My job is to design, build and study robots that communicate with people. But this story doesn't start with robotics at all, it starts with animation. When I first saw Pixar's "Luxo Jr.," I was amazed by how much emotion they could put into something as trivial as a desk lamp. I mean, look at them -- at the end of this movie, you actually feel something for two pieces of furniture. (Laughter) And I said, I have to learn how to do this. So I made a really bad career decision. And that's what my mom was like when I did it. (Laughter) I left a very cozy tech job in Israel at a nice software company and I moved to New York to study animation. And there I lived in a collapsing apartment building in Harlem with roommates. I'm not using this phrase metaphorically, the ceiling actually collapsed one day in our living room. Whenever they did those news stories about building violations in New York, they would put the report in front of our building. As kind of like a backdrop to show how bad things are.
我的工作是设计、构造和研究那些能够与人交流的机器人。不过这个故事不是从机器人说起，而是要从动画说起。当我第一次看到皮克斯的《顽皮跳跳灯》电影时，我惊呆了，一个如此微不足道的台灯竟能表现如此多的感情。你看他们啊！电影结尾的时候，你真的开始喜欢上这两件小小的家具了。（笑声）我对自己说，我要学会做这样的东西。所以我做了一个很坏的职业决策，我做出这个决定的时候，我妈妈就是这样的。（笑声）我辞去了在以色列一个软件公司的一份非常舒服的技术工作，我搬到了纽约去学习动画。在那，我和我的室友住在哈莱姆一栋即将坍塌的公寓楼里。我没有夸张，有一天天花板
真的塌下来了就塌在了我们的客厅里。每次报到纽约的违章建筑时，他们都会跑到们的大楼下进行采访。就好像让你看看现场有多糟糕一样。
Anyway, during the day I went to school and at night I would sit and draw frame by frame of pencil animation. And I learned two surprising lessons -- one of them was that when you want to arouse emotions, it doesn't matter so much how something looks, it's all in the motion -- it's in the timing of how the thing moves. And the second, was something one of our teachers told us. He actually did the weasel in Ice Age. And he said: "As an animator you are not a director, you're an actor." So, if you want to find the right motion for a character, don't think about it, go use your body to find it -- stand in front of a mirror, act it out in front of a camera -- whatever you need. And then put it back in your character.
言归正传，我上学的日日夜夜，我不停地一幅又一幅地用铅笔画着画。我学到了两个让我惊讶的东西——其中一个是：当你想要唤起某些情感时，外观并不算太重要，关键是动作——物体运动时，对时间的把握。关键是动作——物体运动时，对时间的把握。第二个是我们的一个老师告诉我们的。他正是电影《冰河世纪》的黄鼠狼。他说：”作为一个动画制作者，你不是一个导演，而是一个演员。“所以如果你要为一个角色找到正确的肢体语言，不要想，用你的身体找到它，站在镜子面前，摄像机前，演出来，无论你需要做什么。然后再把这个动作放在你的角色上。
A year later I found myself at MIT in the robotic life group, it was one of the first groups researching the relationships between humans and robots. And I still had this dream to make an actual, physical Luxo Jr. lamp. But I found that robots didn't
move at all in this engaging way that I was used to for my animation studies. Instead, they were all -- how should I put it, they were all kind of robotic. (Laughter) And I thought, what if I took whatever I learned in animation school, and used that to design my robotic desk lamp. So I went and designed frame by frame to try to make this robot as graceful and engaging as possible. And here when you see the robot interacting with me on a desktop. And I'm actually redesigning the robot so, unbeknownst to itself, it's kind of digging its own grave by helping me. (Laughter) I wanted it to be less of a mechanical structure giving me light, and more of a helpful, kind of quiet apprentice that's always there when you need it and doesn't really interfere. And when, for example, I'm looking for a battery that I can't find, in a subtle way, it will show me where the battery is. So you can see my confusion here. I'm not an actor. And I want you to notice how the same mechanical structure can at one point, just by the way it moves seem gentle and caring -- and in the other case, seem violent and confrontational. And it's the same structure, just the motion is different. Actor: "You want to know something? Well, you want to know something? He was already dead! Just laying there, eyes glazed over!" (Laughter) But, moving in graceful ways is just one building block of this whole structure called human-robot interaction. I was at the time doing my Ph.D., I was working on human robot teamwork; teams of humans and robots working together. I was studying the engineering, the psychology, the philosophy of teamwork. And at the same time I found myself in my own kind of teamwork situation with a good friend of mine who is actually here. And in that situation we can easily imagine robots in
the near future being there with us. It was after a Passover seder. We were folding up a lot of folding chairs, and I was amazed at how quickly we found our own rhythm. Everybody did their own part. We didn't have to divide our tasks. We didn't have to communicate verbally about this. It all just happened. And I thought, humans and robots don't look at all like this. When humans and robots interact, it's much more like a chess game. The human does a thing, the robot analyzes whatever the human did, then the robot decides what to do next, plans it and does it. And then the human waits, until it's their turn again. So, it's much more like a chess game and that makes sense because chess is great for mathematicians and computer scientists. It's all about information analysis, decision making and planning.
