for only 80 cents. It really became a moment of clarification for me that we need to first be limited in order to become limitless.
我思索 难道追寻极限使人变得更有创造力吗？ 我思索 难道追寻极限使人变得更有创造力吗？ 如果我只能用价值一美元的素材创作呢？ 当时我花了许多夜晚－ 好吧，我想我现在还是 经常在星巴克度过夜晚时光－ 我知道可以跟店员多要一个纸杯 因此我决定要 50 个 令人讶异地，他们二话不说地给了我 藉由一些我原本就有的铅笔 仅花了 80 美分，我就完成这项作品 那一刻我恍然大悟 我们必须先处于限制中 才能超越限制
I took this approach of thinking inside the box to my canvas, and wondered what if, instead of painting on a canvas, I could only paint on my chest? So I painted 30 images, one layer at a time, one on top of another, with each picture representing an influence in my life. Or what if, instead of painting with a brush, I could only paint with karate chops? (Laughter) So I’d dip my hands in paint, and I just attacked the canvas, and I actually hit so hard that I bruised a joint in my pinkie and it was stuck straight for a couple of weeks.
我把这个局限于框架中的想法运用到 画布上，我思索，如果无法 在画布上作画，只能在自己胸前作画呢？ 于是我画了 30 张图，一次一层 彼此相叠 每幅画都代表某个影响我人生的事件 或者，如果无法用笔刷作画 只能用手劈呢？ （笑声） 因此我将双手沾上颜料 直接劈向画布 事实上我劈得太用力，造成小指关节瘀青 好几个星期，我的小指只能直挺挺地竖着
Or, what if instead of relying on myself, I had to rely on other people to create the content for the art? So for six days, I lived in front of a webcam. I slept on the floor and I ate takeout, and I asked people to call me and share a story with me about a life-changing moment. Their stories became the art as I wrote them onto the revolving canvas.
或者，如果无法靠自己创作 必须仰赖他人 完成创作内容呢？ 因此整整六天，我在网络摄像头前过日子 我睡地板、吃外卖食物 我请别人打电话给我，和我分享故事 关于人生中的转折点 他们的故事成了艺术创作 我把这些故事写在旋转画布上
(Applause) Or what if instead of making art to display, I had to destroy it? This seemed like the ultimate limitation, being an artist without art. This destruction idea turned into a yearlong project that I called Goodbye Art, where each and every piece of art had to be destroyed after its creation. In the beginning of Goodbye Art, I focused on forced destruction, like this image of Jimi Hendrix, made with over 7,000 matches. (Laughter) Then I opened it up to creating art that was destroyed naturally. I looked for temporary materials, like spitting out food — (Laughter) — sidewalk chalk and even frozen wine.
（掌声） 或者，如果创作的目的并非展示 而是销毁呢？ 这就像最终极限 成为一位没有作品的艺术家 这个毁灭性概念转变成长达一年的计划 我称之为“告别艺术” 每件作品完成后都必须销毁 创作“告别艺术”之初，我将焦点放在 强制性毁灭，例如这幅Jimi Hendrix图像 由七千多根火柴棒组成 （笑声） 接着我采用自然销毁方式进行创作 我寻找暂时性素材 例如口中吐出的食物 （笑声） 涂鸦粉笔 甚至冷冻酒
The last iteration of destruction was to try to produce something that didn’t actually exist in the first place. So I organized candles on a table, I lit them, and then blew them out, then repeated this process over and over with the same set of candles, then assembled the videos into the larger image. So the end image was never visible as a physical whole. It was destroyed before it ever existed.
最后一系列的毁灭性创作是 尝试创造一些不曾真正存在的画面 因此我将蜡烛排在桌上 将它点燃，然后吹熄 用同一批蜡烛一再重复这个过程 然后将拍摄的视频组成一幅大型图像 因此最终图像从未完整存在 它在诞生前即遭受毁灭的命运
In the course of this Goodbye Art series, I created 23 different pieces with nothing left to physically display. What I thought would be the ultimate limitation actually turned out to be the ultimate liberation, as each time I created, the destruction brought me back to a neutral place where I felt refreshed and ready to start the next project. It did not happen overnight. There were times when my projects failed to get off the ground, or, even worse, after spending tons of time on them the end image was kind of embarrassing. But having committed to the process, I continued on,
从事“告别艺术系列”期间 我创作了 23 件不同作品 不曾留下任何可展示的实体作品 我原本认为的最终限制 事实上成了最终解放 每一次的创作过程中 毁灭阶段都使我重新归零 我感到宛如新生 随时能开始进行下一个计划 这并非一夕可成之事 有时我的计划一开始就遇上阻碍 更糟的是，花了许多时间后 成果却难以见人 但既然已投入创作过程，我坚持到底
and something really surprising came out of this. As I destroyed each project, I was learning to let go, let go of outcomes, let go of failures, and let go of imperfections. And in return, I found a process of creating art that’s perpetual and unencumbered by results. I found myself in a state of constant creation, thinking only of what’s next and coming up with more ideas than ever.
最后成果往往出人意料 摧毁每一件作品的过程中 我学会了放下 放下结果、放下失败 放下不完美 得到的回报是，我找到 持续不断的艺术创作过程 不因结果受限 我发现自己处于持续创作状态 只想着下一个创作计划 灵感如泉涌般不断浮现
When I think back to my three years away from art, away from my dream, just going through the motions, instead of trying to find a different way to continue that dream, I just quit, I gave up. And what if I didn’t embrace the shake? Because embracing the shake for me wasn’t just about art and having art skills. It turned out to be about life, and having life skills. Because ultimately, most of what we do takes place here, inside the box, with limited resources. Learning to be creative within the confines of our limitations is the best hope we have to transform ourselves and, collectively, transform our world.
当我回想远离艺术的三年时光 远离我的梦想，只是如行尸走肉般度日 不曾试着找出不同方法，继续这个梦想 我只是离开、放弃 如果我不曾尝试与颤抖共处呢？ 因为对我来说，与颤抖共处 不仅关乎艺术或拥有创作技巧 事实上这关乎人生，及拥有生活技能 因为最终，大部分我们所做的事 都发生在这里 局限于框架中和有限的资源下 学习在自我极限中发挥创造力 是改变自我的最佳方式 集合众人的力量，将可改变世界
Looking at limitations as a source of creativity changed the course of my life. Now, when I run into a barrier or I find myself creatively stumped, I sometimes still struggle, but I continue to show up for the process and try to remind myself of the possibilities, like using hundreds of real, live worms to make an image, using a pushpin to tattoo a banana, or painting a picture with hamburger grease.
将局限视为创意来源的想法 改变了我的人生历程 现在，当我遇上瓶颈 或发现自己陷入创作低潮 有时我依然得与低潮抗争 但我不曾逃避这个过程 试着提醒自己其中的可能性 例如用上百只活生生的虫创作一幅图像 用图钉替香蕉纹身 或用汉堡的油脂作画
One of my most recent endeavors is to try to translate the habits of creativity that I’ve learned into something others can replicate.
我最近努力的方向是 试着将我学到的创作诀窍 转变成可让他人复制的技巧
Limitations may be the most unlikely of places to harness creativity, but perhaps one of the best ways to get ourselves out of ruts, rethink categories and challenge accepted norms. And instead of telling each other to seize the day, maybe we can remind ourselves every day to seize the limitation.
局限或许是最不可能 驾驭创造力的方式，但或许是 局限或许是最不可能 驾驭创造力的方式，但或许是 使我们跳脱框架的最佳方法 重新进行规划，挑战既有规范 除了勉励彼此活在当下 也许我们可以时时提醒自己 拥抱局限