TED经典演讲稿心流幸福的秘密.pdf

TED流，幸福的秘密题：Flow,the secret to happiness 作者：Mihaly CsiksaentmihalyiI grew up in Europe,and World War II caught me when I was between seven and 10 years old.And I realized how few of the grown-ups that I knew were able to withstand the tragedies that the war visited on them-how few of them could even resemble a normal,contented,satisfied,happy life once their job,their home,their security was destroyed by the war.So I became interested in understanding what contributed to a life that was worth living.And I tried,as a child,as a teenager,to read philosophy and to get involved in art and religion and many other ways that I could see as a possible answer to that question.And finally I ended up encountering psychology by chance.我在欧洲长，那时正好是战时期，我是7岁到10岁的光景。我体会到边的，没有个能够经受得起战争带给他们的创伤，很少可以重建起种正常的、舒的 满意的、快乐的活。因为他们的作、家庭以及 安全都因为战争失去。于是我开始对什么元素的注可以丰富们的活这话题发兴趣。那是我还是孩，不过也开始读哲学的书，并且尝试过艺术、宗教等各种我认为，可以为我解开谜团的途径，最终则是意外的与理学结了缘。I was at a ski resort in Switzerland without any money to actually enjoy myself,because the snow had melted and I didnt have money to go to a movie.But I found that on the-I read in the newspapers that there was to be a presentation by someone in a place that Id seen in the center of Zurich,and it was about flying saucers that he was going to talk.那次我去到了瑞的个滑雪胜地，上分都没有，我是去那玩的，那时雪已消融。我没钱去看电影，但是我从报纸上看到说将会有场演讲，地点是苏黎世市中个我去过的地，他要讲的是飞碟。contentedadj.满意的，满的philosophyn.哲学presentationn.提供；显示saucern.调味剂；酱汁And I thought,well,since I cant go to the movies,at least I will go for free to listen to flying saucers.And the man who talked at that evening lecture was very interesting.Instead of talking about little green men,he talked about how the psyche of the Europeans had been traumatized by the war,and now theyre projecting flying saucers into the sky.He talked about how the mandalas of ancient Hindu religion were kind of projected into the sky as an attempt to regain some sense of order after the chaos of war.And this seemed very interesting to me.And I started reading his books after that lecture.And that was Carl Jung,whose name or work I had no idea about.我就想既然不能去看电影，但少可以去听下这个讲飞碟的演讲吧。那晚上的演讲常有趣，他没有讲绿肤的外星。他讲到欧洲的灵如何因为 战受到了创伤，因就以放飞碟来娱。他还讲到古代印度的曼荼罗，也是在战后 被扔到天空，以此来重新建种秩序。我对此很感兴趣于是就开始读相关的书，那的名字是荣格，那时我还不知道这个名字。Then I came to this country to study psychology and I started trying to understand the roots of happiness.This is a typical result that many people have presented,and there are many variations on it.But this,for instance,shows that about 30 percent of the people surveyed in the United States since 1956 say that their life is very happy.And that hasnt changed at all.Whereas the personal income,on a scale that has been held constant to accommodate for inflation,has more than doubled,almost tripled,in that period.后来就到了美国学习理学，我开始探寻幸福之本源，这是很多都展过的个结果。有很多个版本，这个则显 1956年有调查记录以来，有30%的美国受访公民说他们的活常快乐。这点乎没有变，但是同时期的均收则增加了两倍以上，接近三倍 这统计已经是把通货膨胀算进去了。traumatizev.使精神创伤；使受外伤mandalan.曼荼罗accommodatev.向提供住所；容纳But you find essentially the same results,namely,that after a certain basic point-which corresponds more or less to just a few 1,000 dollars above the minimum poverty level-increases in material well-being dont seem to affect how happy people are.In fact,you can find that the lack of basic resources,material resources,contributes to unhappiness,but the increase in material resources does not increase happiness.可是结果基本是致的，就是说到了温饱线之上1000美元之后的某个点 收的增加不会影响们的幸福值。基本活物资之匮乏则会导致不幸福。但持续的物质财富之增长并不会带来更的幸福。So my research has been focused more on-after finding out these things that actually corresponded to my own experience,I tried to understand:where-in everyday life,in our normal experience-do we feel really happy?And to start those studies about 40 years ago,I began to look at creative people-first artists and scientists,and so forth-trying to understand what made them feel that it was worth essentially spending their life doing things for which many of them didnt expect either fame or fortune,but which made their life meaningful and worth doing.