一年以后，我去了麻省理工大学（MIT）的机器人生命小组，这是最早开始研究人类和机器人关系的小组之一。我依然怀揣着要造一个真正的、可触碰的顽皮跳跳灯的梦想。但是我发现机器人完全不是按照我的动画课程中的那种引人入胜的方式移动。相反的，他们都——该怎么说呢？他们都有点儿机械化。（笑声）我就想，如果我可以把我在动画学校学到的东西应用于设计我的机器人台灯会怎样？因此我设计了一幅又一幅，试图让这个机器人尽量优雅、有吸引力。这里你可以看到这个桌子上的机器人在跟我互动，我其实是在重新设计这个机器人，而这个机器人完全不知道，它帮我，其实是在自掘坟墓呢。（笑声）比起把他它做成一个照明的机械，比起把他它做成一个照明的机械，我更想要一个能帮忙的、安静的学徒，随时满足你的需求却不打扰你。比如，当我要找一个我怎么也找不到的电池时，它可以巧妙地提醒我电池在哪里。你看到我的困惑了吗？我不是一个演员。我希望你们注意到，同一个机械如何在前一刻非常温柔、充满关怀，在前一刻
非常温柔、充满关怀，下一刻又显得非常暴力，有进攻性。一模一样的结构，改变的仅仅是动作。演员：”你想知道吗？你真的想知道吗？他已经死了！他就躺在那里，目光呆滞！“（笑声）但是，以一种优雅的方式移动只是这整个人类机器人互动结构的一块基石。那时候我正在攻读我的博士学位，我正在研究人类与机器人的团队合作，也就是人类和机器人一起合作。我在学习团队合作的工程学，心理学和哲学。同时，我意识到自己和我的一个好朋友（他今天也在这里），也碰到了一个团队合作的情境。在那个情境中，我们很容易想象不久的将来机器人会和我们在一起。那是在一个逾越节家宴结束后，我们要收起大量的折叠椅，我惊讶于我们迅速找到了各自的节奏。每个人都做了自己的那部分，无需分工，无需特意口头沟通。就这样发生了。于是我想，人类和机器人的互动却完全不是这样。当人类和机器人互动的时候，就好像他们在下象棋。人类走一步，机器人对此分析一下，然后机器人决定接下来怎么做，计划好，走下一步。这时候人类就等着，直到轮到他们玩为止。所以，人类和机器人的互动更像下象棋，这很好理解，因为对数学家和计算机科学家来说，象棋很好，它们都是关于信息分析、决策制定和计划。But I wanted my robot to be less of a chess player, and more like a doer that just clicks and works together. So I made my second horrible career choice: I decided to study acting for a semester. I took off from a Ph.D. I went to acting classes. I actually participated in a play, I hope theres no video of that around still. And I got every book I could find about acting, including one from the 19th century that I got from the library. And I was really amazed because my name was the second name on the list -- the previous name was in 1889. (Laughter) And this book was kind of waiting for 100 years to be rediscovered for robotics. And this book shows actors how to
move every muscle in the body to match every kind of emotion that they want to express.
但比起象棋玩家，我更希望我的机器人是一个行动者，但比起象棋玩家，我更希望我的机器人是一个行动者，可以和人类有默契地一起工作。于是我做了我人生中的第二个糟糕的职业决策：我决定学习一学期的表演课程。我放下了我的博士课程，去上了表演课。我还参与了一个戏剧，希望现在已经找不到那个视频了。我找到了每一本关于表演的书，其中包括一本从图书馆里借来的19世纪的书。我震惊地发现我的名字是借阅者名单上的第二个，之前的一个名字是1889年。（笑声）这本书已经躺了100年了，只为了借机器人之名被重新发现。这本书教演员如何调动他们身体上的每块肌肉来表达他们想要表达的情感。
But the real revelation was when I learned about method acting. It became very popular in the 20th century. And method acting said, you don't have to plan every muscle in your body. Instead you have to use your body to find the right movement. You have to use your sense memory to reconstruct the emotions and kind of think with your body to find the right expression. Improvise, play off yor scene partner. And this came at the same time as I was reading about this trend in cognitive psychology called embodied cognition. Which also talks about the same ideas -- We use our bodies to think, we don't just think with our brains and use our bodies to move. but our bodies feed back into our brain to generate the way that we behave. And it was like a lightning bolt. I went back to my office. I wrote this paper -- which I never really published called "Acting Lessons for Artificial Intelligence."
And I even took another month to do what was then the first theater play with a human and a robot acting together. That's what you saw before with the actors. And I thought: How can we make an artificial intelligence model -- computer, computational model -- that will model some of these ideas of improvisation, of taking risks, of taking chances, even of making mistakes. Maybe it can make for better robotic teammates. So I worked for quite a long time on these models and I implemented them on a number of robots. Here you can see a very early example with the robots trying to use this embodied artificial intelligence, to try to match my movements as closely as possible, sort of like a game. Let's look at it. You can see when I psych it out, it gets fooled. And it's a little bit like what you might see actors do when they try to mirror each other to find the right synchrony between them. And then, I did another experiment, and I got people off the street to use the robotic desk lamp, and try out this idea of embodied artificial intelligence. So, I actually used two kinds of brains for the same robot. The robot is the same lamp that you saw, and I put in it two brains. For one half of the people, I put in a brain that's kind of the traditional, calculated robotic brain. It waits for its turn, it analyzes everything, it plans. Let's call it the calculated brain. The other got more the stage actor, risk taker brain. Let's call it the adventurous brain. It sometimes acts without knowing everything it has to know. It sometimes makes mistakes and corrects them. And I had them do this very tedious task that took almost 20 minutes and they had to work together. Somehow simulating like a factory job of repetitively doing the same thing. And what I found was that people actually loved the adventurous robot.
