TED英语演讲福流幸福的秘密docWord下载.docx

1、下面是我为大家收集关于TED英语演讲：福流，幸福的秘密，欢迎借鉴参考。Flow, The Secret to Happiness演讲稿I 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

2、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 ar

3、t 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.我在欧洲长大，那时正好是二战时期，我是7岁到10岁的光景。我体会到，身边的大人没有几个能够经受得起战争带给他们的创伤，很少可以重建起一种正常的、舒心的、满意的、快乐的生活，因为他们的工作、家庭以及安全都因为战争而失去了。于是我开始对“什么让人生有价值”这一话题发生兴趣。那时我还是十几岁的孩子，不过已经开

4、始读哲学书，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，我意外地与心理学结了缘。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

5、a place that Id seen in the center of Zurich, and it was about flying saucers that he was going to talk. 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 talkin

6、g 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

7、 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.有一次，我去到了瑞士的一个滑雪胜地，身上分文都没有，也没地方可玩。那时雪已消融，我也没钱去看电影，但是我从报纸上看到说将会有一场演讲，地点是苏黎世市中心一个我去过的地方。他要讲的是飞碟。我就想，既然不能去看电影，但至少可以去听一下这个免费的讲

8、飞碟的演讲吧。那晚上的演讲非常有趣，那个演讲者没有讲绿皮肤的外星人，而是讲到欧洲人的心灵如何因二战而受到了创伤，因而就以放飞碟来自娱。他还讲到古印度的曼荼罗，也是在战后被放到空中，以此来重建一种秩序感。我对此很感兴趣，于是就开始读那个演讲者的书。那人的名字是卡尔荣格，当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

9、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 accommoda

10、te for inflation, has more than doubled, almost tripled, in that period. 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 aff

11、ect 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.后来就到了美国学习心理学。我开始探寻幸福之本源。这是很多人都展示过的一个研究结果（如图1），有很多个版本。比如，这个版本显示，自1956年有调查记录以来，有30%的美国受访公民说他们的生活非常快乐，这个比例

12、一点都没有变。但是同一时期的人均收入则翻了两倍以上，接近三倍。这一统计已经是把通货膨胀算进去了，可是结果基本是一致的。就是说，到了温饱线1000美元以上之后的某个点，物质生活水平的增加似乎不再会影响人们的幸福感。事实上你会发现，基本生活物资之匮乏会导致不幸福，但持续的物质财富之增长并不会带来更大的幸福。So my research has been focused more on - after finding out these things that actually corresponded to my own experience, I tried to understand: whe

13、re - 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

14、 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自身的经历不谋而合时，我就在研究里就开始询问：在正常的日常生活体验中，我们如何才会感到真正幸福?大概40年前，我开始了这些研究，我开始寻找那些有创造力的人士。首先是艺术家、科学家，然后是其他人，我试图去理解，是什么让他们感觉自己一生从事的事业是值得的，他们中的许多人终其一生所做的事情都不能带来荣誉或财富，但那样的事情使得他们的人生充

15、满意义和价值。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 a

16、n ecstatic state.这是1970年代美国最出色的一位作曲家，我对他的采访记录长达40页，而这一段话对他在采访中所讲的内容做了一个很好的总结。它描述了作曲家在作曲顺利时的感受，他将这种感受描述为一种狂喜的状态。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 ever

17、yday 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,

18、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

19、the places that people went to experience life in a more concentrated, more ordered form.“狂喜”（ecstasy，有狂喜、出神、忘形的意思）一词在希腊语里的意思是，站在某个事物的边上，后来就成为一种心理状态的代名词，用来形容你做的不是普通的日常事务。换言之，狂喜就是一种超越现实的感觉。有趣的是，当我们想起那些被公认为人类成就之巅峰的文明时，不管是中国、希腊、印度文明，还是玛雅或埃及文明，我们所听说的都是关于他们的狂喜的故事，而不是他们日常生活的琐事。我们知道他们建了大型的殿堂，人们可以去到那样的地方感受不

20、一样的现实。还有环形广场、竞技场、戏院，这些都是文明之遗迹，也是当时的人们经常光顾的地方。他们去到那里去体验一种更加专注、更具秩序的生活。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 t

21、he everyday life that were used to. 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, li

22、ke 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 sy

23、stem 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.这个人（作曲家）不需要去到

24、这样的地方。我们今天这个演讲现场也像是一个古希腊的圆形竞技场，这也是一个能带来狂喜的地方。我们正在参与的现实，也与日常生活完全不一样。但这个人（作曲家）任何地方都不用去，他只需一张纸，在上面写下小小的音符，在这样做的同时，他能在脑海里想象出从未有过的独特声音组合。只要他开始真正要创作，就像刚才珍妮弗的即兴演奏一样，他就进入了一种新的现实，进入狂喜。那是不一样的现实。他说，那是一种非常强烈的体验，他似乎感觉不到自己的存在。这听起来也许有点夸张的浪漫主义色彩，但事实上，我们的神经系统无法在一秒的时间里处理超过约110比特的信息。你在听我说话，并且尝试去理解其中的意思，这就相当于每秒处理约60比特的

25、信息。所以说，同时听懂两个以上的人说话是不可能的。你不可能同时做到这一点。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. His bod

26、y 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 s

27、eems 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. （Laughter）假如你真的是全身心的投入此间，像这位作曲家那样去创造一种新的东西，就不可能再有精力去感知身体的感觉，或是家里的问题。他不知饥饿与劳累，似乎整个躯体都消失了。在他的意识里不再有自己的存在，他没有那么多精力。事实上我们任何人都不可能做得到，因为做那样的事情确实需要全副身心的投入，他就不可能感知自己的存在了，他的存

28、在被暂时遗忘了。他自己也说，他的手似乎能够自动行事。我也许对着自己的手看两个星期，也不能看出有什么伟大或神奇的地方，因为我不是作曲家。（笑声）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 t

29、he 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 h

30、appens, 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 re

31、alms.这说明了什么?很显然，他所描述的这种自动的、自发的过程只有可能发生在一个受过严格训练以及培养了良好技艺的人身上。在创造力研究这一领域，有一个接近真理的说法是，没有20xx年时间在某个特定领域的技术知识积累，是不可能创造出什么奇迹的。不管是数学或音乐，都需要这样漫长的时间来达到一种全新的升华。他对此深有体会，他说，音乐仿佛是自己流淌了出来了。30年来，在我采访的众多人中，有许多都将这种体验描述为一种自发的流动，于是我把这种体验称为“福流体验”，它发生在许多不同的领域。For instance, a poet describes it in this form. This is by a

32、 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 wa