TED演講：擁抱顫抖

　　他被擊倒了，失去了人生目標(biāo)，直到一位神經(jīng)科醫(yī)生給了他一個(gè)小建議：擁抱顫抖。

　　Phil開(kāi)始挑戰(zhàn)自己，克服自身的局限性，發(fā)明出更多不同的方法來(lái)來(lái)制造藝術(shù)。

　　他成功的超越了這個(gè)限制~~~

　　中英演講稿:

　　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.

　　當(dāng)我就讀藝術(shù)學(xué)院時(shí) 手開(kāi)始出現(xiàn)顫抖癥狀 這是我能畫(huà)出最直的線 現(xiàn)在看來(lái) 其實(shí)這對(duì)某些事來(lái)說(shuō)還挺好的 例如搖勻罐中的顏料，或甩干拍立得相片 但當(dāng)時(shí)的感覺(jué)確實(shí)像世界末日 這摧毀了我成為藝術(shù)家的夢(mèng)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.

　　顫抖癥狀事實(shí)上來(lái)自于 我專(zhuān)研點(diǎn)畫(huà)的結(jié)果 經(jīng)年累月地描繪極小的點(diǎn) 最后這些點(diǎn)從完美的圓形 變成類(lèi)似蝌蚪狀，因?yàn)轭澏兜木壒?為了改善這一點(diǎn)，我將筆握得更緊 卻使顫抖癥狀地更加厲害 因此我只能將筆握得更緊 這成了惡性循環(huán) 最后導(dǎo)致劇痛和關(guān)節(jié)問(wèn)題 我?guī)缀跷詹蛔∪魏螙|西 就在努力追尋從事藝術(shù)的畢生夢(mèng)想后 我離開(kāi)藝術(shù)學(xué)院，同時(shí)與藝術(shù)分道揚(yáng)鑣

　　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?"

　　但幾年后，我對(duì)藝術(shù)依然無(wú)法忘懷 我決定求助神經(jīng)科醫(yī)生，診治顫抖癥狀 卻發(fā)現(xiàn)我的神經(jīng)已永久受損 事實(shí)上，醫(yī)生看了一眼我畫(huà)的扭曲線條 開(kāi)口說(shuō)，「你何不試著與顫抖共處呢?」

　　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.

　　因此我依言照辦，回家后，我拿起筆來(lái) 任由我的手不停顫抖 我創(chuàng)作出類(lèi)似這樣的涂鴉 即使這并非 我理想中的藝術(shù)作品，感覺(jué)卻很棒 即使這并非 我理想中的藝術(shù)作品，感覺(jué)卻很棒 更重要的是，一旦我設(shè)法與顫抖共處 我發(fā)現(xiàn)我依然能創(chuàng)作藝術(shù) 我只需要尋找不同的方式 創(chuàng)作我想要的藝術(shù)

　　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.

　　現(xiàn)在，我依然喜愛(ài)點(diǎn)畫(huà)的片段感 看著這些小點(diǎn)聚集成一幅完整的圖畫(huà) 看著這些小點(diǎn)聚集成一幅完整的圖畫(huà) 因此我開(kāi)始嘗試以其他方式分割圖像 避免因顫抖而影響作品 例如用腳沾顏料，在畫(huà)布上行走 或以木條組成二乘四的3D結(jié)構(gòu) 用噴燈在表面烙上2D圖像 我發(fā)現(xiàn)，如果使用大型素材從事大型創(chuàng)作 手部的問(wèn)題完全不會(huì)造成影響 當(dāng)我跳脫單一藝術(shù)創(chuàng)作方式后 我找到激發(fā)創(chuàng)造力的方法 使我的藝術(shù)視野完全改觀 這是我第一次領(lǐng)悟到這個(gè)觀點(diǎn) 處于局限中確實(shí)能激發(fā)創(chuàng)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.