And they thought it was more intelligent, more committed, a better member of the team, contributed to the success of the team more. They even called it 'he' and
'she,' whereas people with the calculated brain called it 'it.' And nobody ever called it 'he' or 'she'. When they talked about it after the task with the adventurous brain, they said, "By the end, we were good friends and high-fived mentally." Whatever that means. (Laughter) Sounds painful. Whereas the people with the calculated brain said it was just like a lazy apprentice. It only did what it was supposed to do and nothing more. Which is almost what people expect robots to do, so I was surprised that people had higher expectations of robots, than what anybody in robotics thought robots should be doing. And in a way, I thought, maybe it's time -- just like method acting changed the way people thought about acting in the 19th century, from going from the very calculated, planned way of behaving, to a more intuitive, risk-taking, embodied way of behaving. Maybe it's time for robots to have the same kind of revolution.
真正让我受到启示的是方法演技。它在20世纪的时候非常流行。方法演技指出，你不需要安排你的每一块肌肉，相反，你可以用你的身体找到对的动作。你应该运用你的感觉记忆，去重新建构情感，用你的身体找到对的表情。即兴发挥，根据你的场景搭档即兴表演。这个时候我也正读到认知心理学关于具身认知的东西，这也谈到同样的观点——即我们用我们的身体思考，我们并不是用大脑思考用身体表现，而是我们的身体反馈给大脑并做出相应的动作，这对我好像一道闪电。我马上回了我的办公室。我写了这篇论文，从来也没发表过，叫做《人工智能的表演课》。我甚至花了一个月的时间去做当时第一部由人类和机器人一起主演的戏剧。你之前看到的演员和机器人的表演就是这部戏剧。当
时我就想：我们怎样可以做出这样的人工智能模型——计算机、计算机模型等等，它们会即兴发挥、会冒险、甚至会犯错。它可能会是更好的机器人队友。因此我花了很多时间去研究这些模型，我还在几个机器人身上做了试验。这里你可以看到一个早期的例子，这个机器人试图运用具身人工智能来尽量模仿我的动作，就好像一个游戏。我们来看一下。你可以看到我可以糊弄它。有点像你可能看到的演员们互相模仿对方只为了找到他们之间的默契。然后，我又做了另外一个实验，我从大街上拉人来使用这个机器人台灯，试验具身人工智能。其实，同样的机器人我用了两个大脑，机器人就是你看到的这个台灯，我给了它两个大脑。对一半的人，我放入了一个传统的、机械计算的大脑。它会等，会分析，会计划，我们暂且称它为“会计算的大脑”。给另一半人则是那个舞台演员、爱冒险的大脑，我们暂且称它为“爱冒险的大脑”，有的时候它在并不知道所有事情的时候行动，有的时候它会犯错然后去纠正。我让他们完成一项无比乏味的任务，这个任务要花近20分钟，他们必须一起合作完成，有点类似在工厂工作，机械地重复一件事情。我发现人们非常喜欢那个“爱冒险的机器人”。他们觉得它非常聪明，非常忠心，是一个很好的团队成员，一起帮助团队成功。他们甚至称它为“他”和“她”，而另外那些人称那个“会计算的机器人”为“它”，没有人称它为“他”或“她”。任务完成后，那些与“会冒险的大脑”互动的人说：“最后，我们成了好朋友，还在脑内举手击掌了。”不管那是啥意思……（笑声）听上去很…（口齿不清）然而，那些与“会计算的大脑”互动的人则说“它就像一个懒徒弟，只做最基本的。“这基本上和同人对机器人期待一样，所以我有些惊讶，比起那些机器人研究专家，人们居然对机器人有更高的期望。但从另一个角度，我又想，也许就像方法演技改变了19世纪人们思考表演的方式一样，是时间改变这种通过精确计算的行为方式，而转向一种更直觉的、冒险的、用身体表现的行为方式。也许类似的机器人革命时间到了。
A few years later, I was at my next research job at Georgia Tech in Atlanta, and I was working in a group dealing with robotic musicians. And I thought, music, that's the perfect place to look at teamwork, coordination, timing, improvisation -- and we just got this robot playing marimba. Marimba, for everybody who was like me, it was this huge, wooden xylophone. And, when I was looking at this, I looked at other works in human-robot improvisation -- yes, there are other works in human-robot improvisation -- and they were also a little bit like a chess game. The human would play, the robot would analyze what was played, would improvise their own part. So, this is what musicians called a call and response interaction, and it also fits very well, robots and artificial intelligence. But I thought, if I use the same ideas I used in the theater play and in the teamwork studies, maybe I can make the robots jam together like a band. Everybody's riffing off each other, nobody is stopping it for a moment. And so, I tried to do the same things, this time with music, where the robot doesn't really know what it's about to play. It just sort of moves its body and uses opportunities to play, And does what my jazz teacher when I was 17 taught me. She said, when you improvise, sometimes you don't know what you're doing and you're still doing it. And so I tried to make a robot that doesn't actually know what it's doing, but it's still doing it. So let's look at a few seconds from this performance. Where the robot listens to the human musician and improvises. And then, look at how the human musician also responds to what the robot is doing, and picking up from its behavior. And at some point can even be surprised by what the robot came up with. (Music) (Applause)
几年后，我在亚特兰大的乔治理工大学做研究，我在一个研究机器人音乐家的小组工作。我想，音乐是可以很好的研究团队合作、配合、时间分配和即兴表演的领域，我们有这个玩马林巴的机器人。和我一样对乐器不在行的朋友，马林巴是一个巨大的木琴。我看着这个，又看了那些其它的人类和机器人的即兴互动，——没错，还有其它人和机器人即兴互动的项目——都差不多也是一个个象棋游戏式的互动。人类走一步，机器人对此分析，然后决定下一步。音乐家们称其为呼叫和应答互动，作为机器人和人工智能，这很合适。但是我想，如果我可以运用戏剧表演和团队合作中的研究发现，也许我可以让这些机器人组成一个乐队，每个人都在即兴发挥，没有人需要停下来。于是这次我尝试用音乐做试验，机器人并不知道它会演奏什么，它就这样移动它的身体，找机会演奏，做着我17岁时候的爵士老师教我的事情。她说，当你即兴表演的时候，有的时候，你并不知道你在做什么，但是你还是继续做。于是我尝试做一个不知道自己在做什么却仍然继续做的机器人。让我们来看一下这个表演的一个小片段。机器人听人类音乐家演奏然后即兴发挥。接着，看人类音乐家如何回应机器人的行为，回应机器人的行为，有时甚至被机器人的表现惊讶。（音乐）（掌声）
