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簡單,多麼棒的開場。首先,我一直在關注這個趨勢,就是市面上有些像「傻瓜也會...」這類的書。你知道有這樣的書嗎?我女兒說我看起來很像書中的傻瓜,所以這有點問題 。(笑聲) 但我在亞馬遜網站上搜尋其他像這樣的書,你知道也有叫做什麼「完全傻瓜指南」這種書嗎? 有一種商業模式是做些在某種意義上算是愚蠢的事,因為某些奇怪的原因,我們希望擁有使我們感覺不好的科技。
不過,我真的很喜歡這些,所以我寫了一本名為「簡單法則」的書。上週為了這本書的義大利出版我到了米蘭,這是一本關於簡單問題的書,答案很少。我自己也想知道,簡單是什麼? 這樣好嗎?這樣不好嗎?複雜一點比較好嗎?我不確定。在我寫了「簡單法則」之後,我對簡單感到無比的厭倦。因此,在我的生活中,我發現假期對於造就任何高成就者都是最重要的技巧/因為您的公司總是佔用你的生活,但他們不能奪去您的假期,理論上是這樣啦。(笑聲)
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以下為系統擷取之英文原文
On simplicity. What a great way to start. First of all, I've been watching this trend where we have these books like "Such-and-Such For Dummies." Do you know these book, these "Such-and-Such For Dummies?" My daughters pointed out that I'm very similar looking, so this is a bit of a problem. (Laughter) But I was looking online at Amazon.com for other books like this. You know, there' s also something called the Complete Idiot's Guide? There's a sort of business model around being stupid in some sense. We like to have technology make us feel bad, for some strange reason.
But I really like that, so I wrote a book called "The Laws of Simplicity." I was in Milan last week, for the Italian launch. It's kind of a book about questions -- questions about simplicity. Very few answers. I'm also wondering myself, what is simplicity? Is it good? Is it bad? Is complexity better? I'm not sure.
After I wrote "The Laws of Simplicity," I was very tired of simplicity, as you can imagine. And so in my life, I've discovered that vacation is the most important skill for any kind of over-achiever. Because your companies will always take away your life, but they can never take away your vacation -- in theory. (Laughter)
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所以,我去年夏天到鱈魚角來躲避簡單。我去了Gap服裝店,因為我只有黑色的褲子,於是我買了卡其布短褲及一些其它衣物,不幸的是他們的品牌代表著「保持簡單」。(笑聲) 我打開一本雜誌,而Visa的品牌形象是「商業在於簡單」 。我洗相片時,柯達的廣告是「保持簡單」。所以我覺得很奇怪,簡單總是如影隨形。我打開電視,我是不常看電視的,顯然你知道這個人,芭莉絲希爾頓。她主持「簡單生活」這個電視實境秀,所以我看了這個節目。節目內容並不是很簡單,而是有點混亂。(笑聲)所以,我想找一個不同的節目來看。我打開了電視節目指南,在E!頻道,這個「簡單生活」節目很受歡迎,他們重播了一遍又一遍。(笑聲)
所以事實上,它可以說是一種精神創傷。我想再次逃脫,所以我開車出門到了鱈魚角,那裡有田園詩般的美麗道路,任何人都可以在這樣的環境中開車。當你開車時,這些標誌是非常重要的。這是一個非常簡單的標誌,它寫著,「道路」和「道路分岔」,所以我一路上是沿路駕駛著,好,然後我看到這個標誌。(笑聲) 所以,我認為複雜是向我突襲,所以我想,「啊,簡單,非常重要」。但後來我想「哦,簡單,在沙灘上時那又會像什麼呢?如果天空41%是灰色的,那就不算是完美的天空嗎? 」我的意思是簡單的天空。
但實際上,天空看上去像這樣,它是美麗而複雜的天空,混合著粉紅色和藍色,我們無法不愛複雜性。我們人類熱愛複雜的東西,我們喜歡一切的關係,我們非常複雜,因此,我們喜歡這樣的東西。我在一個被稱為媒體實驗室的地方,或許你們有些人聽過這個地方,由貝聿銘所設計,他是最著名的現代主義建築師之一。現代主義是指白色的箱子,這是一個完美的白箱子 。(笑聲)
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So, I went to the Cape last summer to hide from simplicity, and I went to the Gap because I only have black pants. So I went and bought khaki shorts or whatever, and unfortunately their branding was all about "Keep It Simple." (Laughter) I opened up a magazine, and Visa's branding was, "Business Takes Simplicity." I develop photographs, and Kodak said, "Keep it Simple." So I felt kind of weird that simplicity was sort of following me around.