　　當(dāng)時(shí)我即將畢業(yè) 我十分高興能找到一份正職 終于買(mǎi)得起新的美術(shù)工具 我有一套十分簡(jiǎn)陋的工具組 我自認(rèn)能創(chuàng)作出更棒的作品 只要擁有我理想中的藝術(shù)家必備工具 事實(shí)上我連普通剪刀也沒(méi)有 我一直使用金屬剪代替 直到我從辦公室偷來(lái)一把剪刀 我一直使用金屬剪代替 直到我從辦公室偷來(lái)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.

　　因此我離開(kāi)學(xué)校、找到工作、領(lǐng)到薪水 我前往美術(shù)用品店 瘋狂地采購(gòu)美術(shù)用品 回家后，我坐下來(lái) 全心投入工作，努力試著創(chuàng)作某些 完全跳脫框架的作品 但我坐了好幾個(gè)小時(shí)，卻毫無(wú)靈感 同樣情形日復(fù)一日地上演 我瞬間陷入創(chuàng)作低潮 很長(zhǎng)一段時(shí)間，我處于黑暗中，無(wú)法創(chuàng)作 這完全沒(méi)道理，因?yàn)槲医K于能 致力于藝術(shù)創(chuàng)作，卻絲毫沒(méi)有創(chuàng)作靈感

　　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.

　　但當(dāng)我在黑暗中摸索時(shí) 我意識(shí)到，事實(shí)上我已被 之前不曾擁有的眾多選擇麻痹 我意識(shí)到，事實(shí)上我已被 之前不曾擁有的眾多選擇麻痹 此時(shí)我想起那雙顫抖的手 與顫抖共處 于是我領(lǐng)悟到，如果想找回創(chuàng)作力 必須不再專(zhuān)注于跳脫框架的念頭 試著回到框架中

　　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 難道追尋極限使人變得更有創(chuàng)造力嗎? 我思索 難道追尋極限使人變得更有創(chuàng)造力嗎? 如果我只能用價(jià)值一美元的素材創(chuàng)作呢? 當(dāng)時(shí)我花了許多夜晚- 好吧，我想我現(xiàn)在還是 經(jīng)常在星巴克度過(guò)夜晚時(shí)光- 我知道可以跟店員多要一個(gè)紙杯 因此我決定要 50 個(gè) 令人訝異地，他們二話不說(shuō)地給了我 藉由一些我原本就有的鉛筆 僅花了 80 美分，我就完成這項(xiàng)作品 那一刻我恍然大悟 我們必須先處于限制中 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.

　　我把這個(gè)局限于框架中的想法運(yùn)用到 畫(huà)布上，我思索，如果無(wú)法 在畫(huà)布上作畫(huà)，只能在自己胸前作畫(huà)呢? 于是我畫(huà)了 30 張圖，一次一層 彼此相疊 每幅畫(huà)都代表某個(gè)影響我人生的事件 或者，如果無(wú)法用筆刷作畫(huà) 只能用手劈呢? (笑聲) 因此我將雙手沾上顏料 直接劈向畫(huà)布 事實(shí)上我劈得太用力，造成小指關(guān)節(jié)瘀青 好幾個(gè)星期，我的小指只能直挺挺地豎著

　　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，如果無(wú)法靠自己創(chuàng)作 必須仰賴(lài)他人 完成創(chuàng)作內(nèi)容呢? 因此整整六天，我在網(wǎng)絡(luò)攝像頭前過(guò)日子 我睡地板、吃外賣(mài)食物 我請(qǐng)別人打電話給我，和我分享故事 關(guān)于人生中的轉(zhuǎn)折點(diǎn) 他們的故事成了藝術(shù)創(chuàng)作 我把這些故事寫(xiě)在旋轉(zhuǎn)畫(huà)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.

　　(掌聲) 或者，如果創(chuàng)作的目的并非展示 而是銷(xiāo)毀呢? 這就像最終極限 成為一位沒(méi)有作品的藝術(shù)家 這個(gè)毀滅性概念轉(zhuǎn)變成長(zhǎng)達(dá)一年的計(jì)劃 我稱(chēng)之為“告別藝術(shù)” 每件作品完成后都必須銷(xiāo)毀 創(chuàng)作“告別藝術(shù)”之初，我將焦點(diǎn)放在 強(qiáng)制性毀滅，例如這幅Jimi Hendrix圖像 由七千多根火柴棒組成 (笑聲) 接著我采用自然銷(xiāo)毀方式進(jìn)行創(chuàng)作 我尋找暫時(shí)性素材 例如口中吐出的食物 (笑聲) 涂鴉粉筆 甚至冷凍酒

　　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.