Being a musician is not just about making notes, otherwise nobody would ever go see a live show. Musicians also communicate with their bodies, with other band members, with the audience, they use their bodies to express the music. And I thought, we already have a robot musician on stage, why not make it be a
full-fledged musician. And I started designing a socially expressive head for the robot. The head does't actually touch the marimba, it just expresses what the music is like. These are some napkin sketches from a bar in Atlanta, that was dangerously located exactly halfway between my lab and my home. (Laughter) So I spent, I
would say on average, three to four hours a day there. I think. (Laughter) And I went back to my animation tools and tried to figure out not just what a robotic musician would look like, but especially what a robotic musician would move like. To sort of show that it doesn't like what the other person is playing -- and maybe show whatever beat it's feeling at the moment.
作为一个音乐家不仅仅是编写音符，否则没有人会去看现场表演了。音乐家也用他们的身体交流，和他们的乐队成员，和观众，他们用他们的身体来表现音乐。于是我想，我们已经有一个在舞台上的机器人音乐家，为什么不把它打造成一个真正的音乐家呢？于是我开始为机器人设计一个可以表现情感的头部。头部并不会碰到马林巴，它只是用来表现音乐是什么样的。这草图的纸巾来自亚特兰大某处一个酒吧，而且酒吧就正好在实验室和我家的正中间。（笑声）而且酒吧就正好在实验室和我家的正中间。（笑声）我大概平均每天有3到4个小时的时间在那里，“大概”…（笑声）我重新拾起了我的动画工具，试图想象不仅仅一个机器人音乐家的样子，特别是一个机器人音乐家会如何移动它的身体，来告诉人们它不喜欢其他人的演奏，还有它自己当下感觉到的节奏。还有它自己当下感觉到的节奏。
So we ended up actually getting the money to build this robot, which was nice. I'm going to show you now the same kind of performance, this time with a socially expressive head. And notice one thing -- how the robot is really showing us the beat it's picking up from the human. We're also giving the human a sense that the robot knows what it's doing. And also how it changes the way it moves as soon as it starts its own solo. (Music) Now it's looking at me to make sure I'm listening. (Music)
And now look at the final chord of the piece again, and this time the robot communicates with its body when it's busy doing its own thing. And when it's ready to coordinate the final chord with me. (Music) (Applause)
幸运的是，我们最终还获得了一笔造这样一个机器人的资金。接下来我给大家看一下同样的表演换成一个情感表现头的效果。注意一点：请观察这个机器人如何根据人类的演奏即兴发挥，也让人类知道，这个机器人知道它在做什么。还有独奏开始时，它是如何做出回应的。还有独奏开始时，它是如何做出回应的。（音乐）这会儿它正看着我确保我在听。（音乐）我们再看一下这段的最后一部分，现在机器人正在用它的身体进行沟通，当它正忙于做它自己的事情时，忙于准备跟我一起演奏最后的旋律。（音乐）（掌声）Thanks. I hope you see how much this totally not -- how much this part of the body that doesn't touch the instrument actually helps with the musical performance. And at some point, we are in Atlanta, so obviously some rapper will come into our lab at some point. And we had this rapper come in and do a little jam with the robot. And here you can see the robot basically responding to the beat and -- notice two things. One, how irresistible it is to join the robot while it's moving its head. and you kind of want to move your own head when it does it. And second, even though the rapper is really focused on his iPhone, as soon as the robot turns to him, he turns back. So even though it's just in the periphery of his vision -- it's just in the corner of his eye -- it's very powerful. And the reason is that we can't ignore physical things moving in our environment. We are wired for that. So, if you have a problem with maybe your partners looking at the iPhone too much or their
smartphone too much, you might want to have a robot there to get their attention. (Laughter) (Music) (Applause)
谢谢。我希望你能看到它的头部不碰到乐器其实有助于音乐表演！既然我们在亚特兰大，就不会没有说唱歌手参与到我们的试验中来。既然我们在亚特兰大，就不会没有说唱歌手参与到我们的试验中来。这个说唱歌手来了之后，我们让他和这个机器人一起表演。这里你可以看到这个机器人对节奏的回应，请注意两点。第一，当这个机器人在摇头晃脑的时候，你是不是也很想加入其中，和它一起晃动你的头部？第二，虽然这个说唱歌手非常专注于它的苹果手机，当机器人转向它的时候，他也马上转回来。虽然仅仅是在他的视线边缘——他的眼角的余光里，它仍然非常强大。这就是为什么我们不能忽视我们周边物体的移动。我们天生会这样做。所以，如果你的搭档很喜欢看它的苹果手机或智能手机，也许你需要一个机器人来获得他们的注意力。（笑声）（音乐）（掌声）
Just to introduce the last robot that we've worked on, that came out of something kind of surprising that we found: At some point people didn't care anymore about the robot being so intelligent, and can improvise and listen, and do all these embodied intelligence things that I spent years on developing. They really liked that the robot was enjoying the music. (Laughter) And they didn't say that the robot was moving to the music, they said that the robot was enjoying the music. And we thought, why don't we take this idea, and I designed a new piece of furniture. This time it wasn't a desk lamp; it was a speaker dock. It was one of those things you plug your smartphone in. And I thought, what would happen if your speaker dock didn't just play the music for you, but it would actually enjoy it too.