So, I turned on the TV, and I don't watch TV very much, but you know this person -- this is Paris Hilton, apparently. And she has this show, "The Simple Life." So I watched this. It's not very simple, a little bit confusing. (Laughter) So, I looked for a different show to watch. So, I opened up this TV guide thing, and on the E! channel, this "Simple Life" show is very popular. They'll play it over and over and over. (Laughter) So it was traumatizing, actually.
So I wanted to escape again, so I went out to my car, and Cape Cod, there are idyllic roads -- and all of us can drive in this room. And when you drive, these signs are very important. It's a very simple sign, it says, "Road" and "Road approaching." So I'm mostly driving along,okay, and then I saw this sign. (Laughter) So, I thought complexity was attacking me suddenly, so I thought, "Ah, simplicity --very important."
But then I thought, "Oh, simplicity, what would that be like on a beach? What if the sky was 41 percent gray -- wouldn't that be the perfect sky?" I mean that simplicity sky. But in reality the sky looked like this; it was a beautiful, complex sky.
You know, with the pinks and blues. We can't help but love complexity. We're human beings; we love complex things. We love relationships. We're very complex. So we love this kind of stuff.
I'm at this place called the Media Lab. Maybe some of you guys have heard of this place. It's designed by I. M. Pei, one of the premier modernist architects. Modernism means white box, and it's a perfect white box.
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你們之間有些人是企業家之類的。上個月我在Google,哇噢,那個餐廳,夠看頭。各位在矽谷有股票認購權,而在學術界,我們則得到頭銜,一大堆的頭銜。去年TED的演講中,這些都是我的頭銜,我有很多頭銜。我有個不在檯面上的頭銜——一堆女兒的父親。今年在TED的演講中,我很高興告訴大家,我有了新頭銜,除了先前的頭銜之外,像是副研究員主任。這也發生了,所以我現在有5個女兒。(笑聲) 這是我的孩子Reina,謝謝。事實上我的生活因為嬰兒而變得複雜得多,不過沒關係,我想我們將繼續維持婚姻。
但當我回顧兒時,你看,我生長在一個西雅圖的豆腐廠中。很多人可能不喜歡豆腐,因為你沒嚐過好豆腐。但豆腐是一種很好的食品,是非常簡單的一種食物,只是製作豆腐的工作非常艱苦。孩童時,我們凌晨一點起床,工作到晚上六點,每週工作六天,我父親有點像Andy Grove,對競爭很偏執。因此常常每週工作七天,家族企業等於童工,我們是很好的模範。所以我喜歡上學,學校很棒,也許是因為上學,才使我能夠進入媒體實驗室這樣的地方,我不確定。(笑聲) 謝謝。
但媒體實驗室是一個有趣的地方,它對我很重要。大學時,我主修資訊科學,後來在生命中我發現了設計。然後Muriel Cooper這個人,誰聽過Muriel Cooper?Muriel Cooper? 她很令人驚訝吧?Muriel Cooper,她很古怪,她是個TED人。事實上,她向我們展示了如何使電腦再度變漂亮,她是我生活中非常重要的人。因為就是她叫我離開麻省理工學院到藝術學校去,這是我曾聽過最好的建議了。因為她,我到藝術學校去了,她於1994年去世,而我被麻省理工學院聘請回去接替她的位子,但這是很艱難的工作。Muriel Cooper是令人驚嘆的人。
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And some of you guys are entrepreneurs, et cetera, whatever. Last month I was at Google, and boy, that cafeteria, man. You guys have things here in Silicon Valley like stock options. See, in academia, we get titles, lots of titles.
Last year at TED, these were all my titles. I had a lot of titles. I have a default title as a father of a bunch of daughters. This year at TED, I'm happy to report that I have new titles in addition to my previous titles. Another Associate Director of Research. And this also happened, so I have five daughters now. (Laughter) That's my baby Reina. Thank you. And so my life is much more complex because of the baby, actually, but that's okay. We will still stay married, I think.