所以，当我发现这些东西与我的经历相吻合时，我在后来的研究就开始询问，在正常的常活中，我们怎么才会感到幸福，研究刚开始的时候，我寻找那些有创意的。先是艺术家、科学家，我尝试找到是什么让他们感觉的是值得的，他们做的很多事情都不能带来荣誉和财富，但那样的事情使得他们的充满意义。This was one of the leading composers of American music back in the 70s.And the interview was 40 pages long.But this little excerpt is a very good summary of what he was saying during the interview.And it describes how he feels when composing is going well.And he says by describing it as an ecstatic state.这是1970年代美国最出的位作曲家。我跟他的对话记录长达40页，这段则是个很好的总结，是对他的发的总结。它描绘出作曲家在写曲时的感受，他讲的时候也是种狂喜的状态。essentiallyadv.本质上；根本上correspondv.相符合；相致Now,ecstasy in Greek meant simply to stand to the side of something.And then it became essentially an analogy for a mental state where you feel that you are not doing your ordinary everyday routines.So ecstasy is essentially a stepping into an alternative reality.And its interesting,if you think about it,how,when we think about the civilizations that we look up to as having been pinnacles of human achievement-whether its China,Greece,the Hindu civilization,or the Mayas,or Egyptians-what we know about them is really about their ecstasies,not about their everyday life.We know the temples they built,where people could come to experience a different reality.We know about the circuses,the arenas,the theaters.These are the remains of civilizations and they are the places that people went to experience life in a more concentrated,more ordered form.狂喜词在希腊语的意思是站在某个东西的边上，后来就成为种智状态的代名词，来形容正常的为。换之，狂喜就是种超越寻常的感觉 有趣的是，当我们想起 那些被公认为类明之巅峰的明时，不管是在中国、希腊或者是印度 或玛雅、或埃及，我们所听说的都是关于他们的狂喜的故事。不是他们常活的琐事，我们知道他们建了型的殿堂，们可以去到那样的地去感受不样的现实。还有马戏团的故事兽场，戏院，这些都是明之遗迹，也是当时的们经常光顾的地。他们去到那去体验种更加紧凑，更具节奏的活。Now,this man doesnt need to go to a place like this,which is also-this place,this arena,which is built like a Greek amphitheatre,is a place for ecstasy also.We are participating in a reality that is different from that of the everyday life that were used to.这个不需要去到这样的地。这，这块地就像个古希腊的兽场，也是个狂欢之地。我们参与进去，所体验到的与常活完全不样。alternativeadj.两者择的；供替代的civilizationn.明；化amphitheatren.圆形露天竞技场But this man doesnt need to go there.He needs just a piece of paper where he can put down little marks,and as he does that,he can imagine sounds that had not existed before in that particular combination.So once he gets to that point of beginning to create,like Jennifer did in her improvisation,a new reality-that is,a moment of ecstasy-he enters that different reality.Now he says also that this is so intense an experience that it feels almost as if he didnt exist.And that sounds like a kind of a romantic exaggeration.But actually,our nervous system is incapable of processing more than about 110 bits of information per second.And in order to hear me and understand what Im saying,you need to process about 60 bits per second.Thats why you cant hear more than two people.You cant understand more than two people talking to you.但这并不意味着我们必须去到那样的地。这位作曲家只需张纸，就能够把整个乐曲写下来。与此同时，他在脑海想象 种从未有过的特殊的声的组合。只要他开始真正要创作，就像刚才珍妮弗的即兴演奏，他就进了种新的现实。进狂喜，那是不样的现实，他说那是种常紧凑的体验。他似乎也感觉不到的存在，这也许有点夸张，但事实上我们的神经系统是法。在秒的时间同时处理超过110特的信息，你在听我说话，并且尝试去理解其中的意思，这就相当于处理60特的信息。所以说，同时听到两个以上的的会话是不可能的，你不可能同时做到这点。Well,when you are really involved in this completely engaging process of creating something new,as this man is,he doesnt have enough attention left over to monitor how his body feels,or his problems at home.He cant feel even that hes hungry or tired.假如你真的是全的投此间，像这位作曲家那样去创造种新的东西，就不可能再有精，去感知他的体在那刻发的变化。不知饥饿与劳累。combinationn.合作；联合体；组合improvisationn.即兴创作exaggerationn.