(Laughter) And so again, here are some animation tests from an early stage. (Laughter) And this is what the final product looked like. ("Drop It Like It's Hot") So, a lot of bobbing head. (Applause) A lot of bobbing heads in the audience, so we can still see robots influence people. And it's not just fun and games.
最后再为大家介绍一下我们最近在打造的一个机器人。说来也奇怪，我们发现到了某个阶段，人们不再对那些聪明的、会即兴表演、会聆听、会做那些我花了多年研究的身体智能表演的机器人感兴趣了。他们真的很喜欢那个会享受音乐的机器人。（笑声）他们没有说这个机器人是随着音乐扭动身体，而是说这个机器人在享受音乐。于是我们想，为什么不借用这个想法呢，因此我设计了一件新的小家具。这次不是一个台灯，而是一个扬声器底座，就是你可以把你的智能手机放上去的那种。于是我想，如果这个扬声器底座不仅可以为你放音乐，还可以享受音乐，会怎样？（笑声）这是早期的一些动画尝试。这是早期的一些动画尝试。这是最终的成品的样子。饶舌音乐不停的点头……（掌声）观众那里也有很多人在不停点头，因此我们可以看到机器人可以影响人。当然这一切不仅仅只是娱乐和游戏。
I think one of the reasons I care so much about robots that use their body to communicate and use their body to move -- and I'm going to let you in on a little secret we roboticists are hiding -- is that every one of you is going to be living with a robot at some point in their life. Somewhere in your future there's going to be a robot in your life. And if not in yours, then in your children's lives. And I want these robots to be -- to be more fluent, more engaging, more graceful than currently they seem to be. And for that I think that maybe robots need to be less like chess
players and more like stage actors and more like musicians. Maybe they should be able to take chances and improvise. And maybe they should be able to anticipate what you're about to do. And maybe they need to be able to make mistakes and correct them, because in the end we are human. And maybe as humans, robots that are a little less than perfect are just perfect for us. Thank you. (Applause)
我觉得自己非常热衷研究那些可以用身体沟通、用身体移动的机器人的一个原因是——我告诉你一个只有我们机器人专家知道的秘密——我们每一个人在生命的某个阶段都会需要机器人，你未来的某个阶段会有个机器人。如果不是你的未来，那么你的孩子的未来。我希望这些机器人比现在可以更流畅、更吸引人、更优雅。比现在可以更流畅、更吸引人、更优雅。因此，我觉得机器人不应该是像一个象棋玩家，而应该更像一个舞台演员或者音乐家。它们应该可以冒险，会即兴表演，甚至会预料到你接下来会做什么。它们也应该可以犯错并且改正，因为到头来，我们只是人类。也许对人类而言，不完美的机器人才是完美的。谢谢！
工作励志演讲稿3分钟范文3篇 工作励志演讲稿3分钟范文3篇 的朋友。当我来到大学的时候，我发现老师根本教不了我什么，然后我就在学校对面租了个小房子，开始我的二次创业。我从小到大都是一个不太招人喜欢的人，所以没有人会喜欢我，这让我很孤独。但有时候孤独让我成长得特别快，因为我知道只有靠我自己，我才能很努力、很努力地跑下去。今天我看到了在场很多年轻人，但我觉得今天很多年轻人一点都不年轻。什么叫年轻呢?我依稀记得我幼稚园的时候然后老师问一个问题，说哪个小朋友懂啊?我们都会举手，说，老师，我懂我懂。但是今天在座很多人其实不敢的，为什么?你怕答错，怕答错被人冷落、被别人否认。我觉得就是一些枷锁让你变得一点都不年轻，真正年轻就是把你的枷锁去掉。勇者无畏，没有枷锁，你就更有冲劲、更有勇气，去干更多更多更多的事情。别拿90后说事，90后也没什么了不起的。今天我看到整个社会，都在吹捧90后的时候，我觉得我们是不是应该向我们60后、70后、80后的前辈们致敬呢?是他们开创了这个时代给我们创造了一个很好很好的环境。所以我从来不称呼自己为90后，我说我是个年轻人，年轻的头脑、年轻的思想一直会流行，但90后一定会过去。谢谢大家!这段关于20岁青年人如何看待人生的演讲引起了许多TED粉丝的讨论，来自TEDx组织团队的David Webber就说： Meg指出最重要的一点便是青年人需要及早意识到积累经验和眼界，无论是20岁还是30岁，都是有利自己发展的重要事。”30岁不是一个新的20岁，生活决定权在于你自己。记得见我第一位心理咨询
顾客时，我才20多岁。当时我是Berkeley临床心理学在读博士生。我的第一位顾客是名叫Alex的女性，26岁。第一次见面Alex穿着牛仔裤和宽松上衣走进来，她一下子栽进我办公室的沙发上，踢掉脚上的平底鞋，跟我说她想谈谈男生的问题。当时我听到这个之后松了一口气。因为我同学的第一个顾客是纵火犯，而我的顾客却是一个20出头想谈谈男生的女孩。我觉得我可以搞定。但是我没有搞定。Alex不断地讲有趣的事情，而我只能简单地点头认同她所说的，很自然地就陷入了附和的状态。Alex说： “30岁是一个新的20岁。”没错，我告诉她“你是对的”。工作还早，结婚还早，生孩子还早，甚至死亡也早着呢。像Alex和我这样20多岁的人，什么都没有但时间多的是。但不久之后，我的导师就要我向Alex的感情生活施压。我反驳说： “当然她现在正在和别人交往，她现在和一个傻瓜男生睡觉，但看样子她不会和他结婚的。”而我的导师说： “不着急，她也许会和下一个结婚。但修复Alex婚姻的最好时期，是她还没拥有婚姻的时期。”这就是心理学家说的“顿悟时刻”。正是那个时候我意识到，30岁不是一个新的20岁。的确，和以前的人相比，现在人们更晚才安定下来，但是这不代表Alex就能长期处于20多岁的状态。更晚安定下来，应该使Alex的20多岁成为发展的黄金时段，而我们却坐在那里忽视这个发展的时机。从那时起我意识到，这种善意的忽视，确实是个问题，它不仅给Alex本身和她的感情生活带来不良后果，而且影响到处20多岁的人的事业、家庭和未来。人生如蜡烛一样，从顶燃到底，一直都是光明的。
