Name: 【TED】提姆．哈福特: 煩亂如何激發創意 (How frustration can make us more creative | Tim Harford)
Uploaded: 2017-03-18T21:59:57.000Z
Duration: 15 min 33 s

a 17-year-old German girl called Vera Brandes

一位名叫薇拉·布蘭德斯的 17歲德國女孩

walked out onto the stage of the Cologne Opera House.

It was lit only by the dim, green glow of the emergency exit sign.

黑暗的空間里，只有 緊急出口的綠色標誌亮著。

This was the most exciting day of Vera's life.

這是薇拉生命中最激動的時刻。

She was the youngest concert promoter in Germany,

她是德國最年輕的演奏會經紀人，

and she had persuaded the Cologne Opera House

舉辦美國音樂家， 凱斯·傑瑞特的

from the American musician, Keith Jarrett.

Jarrett would walk out on the same stage,

Vera was introducing Keith to the piano in question,

薇拉向凱斯展示的鋼琴 出了些問題，

Jarrett looked to the instrument a little warily,

Then the producer came over to Vera and said ...

"If you don't get a new piano, Keith can't play."

“如果沒有辦法送來一台新鋼琴， 凱斯會取消演奏。”

The opera house had provided the wrong instrument.

This one had this harsh, tinny upper register,

這台鋼琴的高音部 劣質而且刺耳，

因為鋼琴內部的毛氈磨損嚴重。

that would fill a large space such as the Cologne Opera House.

能夠填滿科隆歌劇院這樣 寬敞空間的聲音。

to get on the phone to try to find a replacement piano.

撥打電話試圖尋找 一台能夠替代的鋼琴。

at this bedraggled, rain-drenched German teenager,

這個被雨淋著渾身濕透的 德國年輕人，

“永遠別忘了...只是為了你。”

Jarrett did indeed step out onto the stage of the opera house,

他坐在這台 無法達到演奏標準的鋼琴面前

Within moments it became clear that something magical was happening.

Jarrett was avoiding those upper registers,

he was sticking to the middle tones of the keyboard,

which gave the piece a soothing, ambient quality.

這給了曲子一個舒緩， 音效環繞的品質。

But also, because the piano was so quiet,

he had to set up these rumbling, repetitive riffs in the bass.

他必須在低音區製造 重複出現的隆隆聲。

And he stood up twisting, pounding down on the keys,

desperately trying to create enough volume to reach the people in the back row.

拼命地想製造足夠的音量 讓後排的觀眾也能聽到。

and at the same time it's full of energy,

because the recording of the Köln Concert

is the best-selling piano album in history

and the best-selling solo jazz album in history.

也是歷史上最暢銷的個人爵士專輯。

凱斯·傑瑞特遇到了一個麻煩。

He had embraced that mess, and it soared.

他包容了這個麻煩， 讓麻煩變成了崛起的創意。

But let's think for a moment about Jarrett's initial instinct.

但是，讓我們想一想 傑瑞特最初的反應。

I think any of us, in any remotely similar situation,

我想我們中的每個人， 在任何相似的情況下，

would feel the same way, we'd have the same instinct.

會有同樣的感受， 我們會有同樣的反應。

We don't want to be asked to do good work with bad tools.

我們不想被要求 用糟糕的工具做好工作。

We don't want to have to overcome unnecessary hurdles.

I think we need to gain a bit more appreciation

for the unexpected advantages of having to cope with a little mess.

那些需要面對小麻煩的 出人意料的優勢。

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【TED】提姆．哈福特: 煩亂如何激發創意 (How frustration can make us more creative | Tim Harford)

awkward

cognitive

stick

instinct