But -- looking way back when I was a child -- you see, I grew up in a tofu factory in Seattle. Many of you may not like tofu because you haven't had good tofu, but tofu's a good food. It's a very simple kind of food. It's very hard work to make tofu. As a child we used to wake up at one AM and work till six PM, six days a week. My father was kind of like Andy Grove, paranoid of the competition. So often, seven days a week. Family business equals child labor.
We were a great model. So I loved going to school. School was great, and maybe going to school helped me get to this Media Lab place, I'm not sure. (Laughter) Thank you. But the Media Lab is an interesting place, and it's important to me because as a student, I was a computer science undergrad, and I discovered design later on in my life.
And there was this person, Muriel Cooper. Who knows Muriel Cooper? Muriel Cooper? Wasn't she amazing? Muriel Cooper. She was wacky. And she was a TEDster, exactly, and she showed us -- she showed the world how to make the computer beautiful again. And she's very important in my life, because she's the one that told me to leave MIT and go to art school. It was the best advice I ever got. So I went to art school, because of her. She passed away in 1994, and I was hired back to MIT to try to fill her shoes, but it's so hard. This amazing person, Muriel Cooper.
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當我在日本時,我去一所日本的藝術學校,我有一個很好的工作環境,因為我接觸到了Paul Rand。你們有些人知道Paul Rand,最棒的平面設計師,對不起,是說除了你們以外。偉大的設計師Paul Rand設計了IBM商標,西屋商標。他總是說,「我設計過一切東西」,Ikko Tanaka是我生命中非常重要的導師。他是日本的Paul Rand,設計了日本大部份的主要商標,像三宅一生,還有無印良品。
當你擁有一些導師,昨天Kareem Abdul-Jabbar談到導師,這些你生命中的人。問題是他們都死了,這是一件悲哀的事,但事實上以某種方式來看是一件快樂的事。因為你能記住他們的純粹形式。我認為導師多少在某種程度上教化了我們,當年紀漸長,有時會不知所措,導師能讓我們平靜下來。我很感謝我的導師,我相信你們所有人也有同感。
在麻省理工學院,人際關係並不容易 ,T不是指「人」,而是代表「技術」。正因為如此,我一直想知道關於「人」的事。所以,我一直用Google搜尋 「人」這個字,看看我能找到多少筆相關資料。2001年是26萬筆,而電腦,因為電腦多少有一點相對於人類,我搜尋到42萬筆,讓我當一下高爾吧。因此,如果做個比較,就像這樣,你會看到電腦對人類。過去一年我一直在追踪這個數據,電腦對人類的比例在過去一年中發生了變化,過去大都接近2比1,現在,人類正在迅速趕上。好極了,我們人類趕上了電腦,在簡單的領域中這也很有趣。所以如果你將複雜與簡單作比較,它也以同樣方式趕上。因此,我想人類和簡單是交織在一起的。
我要坦承一件事:我不是一個簡單的人,我整個職業生涯早期都在做複雜的東西,許多複雜的東西。我寫電腦程式做出像這複雜的圖形,我為日本客戶做出相當複雜的東西,就像這樣,對這一切我一直感覺不太好。所以,我將這些藏在時間維度中,我創造了一些時間維度的圖形。
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When I was in Japan -- I went to an art school in Japan -- I had a nice sort of situation, because somehow I was connected to Paul Rand. Some of you guys know Paul Rand, the greatest graphic designer -- I'm sorry -- out there. The great graphic designer Paul Rand: designed the IBM logo, the Westinghouse logo -- he basically said, "I've designed everything." And also Ikko Tanaka was a very important mentor in my life -- the Paul Rand of Japan. He designed most of the major icons of Japan like Issey Miyake's brand, and also Muji.
When you have mentors -- and yesterday Kareem Abdul-Jabbar talked about mentors, these people in your life -- the problem with mentors is they all die. This is a sad thing, but it's actually a happy thing in a way, because you can remember them in their pure form. I think that the mentors that we all meet sort of humanize us. When you get older, and you're all freaked out, whatever, the mentors calm us down. And I'm grateful for my mentors, and I'm sure all of you are too.