Ted中英对照演讲稿 大人能从小孩身上学到什么 Now, I want to start with a question: When was the last time you were called childish? For kids like me, being called childish can be a frequent occurrence. Every time we make irrational demands, exhibit irresponsible behavior, or display any other signs of being normal American citizens, we are called childish, which really bothers me. After all, take a look at these events: Imperialism and colonization, world wars, George W. Bush. Ask yourself: Who's responsible? Adults. 首先我要问大家一个问题：上一回别人说你幼稚是什么时候？像我这样的小孩，可能经常会被 人说成是幼稚。每一次我们提出不合理的要求，做出不负责任的行为，或者展现出有别于普通美 国公民的惯常行为之时，我们就被说成是幼稚。这让我很不服气。首先，让我们来回顾下这些事件：帝国主义和殖民主义，世界大战，小布什。请你们扪心自问下：这些该归咎于谁？是大人。 Now, what have kids done? Well, Anne Frank touched millions with her powerful account of the Holocaust, Ruby Bridges helped end segregation in the United States, and, most recently, Charlie Simpson helped to raise 120,000 pounds for Haiti on his little bike. So, as you can see evidenced by such examples, age has absolutely nothing to do with it. The traits the word childish addresses are seen so often in adults that we should abolish this age-discriminatory word when it comes to criticizing behavior associated with irresponsibility and irrational thinking. 而小孩呢，做了些什么？安妮·弗兰克(Anne Frank)对大屠杀强有力的叙述打动了数百万人的心。鲁比·布里奇斯为美国种族隔离的终结作出了贡献。另外，最近还有一个例子，查理·辛普 森（Charlie Simpson）骑自行车为海地募得 12万英镑。所以，这些例子证明了年龄与行为完 全没有关系。 "幼稚"这个词所对应的特点是常常可以从大人身上看到，由此我们在批评不负责 和非理性的相关行为时，应停止使用这个年龄歧视的词。 (Applause) Thank you. Then again, who's to say that certain types of irrational thinking aren't exactly what the world needs? Maybe you've had grand plans before, but stopped yourself, thinking: That's impossible or that costs too much or that won't
3分钟演讲稿英语3篇 在各学高校英语演讲中，甚至是各级别的英语演讲比赛中，常常感觉学生的演讲稿缺乏实质性的劝说力和感染力。下面整理了3分钟演讲稿英语3篇，供你参考。 3分钟演讲稿英语篇1 Can Money Buy Happiness? Can money buy happiness? Different people have different opinions. Some think yes, while others hold the opposite. It is true that with enough money one can buy all the things one wants, and live a life of comfort and security. However, it is equally true that lack of money causes great distress. It is a common view that "money is the root of all evil." The pursuit of money drives many people to cheat and steal. In some places there is nothing that cannot be bought with money, resulting in corrupt societies where everybody is miserable. So, money does not necessarily mean happiness. It all depends on how it is used. If we make honest and sensible use of money, it can be a stepping-stone to happiness l Although money cannot buy happiness, it can make happiness possible if it is employed sensibly. 金钱能买来幸福吗? 金钱能买来幸福吗?不同的人有不同的回答。有的人认为能，有的人则持相反的意见。 诚然一个人如果有足够的钱可以买到他想要的所有物品，过上舒
TED成功励志的演讲稿 TED成功励志的演讲稿1：如何与压力做朋友? 我要跟大家坦白一件事。但首先，我要各位也对我坦白，如果相对来说，你去年压力不大的，请举手，有吗?那觉得承受的压力算普通的呢?有没有倍觉压力的?看来我们都一样。 我要坦承的是，我是一名健康心理学家，我的职责就是让人们更健康快乐。不过我担心自己这10年来传授的与压力有关的内容，恐怕弊多于利。这些年我不断跟人说，压力会让人生病，患有从一般感冒到心血管疾病的风险都随之升高。基本上我把压力当作敌人，但我对压力的看法已经变了，而我今天就是要让你们改观。 先来谈让我对压力另有看法的研究。这研究追踪在美国的3万名成人历时8年，研究首先问这些人「去年你感受到了多大压力?」，同时问他们「你相信压力有碍健康吗?」，之后研究人员以公开的死亡统计找出参与者中去逝的人。 好，先说坏消息：前一年压力颇大的人死亡的风险增加了43%，但这只适用于那些相信压力有碍健康的人、承受极大压力的人，若不将此视为有害死亡的风险就不会升高。事实上，与压力相对较小的研究参与者相比，这样的人死亡风险反而最低。 研究人员花了8年追踪死亡案例18.2万，美国人过早离世原因并不是压力本身，而是认为压力有害的这个想法。估计超过2万人符合这情形。若估计正确，「相信压力有害」就成为美国去年的第15大死因，致死率更胜皮肤癌、爱滋病和谋杀。 你们应能体会为何这研究让我担心害怕了，我一直努力告诉他人压力有碍健康。 因此这研究使我想知道：改变对压力的看法，是否能促进健康?显然科学对此抱以肯定，改变看待压力的方式，生理上的压力反应亦随之改变。