夸张；夸His body disappears,his identity disappears from his consciousness,because he doesnt have enough attention,like none of us do,to really do well something that requires a lot of concentration,and at the same time to feel that he exists.So existence is temporarily suspended.And he says that his hand seems to be moving by itself.Now,I could look at my hand for two weeks,and I wouldnt feel any awe or wonder,because I cant compose.似乎整个躯体都消失了，在他的意识不再有的存在，他没有那么多精，事实上我们某个都不可能做得到，因为做那样的事情确实需要全副的投，他就不可能感知的存在了，他的存在被暂时遗忘了。他也说，他的似乎能够不由主的活动，我也许对着的看两个星期，也不能看出有什么不样的地，因为我不是作曲家。So what its telling you here is that obviously this automatic,spontaneous process that hes describing can only happen to someone who is very well trained and who has developed technique.And it has become a kind of a truism in the study of creativity that you cant be creating anything with less than 10 years of technical-knowledge immersion in a particular field.Whether its mathematics or music,it takes that long to be able to begin to change something in a way that its better than what was there before.Now,when that happens,he says the music just flows out.And because all of these people I started interviewing-this was an interview which is over 30 years old-so many of the people described this as a spontaneous flow that I called this type of experience the flow experience.And it happens in different realms.这说明了什么？访谈当中还提到，这样个动的、发的过程只有可能，发在个受过严格训练以及培养了良好的钢琴技艺的上。在创造研究这领域，有个接近真理的说法是，没有10年时间的积累是不可能产出这类的奇迹的。不管是数学、乐 都需要这样漫长的时间，来达到这个境界，达到种全新的升华。这样的事情旦发，他就说乐仿佛是流出来了。我所采访的这些，这是个30年前的会议记录，很多将此称为“即兴的流动”这是我给过程起的名字是，它正在不同的领域内发。temporarilyadv.暂时的spontaneousadj.发的；意识的immersionn.沉浸mathematicsn.数学For instance,a poet describes it in this form.This is by a student of mine who interviewed some of the leading writers and poets in the United States.And it describes the same effortless,spontaneous feeling that you get when you enter into this ecstatic state.This poet describes it as opening a door that floats in the sky-a very similar description to what Albert Einstein gave as to how he imagined the forces of relativity,when he was struggling with trying to understand how it worked.But it happens in other activities.For instance,this is another student of mine,Susan Jackson from Australia,who did work with some of the leading athletes in the world.And you see here in this description of an Olympic skater,the same essential description of the phenomenology of the inner state of the person.You dont think;it goes automatically,if you merge yourself with the music,and so forth.如，有位诗如此写到，这是我的位学，他采访了美国最杰出的作家、诗。同样也是种狂喜的状态，在那种状态下，诗们可以常轻松的写出诗来。这位诗则说，那就有如打开了通往天际之窗，这个跟爱因斯坦所说的 关于相对论的设想常相像。那时的爱因斯坦也是在苦苦的思考为何那样的事情会发，在其他的领域也会发这样的事情。这是我的另位学 她叫苏珊杰克逊，来澳洲 她采访了世界上顶尖的运动健将，这是关于位奥林匹克滑冰运动员的的介绍，也是同样的段现象学的描述，描绘的是个的内活动。你也许会认为那样的事情要然的发是不可能的，但只要当你将与乐融为体之时，就发现那是可能的。spontaneousadj.发的；意识的descriptionn.描述；种类phenomenologyn.现象学automaticallyadv.动地；意识地1It happens also,actually,in the most recent book I wrote,called Good Business,where I interviewed some of the CEOs who had been nominated by their peers as being both very successful and very ethical,very socially responsible.You see that these people define success as something that helps others and at the same time makes you feel happy as you are working at it.And like all of these successful and responsible CEOs say,you cant have just one of these things be successful if you want a meaningful and successful job.Anita Roddick is another one of these CEOs we interviewed.She is the founder of Body Shop,the natural cosmetics king.Its kind of a passion that comes from doing the best and having flow while youre working.我最近写了本书，也提到这样的例。书名是优良商业 我采访了些公司的总裁，同们都认为那些是常成功的，并且他们做企业常讲道德、有社会责任，他们关于成功的定义是这样的，既帮助他的同时，使乐在其中。这些成功并且富有社会责任的总裁也说到，单单有其中样是不以令你成功的，假如你要的是有意义的作、成功的作。安妮塔罗迪克是其中位受访的总裁，她创建了Body Shop，那是个化妆品企业。