Because the human thing is very hard when you're at MIT. The T doesn't stand for "human," it stands for "technology." And because of that, I always wondered about this human thing. So, I've always been Googling this word "human," to find out how many hits I get. And in 2001 I had 26 million hits, and for a computer, because computers are against humans a bit,
I have 42 million hits. Let me do an Al Gore here. So, if you sort of compare that, like this, you'll see that computer-versus-human -- I've been tracking this for the last year -- computer-versus-human over the last year has changed. It used to be kind of two to one. Now, humans are catching up. Very good, us humans: we're catching up with the computers. In the simplicity realm, it's also interesting, so if you compare complexities to simplicity, it's also catching up in a way, too. So, somehow humans and simplicity are intertwined, I think.
I have a confession: I'm not a man of simplicity. I spent my entire early career making complex stuff. Lots of complex stuff. I wrote computer programs to make complex graphics like this. I had clients in Japan to make really complex stuff like this. And I've always felt bad about it in a sense. So I hid in a time dimension: I built things in a time-graphics dimension.
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我為資生堂做這個系列的日曆。這是一個1997年以花為主題的日曆,這是煙火日曆,所以,你將數字發射到空中。因為日本人認為,當你看到煙火時,由於某種原因你會冷靜下來,這就是為什麼他們在夏季放煙火,一個非常極端的文化。最後,這是一個以秋天為背景的日曆。因為我的院子裡有太多葉子了,所以本質上這是我院子裡的葉子。我做出很多這一類的東西,很幸運地,我比其它人先一步做出這些種東西,我做出所有令你眼花撩亂的東西,我感覺並不好。
明天Paola Antonelli要做一場演講,我愛Paola。她現在在紐約現代藝術博物館作展出一些早期作品,在紐約現代藝術博物館展出,就掛在牆上。如果你在紐約,就去看看吧。不過有個問題,因為我做這些會飛的東西,人們說,「哦,我知道你的作品,你是做「視覺糖果(視覺特效)那個傢伙」。而當有人告訴你這些,你會覺得有點怪異。「視覺糖果」,有點輕蔑,你不覺得嗎? 所以我說,「不,我做的是視覺紅肉」。(笑聲)視覺紅肉是不同的東西,它有更多的纖維,或許更為強大,但,視覺紅肉會是什麼模樣? 事實上,我一直對電腦程式很感興趣,電腦程式基本上是樹狀圖。當你用電腦程式製作藝術時會產生一種問題。每當你用電腦程式創作藝術時,你總是在樹上,而矛盾的是,若要創造優質藝術,你會想離開樹。所以,這是某種我發現的複雜性。
為了要離開樹,我開始用我的舊電腦。我在2001年將這些帶到東京來做電腦產品,這是一種新的輸入方式。在我的舊color Classic電腦上,用這個你輸入不了多少東西。我還發現一個紅外線滑鼠能感應CRT顯示器的射線,並開始自行移動,所以這是一個自動繪圖機器。還有一年,這個有著G3邦迪藍顏色的東西,這個小盒子會發出,像「危險」或「喂」之類的聲音。但我認為:「這是非常有趣的,如果我做一個汽車碰撞測試呢?」所以,我做了一個撞擊測試。(笑聲)
也做了關於這些影響的測量,我做這些事,只是為了瞭解這些東西。(笑聲)
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I did this series of calendars for Shiseido. This is a floral theme calendar in 1997, and this is a firework calendar. So you launch the number into space, because the Japanese believe that when you see fireworks you're cooler for some reason. This is why they have fireworks in the summer. A very extreme culture. Lastly, this is a fall-based calendar, because I have so many leaves in my yard. So this is the leaves in my yard, essentially.
And so I made a lot of these types of things. I've been lucky to have been there before people made these kind of things, and so I made all this kind of stuff that messes with your eyes. I feel kind of bad about that. Tomorrow, Paola Antonelli is speaking; I love Paola. She has this show right now at MoMA where some of these early works are here on display at MoMA, on the walls. If you're in New York, please go and see that.
But I've had a problem because I make all this flying stuff and the people say, "Oh, I know your work, you're the guy that makes eye candy." And when you're told this, you feel kind of weird. "Eye candy" -- sort of pejorative, don't you think? So I say, "No, I make eye meat," instead. (Laughter) And eye meat is something different, something more fibrous, something more powerful, perhaps. But what could that be, eye meat?