1、第一项研究 如果你此刻的确在(社会压力测试的)研究中，你或许已经有点儿承受不住了。你的心跳开始加快，你的呼吸开始便急促，可能还会 开始冒汗。通常，我们认为这些生理上的变化是紧张的表现，说明 我们无法很好的应对压力。 但是，如果我们将这些表现看做是身体进入备战状态的表现会怎么样?在哈佛大学的一项研究中，参与者正是这么被告知的。实验参 与者进入社会压力测试之前被告知，他们面对压力时的反应是有益的。心跳加速是为下一步行为做准备。如果你的呼吸变急促，没关系，它会让你的大脑获得更多的氧气。那些被如此告知的参与者反 道比较不那么崩溃、比较不紧张，更加自信，但更让人欣喜的发现是，他们的生理反应也随情绪有了变化。 2、第二项研究 我想通过另一个研究来结束今天的演讲。听好咯，因为这项研究可以救命。这项研究在美国找了1000个年龄在34岁到93岁间的人，他们通过一个问题开始了该研究：“去年的你，感受到了多大的压力?”他们还问了另一个问题：“你花了多少时间帮助朋友、邻居和 社区里的其他人?”接着他们用接下来五年的公共记录来看参与者中 有谁去世了。 那好，先说坏消息：生活中每个重大的压力事件，例如财政困难或者家庭危机，会增加30%的死亡风险。但是，我估计你们也在期 待这个“但是”，并不是对每个人都是那样。那些花时间关心其他 人的人完全没有体现出压力相关的死亡风险。零风险。关心让我们 更有韧性。 于是我们再次看到压力对于健康的有害影响并不是不可避免的。如何对待和应对压力可以转变你面对压力的体验。当你选择将压力 反应视为有益的，你会在生理上变得有勇气。当你选择压力下与他 人沟通，你的生命会更有韧性。
TED英语演讲稿 When you are a kid, you get asked this one particular question a lot, it really gets kind of annoying. What do you want to be when you grow up? Now, adults are hoping for answers like, I want to be an astronaut or I want to be a neurosurgeon, youre adults in your imaginations. Kids, theyre most likely to answer with pro-skateboarder, surfer or minecraft player. I asked my little brother, and he said, seriously dude, Im 10, I have no idea, probably a pro-skier, lets go get some ice cream. See, us kids are going to answer something were stoked on, what we think is cool, what we have experience with, and thats typically the opposite of what adults want to hear. But if you ask a little kid, sometimes youll get the best answer, something so simple, so obvious and really profound. When I grow up, I want to be happy. For me, when I grow up, I want to continue to be happy like I am now. Im stoked to be here at TedEx, I mean, Ive been watching Ted videos for as long as I can remember, but I never thought Id make it on the stage here so soon. I mean, I just became a teenager, and like most teenage boys, I spend most of my time wondering,
ted精彩演讲：坠机让我学到的三件事 imagine a big explosion as you climb through 3,000 ft. imagine a plane full of smoke. imagine an engine going clack, clack, clack, clack, clack, clack, clack. it sounds scary. 想像一个大爆炸，当你在三千多英尺的高空；想 像机舱内布满黑烟，想像引擎发出喀啦、喀啦、喀啦、喀啦、喀啦的声响，听起来很可怕。 well i had a unique seat that day. i was sitting in 1d. i was the only one who can talk to the flight attendants. so i looked at them right away, and they said, no problem. we probably hit some birds. the pilot had already turned the plane around, and we werent that far. you could see manhattan. 那天我的位置很特別，我坐在1d，我是(转载于:ted演讲稿三分钟)唯一可以和空服员说 话的人，于是我立刻看着他们，他们说，“没问题，我们可能撞上鸟了。”机长已经把机头转 向，我们离目的地很近，已经可以看到曼哈顿了。 two minutes later, 3 things happened at the same time. the pilot lines up the plane with the hudson river. thats usually not the route. he turns off the engines. now imagine being in a plane with no sound. and then he says 3 words-the most unemotional 3 words ive ever heard. he says, brace for impact. 两分钟以后，三件事情同时发生：机长把飞机对齐哈德逊河，一般的航道可不是这样。 他关上引擎。想像坐在一架没有声音的飞机上。然后他说了几个字，我听过最不带情绪的几 个字，他说，“即将迫降，小心冲击。” i didnt have to talk to the flight attendant anymore. i could see in her eyes, it was terror. life was over. 我不用再问空服员什么了。我可以在她眼神里看到恐惧，人生结束了。 now i want to share with you 3 things i learned about myself that day. 现在我 想和你们分享那天我所学到的三件事。 i leant that it all changes in an instant. we have this bucket list, we have these things we want to do in life, and i thought about all the people i wanted to reach out to that i didnt, all the fences i wanted to mend, all the experiences i wanted to have and i never did. as i thought about that later on, i came up with a saying, which is, collect bad wines. because if the wine is ready and the person is there, im opening it. i no longer want to postpone anything in life. and that urgency, that purpose, has really changed my life. 