　　最后一系列的毀滅性創(chuàng)作是 嘗試創(chuàng)造一些不曾真正存在的畫(huà)面 因此我將蠟燭排在桌上 將它點(diǎn)燃，然后吹熄 用同一批蠟燭一再重復(fù)這個(gè)過(guò)程 然后將拍攝的視頻組成一幅大型圖像 因此最終圖像從未完整存在 它在誕生前即遭受毀滅的命運(yùn)

　　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,

　　從事“告別藝術(shù)系列”期間 我創(chuàng)作了 23 件不同作品 不曾留下任何可展示的實(shí)體作品 我原本認(rèn)為的最終限制 事實(shí)上成了最終解放 每一次的創(chuàng)作過(guò)程中 毀滅階段都使我重新歸零 我感到宛如新生 隨時(shí)能開(kāi)始進(jìn)行下一個(gè)計(jì)劃 這并非一夕可成之事 有時(shí)我的計(jì)劃一開(kāi)始就遇上阻礙 更糟的是，花了許多時(shí)間后 成果卻難以見(jiàn)人 但既然已投入創(chuàng)作過(guò)程，我堅(jiān)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 摧毀每一件作品的過(guò)程中 我學(xué)會(huì)了放下 放下結(jié)果、放下失敗 放下不完美 得到的回報(bào)是，我找到 持續(xù)不斷的藝術(shù)創(chuàng)作過(guò)程 不因結(jié)果受限 我發(fā)現(xiàn)自己處于持續(xù)創(chuàng)作狀態(tài) 只想著下一個(gè)創(chuàng)作計(jì)劃 靈感如泉涌般不斷浮現(xiàn)

　　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.

　　當(dāng)我回想遠(yuǎn)離藝術(shù)的三年時(shí)光 遠(yuǎn)離我的夢(mèng)想，只是如行尸走肉般度日 不曾試著找出不同方法，繼續(xù)這個(gè)夢(mèng)想 我只是離開(kāi)、放棄 如果我不曾嘗試與顫抖共處呢? 因?yàn)閷?duì)我來(lái)說(shuō)，與顫抖共處 不僅關(guān)乎藝術(shù)或擁有創(chuàng)作技巧 事實(shí)上這關(guān)乎人生，及擁有生活技能 因?yàn)樽罱K，大部分我們所做的事 都發(fā)生在這里 局限于框架中和有限的資源下 學(xué)習(xí)在自我極限中發(fā)揮創(chuàng)造力 是改變自我的最佳方式 集合眾人的力量，將可改變世界

　　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.

　　將局限視為創(chuàng)意來(lái)源的想法 改變了我的人生歷程 現(xiàn)在，當(dāng)我遇上瓶頸 或發(fā)現(xiàn)自己陷入創(chuàng)作低潮 有時(shí)我依然得與低潮抗?fàn)?但我不曾逃避這個(gè)過(guò)程 試著提醒自己其中的可能性 例如用上百只活生生的蟲(chóng)創(chuàng)作一幅圖像 用圖釘替香蕉紋身 或用漢堡的油脂作畫(huà)

　　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 試著將我學(xué)到的創(chuàng)作訣竅 轉(zhuǎn)變成可讓他人復(fù)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.

　　局限或許是最不可能 駕馭創(chuàng)造力的方式，但或許是 局限或許是最不可能 駕馭創(chuàng)造力的方式，但或許是 使我們跳脫框架的最佳方法 重新進(jìn)行規(guī)劃，挑戰(zhàn)既有規(guī)范 除了勉勵(lì)彼此活在當(dāng)下 也許我們可以時(shí)時(shí)提醒自己 擁抱局限

　　Thank you.

　　謝謝