I've been interested in computer programs all my life, actually. Computer programs are essentially trees, and when you make art with a computer program, there's kind of a problem. Whenever you make art with a computer program, you're always on the tree, and the paradox is that for excellent art, you want to be off the tree. So, this is sort of a complication I've found.
So to get off the tree, I began to use my old computers. I took these to Tokyo in 2001 to make computer objects. This is a new way to type, on my old color Classic. You can't type very much on this. I also discovered that an IR mouse responds to CRT emissions and starts to move by itself, so this is a self-drawing machine. And also one year, the G3 bondi blue thing, that caddy would come out, like, dangerous, like, "whack," like that. But I thought, "This is very interesting. What if I make like a car-crash test?" So I have a crash test. (Laughter) And sort of measure the impact. Stuff like this are things I made just to sort of understand what these things are.
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不久後,911事件發生了,我非常沮喪。我很關注當代藝術,這是所有關於小便和某些真正悲慘的事情,所以我想思考的一些令我高興的事,所以我著重於食物這個領域,這些是橘子皮之類的東西。在日本,剝橘子皮是一件美妙的事。就只剝成一整片,誰以前這樣做過?一整片的橘子皮?噢,你們若還沒這樣做過,真是損失了很多樂趣呢。這是非常好的,我發現我可以把它雕塑成,另一種不同的形式。如果將它們迅速乾燥,您可以做成大象、方向盤及其它東西。我妻子不喜歡這些。因為它們會發霉,所以我必須停止。
所以我回到電腦上,我買了5包大薯條。將它們全都做掃描,我一直在尋找某種食物的主題,我寫了一些軟體讓它可以自動擺放薯條影像。孩提時期,我聽過這首歌,你知道,「噢,真美,寬敞的天空,稻穗的金黃色波浪」,所以我做了這個金黃色波浪的影像。這是由薯條做出的中西部玉米田。孩提時,我是班上最胖的,我一向喜愛奇多,噢,我愛奇多,真美味。所以,我要以某種方式玩奇多,我不是很肯定怎麼做,我發明了奇多顏料,奇多顏料是用一個非常簡單的方法來使用奇多畫畫。(笑聲) 我發現奇多是很好的表現材料。因為這些奇多,我開始思考:「我能夠用這些奇多做什麼?」,於是我開始讓薯片一片片排列,還有德國椒鹽蝴蝶脆餅,我尋找某種形式。最後我做了100隻薯條蝴蝶,你看到了嗎?(笑聲) 而每隻薯條蝴蝶都由不同碎片組成, 有人們問我那個觸角是怎麼做的。有時他們在食物中發現頭髮,那就是我的頭髮 ,我的頭髮很乾淨,沒關係的。
我是終身教授,基本上這意味著,我再也不用工作了。這是一個奇怪的業務模式,我可以每天將5張紙釘在一起,一面喝著我的拿鐵,一面盯著它看,就這樣過一天。(笑聲) 但我意識到,這樣生活可能會非常沉悶,所以我一直在思考著生活,然後我注意到我的相機。我的數位相機對我的車,一件非常奇怪的事。我的車這麼大,相機是如此之小,但相機手冊卻比汽車手冊大的多,這一點也不合理。(笑聲)
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Shortly after this, 9/11 happened, and I was very depressed. I was concerned with contemporary art that was all about piss, and sort of really sad things, and so I wanted to think about something happy, so I focused on food as my area -- these sort of clementine-peel things. In Japan, it's a wonderful thing to remove the clementine peel just in one piece. Who's done that before? One-piece clementine? Oh, you guys are missing out if you haven't done it yet. It was very good, and I discovered I can make sculptures out of this, actually, in different forms. If you dry them quick, you can make, like, elephants and steers and stuff, and my wife didn't like these because they mold, so I had to stop that.
So I went back to the computer, and I bought five large fries, and scanned them all. And I was looking for some kind of food theme, and I wrote some software to automatically lay out french-fry images. And as a child, I'd hear that song, you know, "Oh beautiful, for spacious skies, for amber waves of grain," so I made this amber waves image. It's sort of a Midwest cornfield out of french fries.