她则成为了天然化妆品之母，这正是种热情，它源个对最价值的追求，并且在作中体会到种“流”。This is an interesting little quote from Masaru Ibuka,who was at that time starting out Sony without any money,without a product-they didnt have a product,they didnt have anything,but they had an idea.And the idea he had was to establish a place of work where engineers can feel the joy of technological innovation,be aware of their mission to society and work to their hearts content.I couldnt improve on this as a good example of how flow enters the workplace.这是井深说过的句话,他那时分却创建了索尼。他们那时甚连产品也拿不出来可谓所有，但是他们有个理念。即他要创建个作环境，使得程师可以体验到技术创新带来的快乐，同时也意识到对于社会的使命，以最的热情作，直到内满意为。再也没有这个更好的例了“流”就是这样进公司的。technologicaladj.技术上的socially responsible社会责任Now,when we do studies-we have,with other colleagues around the world,done over 8,000 interviews of people-from Dominican monks,to blind nuns,to Himalayan climbers,to Navajo shepherds-who enjoy their work.And regardless of the culture,regardless of education or whatever,there are these seven conditions that seem to be there when a person is in flow.Theres this focus that,once it becomes intense,leads to a sense of ecstasy,a sense of clarity:you know exactly what you want to do from one moment to the other;you get immediate feedback.You know that what you need to do is possible to do,even though difficult,and sense of time disappears,you forget yourself,you feel part of something larger.And once the conditions are present,what you are doing becomes worth doing for its own sake.我们在做研究的时候，我们与世界其他地区的研究员起访问了8000，他们有的是多尼加的和尚，失明的尼姑、喜马拉雅攀登者、納霍牧，他们都喜欢的作，不管他们处什么地,不管他们的教育背景如何，只要存在以下的七个条件，我们就能感受到“流动”的存在 先是精神的集中，集中到定程度，就会向狂喜，清醒，可以很清楚的知道下刻该做什么。因为你能够得到即时的反馈。你知道将要做的 是可以做的，尽管会遇到不少困难，时间感也消失了,你甚忘却了我,似乎能感到属于某个更的整体，旦有了那样的征兆，你做的事情本也会变得有意义。In our studies,we represent the everyday life of people in this simple scheme.And we can measure this very precisely,actually,because we give people electronic pagers that go off 10 times a day,and whenever they go off you say what youre doing,how you feel,where you are,what youre thinking about.我们的研究得出的结果是，们的常为可以分为以下类，我们可以常准确的去测量，我们会给参与测试的发电纸，那样的纸每天会发出次叫声。它叫，你就马上说正在什么，你在哪，你正在想的是什么。colleaguen.同事climbersn.爬者shepherdv.带领；指导n.牧And two things that we measure is the amount of challenge people experience at that moment and the amount of skill that they feel they have at that moment.So for each person we can establish an average,which is the center of the diagram.That would be your mean level of challenge and skill,which will be different from that of anybody else.But you have a kind of a set point there,which would be in the middle.我们测量的，是们在某刻所临的挑战的难度，另个是那刻们的技能熟练程度，靠的是参与者说明。对于每位参与者，我们都能找到个中间线，即图表中的中线，那是平均挑战难度以及技能熟练程度。这个会与其他的不样，同样，在中间的地会有个固定的点。If we know what that set point is,we can predict fairly accurately when you will be in flow,and it will be when your challenges are higher than average and skills are higher than average.And you may be doing things very differently from other people,but for everyone that flow channel,that area there,will be when you are doing what you really like to do-play the piano,be with your best friend,perhaps work,if work is what provides flow for you.And then the other areas become less and less positive.假如我们能够知道这个固定的点在哪，我们就能致预测出你何时会进“流动”的状态，那就是挑战于平均值。技能熟练程度也于平均值的时候，你做的事情也许和其他做的很不样。但是，对于每个，流动的出现 通常都是在你做真正热爱的事情的时候才出现，如弹钢琴、跟好友在起、甚或是作。假如你可以在作中感受到“流”的话 其他的区域则变得相对更加消极。Arousal is still good because you are over-challenged there.Your skills are not quite as high as they should be,but you can move into flow fairly easily by just developing a little more skill.觉醒还是好的，因为你在那点上还是有较的挑战，尽管你的技能熟悉程度不是很。但是可以很容易的进“流动”只要增强下技能就了。establishv.建diagramn.图表；图解So,arousal is the area where most people learn from,because thats where theyre pushed beyond their comfort zone and to enter that-going back to flow-