Human beings have one foot in the familiar and one foot in the novel. And we're actually biologically built to be that way.
人类一半是现实主义的，另一半是理想主义的。实际上，这与我们人类的身体构造是一致的。
We don't want to run on autopilot, we don't want to live Groundhog Day doing the same thing, saying the same thing to the same people all the time. On the other hand, we don't want doors to have new types of way you unlock them and gravity is flipping upside down, and the English language all the letters are scrambled everytime you open the newspaper.
我们不愿意使用自动驾驶，不想在“土拨鼠日”还做着日复一日同样的事情，不断的对同样人讲同样事。另一方面，我们不希望用其他新的方法开门，不希望重力颠倒过来，也不希望每次翻开报纸时，字母都杂乱无章。
We need some mixture of the two. Some sweet spot between novelty and familiarity, and the search for that sweet spot is not something with a formula.
我们想要的是两者的结合。在新奇和熟悉之间找到一个平衡点，但是我们要找的最佳平衡点并不是一个公式。
It's a constant experiment. And so in our own lives, we're constantly navigating between the things that are touchstones for us where we feel solidly grounded and the places where we're flying free and there isn't a net under us.
而是一个持续的实验。所以在生活中，我们总是在那些令我们感到安心的基本准则与没有任何兜底保障的自由发挥之间游走。
We often think that the most creative people are the ones who leap straight to the right answers and inspiration right from the getgo. But actually, when you look closely at it, inspiration is usually in the proliferation of a diversity of options.
通常我们认为最有创造力的人是那些直接就能跳到正确答案的人，他们往往在一开始就有灵感。实际上，如果仔细观察，会发现他们的灵感通常来自多种选择。
And what Picasso is to art, Beethoven is to composing, and in that behind his works lie an enormous reservoir of sketches that Beethoven left. And what you see when you look at those sketches is trying out ideas after idea after idea, working the material, never erasing anything, constantly figuring out all sorts of options.
如同毕加索之于艺术、贝多芬之于作曲，而在他的作品背后，隐藏着贝多芬留下的大量草稿。当你去看这些草稿，你会发现他们就是在尝试一个又一个想法，对所有灵感进行加工，并且不擦除任何想法，不断找出各种选择。
And then picking his favorite out of those. And so one thing that I'll tell my composition students is banish the eraser and have lots of paper.
然后从中挑出他最喜欢的一个。所以我会让我的学生们丢掉橡皮，多准备一些纸。
Never make it that you're trading over like treating your other ideas like sandcastles that get washed away by the sea, but rather preserve everything so you have the maximum array of choices from which to pull your ultimate decisions. You try to come up with as many possible solutions as you possibly can.
千万不要对待你的想法像海水对待沙滩上的沙堡一样，一下子全部抹除干净，而是要保留所有的想法，这样你就会有最大限度的选择余地从中选出你的最终方案。你要尽力想出多种解决方案。
And you constantly challenge yourself. It's not good enough to have one answer. It's not good enough to have three answers.
并且不断挑战自己。只有一个答案是不够的。有两三个答案也还不够。
Let me come up with seven possible answers to this. The physicist Richard Feynman said that his whole success as a Nobel prize winning physicist was that he trained himself constantly to come up with different ways of arriving at the right answer.
让我想出七个可行的解决方法。物理学家理查德·费恩曼说，他之所以能获得诺贝尔物理学奖，是因为他不断的训练自己通过不同的方法得出正确答案。
So if he ever hit a roadblock, he knew he could just jump to another way of approaching the problem. And that's just a wonderful attitude to have with whatever one is trying to wrestle with creatively.
这样，如果他遇到困难，他就可以找到另一种解决问题的方式。这对任何想要创造性地解决问题的人来说，都是一种很好的态度。
And the second is this concept of scouting the different distances. So you don't want to just stay iterating 'oh, we'll do a red building and then we'll do the same building green, and then we'll do it blue. '
第二点是要有探寻不同领域的意识。比如，你不想一直念叨着“噢，我们会造一个红色的建筑，然后造一个一模一样的绿色建筑，然后再造一个蓝色的。”
That's not really pushing the envelope very much. But can you do stuff that is fairly close to the familiar and broaden it all out into the completely whacky and everything in between?
这并没有真正突破自己的创造极限。但是，你能做到把创新从人们非常熟悉的领域逐步扩大到完全陌生的领域吗？
And if you set that as a creative challenge – let me come up with as many solutions as possible, and then let me fill this whole spectrum from the familiar to the whacky. Then you end up with a very healthy creative attitude, and you tend to be very stimulated with ideas and constantly coming up with new things.
如果你说，这是一个创造性的挑战——让我提出尽可能多的解决方案，还让我填补从熟悉到陌生的空白地带。最后你就会有非常健康的创新态度，然后你会积累很多想法，并不停的冒出新想法。
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