And also as a child, I was the fattest kid in class, so I used to love Cheetos. Oh, I love Cheetos, yummy. So, I wanted to play with Cheetos in some way. I wasn't sure where to go with this. I invented Cheeto paint. Cheeto paint is a very simple way to paint with Cheetos. (Laughter) I discovered that Cheetos are good expressive material. And with these Cheetos I began to think, "What can I make with these Cheetos?"
And so I began to crinkle up potato chip flecks, and also pretzels. I was looking for some kind of form, and in the end I made 100 butter-fries. Do you get it? (Laughter) And each butter-fry is composed of different pieces. People ask me how they make the antenna. Sometimes they find a hair in the food; that's my hair. My hair's clean; it's okay.
I'm a tenured professor, which means, basically, I don't have to work anymore. It's a strange business model. I can come into work everyday and staple five pieces of paper and just stare at it with my latte. End of story. (Laughter) But I realized that life could be very boring, so I've been thinking about life, and I notice that my camera -- my digital camera versus my car -- a very strange thing. The car is so big, the camera is so small, yet the manual for the camera is so much bigger than the car manual. It doesn't make any sense.
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所以,有一次在鱈魚角時,我輸入「簡單」這個字。我發現,用奇怪的奈特沙馬蘭方式,我發現字母「M-I-T」,你知道這個字吧? 在「簡單」和「複雜」這兩個字中,「M-I-T」出現了完美的序列。這有點怪異,不是嗎? 所以我想也許今後二十年我會為此做些什麼。我寫「簡單法則」這本書。這是一本很簡短的書,有十個法則和三個關鍵,關於十個法則和三個關鍵。我就不多說了,這就是為什麼我會寫一本書,這也是為什麼它在網路是免費閱覽的。但法則在某些方面有點像壽司:有各式各樣的。
在日本,他們說壽司是一種挑戰。你知道一是最具挑戰性的,因此十也是挑戰。事實上,人們討厭十這個數字就和憎恨一樣,這三個關鍵很容易吸收。這是星鰻,已經煮熟了,很方便吃。所以,稍後隨著簡單法則享受你的壽司餐吧。因為我想為你將它們簡化,因為這就是我所要傳達的,我必需簡化這件事。所以,如果我簡化了簡單法則,我有了所謂「餅乾對衣服」這個理論。
任何有孩子的人都知道,如果你給孩子一片大餅乾或一片小餅乾,他們會拿哪一塊?大餅乾。你可以告訴他們說小餅乾中有Godiva巧克力,但沒用,他們還是要大餅乾。但是,如果你給孩子兩堆要折的衣服,大堆或小堆,他們會選擇什麼?奇怪,一定不是大堆的。所以,我認為就是這麼簡單。當你想要更多,那是因為你想享受它,當你想較少,那是因為它跟工作有關。因此,歸結來說,簡單跟生活相關,多一點享受和少一點痛苦。我認為「多對少」就是一種簡單。基本上,它一向要視情況而定。我寫這本書,因為我想弄清楚生活。我愛生活,我喜歡活著,我喜歡看萬事萬物。因此,生命是一個大問題,我認為,就在於簡單。因為你試圖簡化你的生活。
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So, I was in the Cape one time, and I typed the word, "simplicity," and I discovered, in this weird M. Night Shyamalan way, that I discovered letters, "M-I-T," you know the word? In the words "simplicity" and "complexity," "M-I-T" occur in perfect sequence. It's a bit eerie, isn't it? So I thought maybe I'll do this for the next twenty years or something.
And I wrote this book, "The Laws of Simplicity" -- it's a very short simple book. There are ten laws and three keys. The ten laws and three keys, I won't go over them because that's why I have a book, and also that's why it's on the web for free. But the laws are kind of like sushi in a way: there are all kinds. In Japan, they say that sushi is challenging. You know the uni is the most challenging, so number ten is challenging -- people hate number ten like they hate uni, actually. The three keys are easy to eat, so this is anago, cooked already, so easy to eat. So enjoy your sushi meal later, with the Laws of Simplicity. Because I want to simplify them for you. Because that's what this is about; I have to simplify this thing.
So, if I simplify the Laws of Simplicity, I have what's called the "cookie versus laundry" thing. Anyone who has kids knows that if you offer a kid a big cookie or a small cookie, which cookie are they going to take? The big cookie. You can say the small cookie has Godiva chocolate bits in it, but it doesn't work. They want the big cookie. But if you offer kids two piles of laundry to fold, the small pile or the big pile, which will they choose?
