Human beings have one foot in the familiar and one foot in the novel. And we're actually biologically built to be that way.
人類一半是現實主義的，另一半是理想主義的。實際上，這與我們人類的身體構造是一致的。
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.
我們不願意使用自動駕駛，不想在“土撥鼠日”還做著日復一日同樣的事情，不斷的對同樣人講同樣事。另一方面，我們不希望用其他新的方法開門，不希望重力顛倒過來，也不希望每次翻開報紙時，字母都雜亂無章。
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.
我們想要的是兩者的結合。在新奇和熟悉之間找到一個平衡點，但是我們要找的最佳平衡點並不是一個公式。
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.
而是一個持續的實驗。所以在生活中，我們總是在那些令我們感到安心的基本準則與沒有任何兜底保障的自由發揮之間遊走。
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.
通常我們認為最有創造力的人是那些直接就能跳到正確答案的人，他們往往在一開始就有靈感。實際上，如果仔細觀察，會發現他們的靈感通常來自多種選擇。
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.
如同畢加索之於藝術、貝多芬之於作曲，而在他的作品背後，隱藏著貝多芬留下的大量草稿。當你去看這些草稿，你會發現他們就是在嘗試一個又一個想法，對所有靈感進行加工，並且不擦除任何想法，不斷找出各種選擇。
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.
然後從中挑出他最喜歡的一個。所以我會讓我的學生們丟掉橡皮，多準備一些紙。
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.
千萬不要對待你的想法像海水對待沙灘上的沙堡一樣，一下子全部抹除乾淨，而是要保留所有的想法，這樣你就會有最大限度的選擇餘地從中選出你的最終方案。你要盡力想出多種解決方案。
And you constantly challenge yourself. It's not good enough to have one answer. It's not good enough to have three answers.
並且不斷挑戰自己。只有一個答案是不夠的。有兩三個答案也還不夠。
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.
讓我想出七個可行的解決方法。物理學家理查德·費恩曼說，他之所以能獲得諾貝爾物理學獎，是因為他不斷的訓練自己通過不同的方法得出正確答案。
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.
這樣，如果他遇到困難，他就可以找到另一種解決問題的方式。這對任何想要創造性地解決問題的人來說，都是一種很好的態度。
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. '
第二點是要有探尋不同領域的意識。比如，你不想一直唸叨著“噢，我們會造一個紅色的建築，然後造一個一模一樣的綠色建築，然後再造一個藍色的。”
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?
這並沒有真正突破自己的創造極限。但是，你能做到把創新從人們非常熟悉的領域逐步擴大到完全陌生的領域嗎？
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.
如果你說，這是一個創造性的挑戰——讓我提出儘可能多的解決方案，還讓我填補從熟悉到陌生的空白地帶。最後你就會有非常健康的創新態度，然後你會積累很多想法，並不停的冒出新想法。
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