Strangely, not the big pile. So, I think it's as simple as this. You know, when you want more, it's because you want to enjoy it; when you want less, it's because it's about work. And so, to boil it all down, simplicity is about living life with more enjoyment and less pain. I think this is sort of simple more-versus-less. Basically it always depends. This book I wrote because I want to figure out life. I love life. I love being alive. I like to see things. And so life is a big question, I think, in simplicity, because you're trying to simplify your life.
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我只是喜歡看世界,世界是一個了不起的地方,在TED演講中我們可以同時看到這麼多事情。我無法抗拒的喜愛看著世上的一切,就像你每次醒來看到的一切一樣。世界上一切的經驗都是如此令人感到喜悅,從來自奇怪酒店大廳的一切事物,到放在你窗口的保鮮膜。我家前面的道路是暗黑色,有一隻白蛾躺在那裡死在陽光下。所有的一切都使我迷戀,就像我在這裡一樣興奮,因為生命是有限的。這是資生堂董事長給我的,他是研究老化專家,橫軸是年齡,12歲、24歲、74歲、96歲,這是一些醫療數據。因此,腦力在60歲時最強 ,60歲以後,它下降了,逐漸衰退 。
如果看看你的體力,在麻省理工學院有很多自以為是的新生,所以我告訴他們:「哦,你的身體確實越來越強。但在你20歲末30歲中,細胞逐漸死亡」。這會讓他們更加努力地工作,有時候啦。如果你有眼光,那是很有趣的。從嬰兒時期開始,你的眼光越變越好,也許在你十幾歲、二十出頭時,你正在尋找一個伴侶,之後你的眼光就越變越差了。(笑聲) 你的社會責任非常有趣。因此,當你變老,你可能會想要有孩子什麼的,然後孩子們畢業,你不再有什麼責任了。這也是非常好的事。但如果有人問說:「什麼是確實會提升的呢?會有嗎?什麼部份是會增長的,你知道嗎」?我認為是智慧。我愛這些80、90歲的老傢伙和老婦人,他們有很多想法,他們有如此多的智慧。
我想,你知道,就像TED這樣的活動,我曾來過這裡。這是第四次,我想我是來這裡尋求這種智慧的。整個TED的影響就是以某種方式提升你的智慧,所以我很高興來到這裡,我非常高興能在這裡,Chris。這對我來說也是一個了不起的經歷。
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And I just love to see the world. The world is an amazing place. By being at TED we see so many things at one time. And I can't help but enjoy looking at everything in the world. Like everything you see, every time you wake up. It's such a joy to sort of experience everything in the world. From everything from a weird hotel lobby, to Saran wrap placed over your window, to this moment where I had my road in front of my house paved dark black, and this white moth was sitting there dying in the sun.
And so, this whole thing has struck me as exciting to be here, because life is finite. This was given to me by the chairman of Shiseido. He's an expert in aging. This horizontal axis is how old you are -- twelve years old, twenty-four years old, seventy-four, ninety-six years old -- and this is some medical data. So brain strength increases up to 60, and then after 60, it sort of goes down. Kind of depressing in a way.
Also if you look at your physical strength. You know, I have a lot of cocky freshmen at MIT, so I tell them, "Oh, your bodies are really getting stronger and stronger, but in your late twenties and mid-thirties, cells, they die." OK. It gets them to work harder, sometimes. And if you have your vision, vision is interesting. As you age from infant age, your vision gets better, and maybe in your late teens, early twenties, you're looking for a mate, and your vision goes after that. (Laughter)
Your social responsibility is very interesting. So as you get older, you may, like, have kids, whatever. And then the kids graduate, and you have no responsibility any more -- that's very good too.
But if any of you people ask, "What actually goes up? Does anything go up? What's the positive part of this, you know?" I think wisdom always goes up. I love these eighty-year-old, ninety-year-old guys and women. They have so many thoughts, and they have so much wisdom, and I think -- you know, this TED thing, I've come here. And this is the fourth time, and I come here for this wisdom, I think. This whole TED effect, it sort of ups your wisdom, somehow. And I'm so glad to be here, and I'm very grateful to be here, Chris. And this is an amazing experience for me as well.