在那一瞬间内，一切都改变了。我们的人生目标清单，那些我们想做的事，所有那些我 想联络却没有联络的人，那些我想修补的围墙，人际关系，所有我想经历却没有经历的事。 之后我回想那些事，我想到一句话，那就是，“我收藏的酒都很差。”因为如果酒已成熟，分 享对象也有，我早就把把酒打开了。我不想再把生命中的任何事延后，这种紧迫感、目标性 改变了我的生命。 the second thing i learnt that day - and this is as we clear the george washington bridge, which was by not a lot - i thought about, wow, i really feel one real regret, ive lived a good life. in my own humanity and mistaked, ive tired to get better at everything i tried. but in my humanity, i also allow my ego to get in. and i regretted the time i wasted on things that did not matter with people that matter. and i thought about my relationship with my wife, my friends, with people. and after, as i reflected on that, i decided to eliminate negative energy from my life. its not perfect, but its a lot better. ive not had a fight with my wife in 2 years. it feels great. i no
TED演讲——拖延症 拖延症者的思维方式到底是什么样的？为什么有些人非要到deadline来的时候才知道打起精神做事情？是否存在执行力强的人或是说人人都有一定程度的拖延症？Tim Urban从一个被deadline 赶着走的拖延症者的角度带你走进拖延症的神奇思维世界。 中英对照翻译 So in college, I was a government major, which means I had to write a lot of papers. Now, when a normal student writes a paper, they might spread the work out a little like this. So, you know --you get started maybe a little slowly, but you get enough done in the first week that, with some heavier days later on, everything gets done, things stay civil.And I would want to do that like that. That would be the plan. I would have it all ready to go, but then, actually, the paper would come along, and then I would kind of do this. 在大学，我读的是政府专业。也就是说，我需要写很多的论文。一般的学生写论文时，他们可能会这样安排：(看图)你可能开头会慢一点，但第一周有这些已经足够。后期再一点点的增加，最后任务完成，非常的有条理。我也想这么做，所以一开始也是这么计划的。我做了完美的安排(看图)，但后来，实际上论文任务一直出现，我就只能这样了(看图)。 And that would happen every single paper. But then came my 90-page senior thesis, a paper you're supposed to spend a year on. And I knew for a paper like that, my normal work flow was not an option. It was way too big a project. So I planned things out, and I decided I kind of had to go something like this. This is how the year would go. So I'd start off light, and I'd bump it up in the middle months, and then at the end, I would kick it up into high gear just like a little staircase. How hard could it be to walk up the stairs? No big deal, right? 我的每一篇论文都是这种情况，直到我长达90页的毕业论文任务，这篇论文理应花一年的时间来做，我也知道这样的工作，我先前的工作方式是行不通的，这个项目太大，所以我制定了计划。决定按照这样的方式工作，这样来安排我这一年。(看图)开头我会轻松一点，中期任务逐渐增加，到最后，我再全力冲刺一下。整体是这种阶梯式安排，一层一层走楼梯有多难?所以没什么大不了的，是吧? But then, the funniest thing happened. Those first few months? They came and went, and I couldn't quite do stuff. So we had an awesome new revised plan. And then --But then those middle months actually went by, and I didn't really write words, and so we were here.And then two months turned into one month, which turned into two weeks. 但后来，好笑的事情出现了，头几个月时光匆匆而逝，我还没有来得及动工，所以我们明智的调整了计划。然后，中间的几个月也过去了，我还是一个字也没有动，眨眼就到了这里，然后两个月变成了一个月，再变成了2周。 And one day I woke up with three days until the deadline, still not having written a word, and so I did the only thing I could: I wrote 90 pages over 72 hours, pulling not one but two all-nighters -- humans are not supposed to pull two all-nighters -- sprinted across campus, dove in slow motion, and got it in just at the deadline. 一天我醒来，发现离交稿日期只剩3天了，但我还一个字都没写。我别无选择，只能在接下来的72小时里，连续通宵两个晚上赶论文——一般人不应连续通宵两个晚上。90页赶出来后，我飞速冲过校园，像电影中的特写慢镜头一样，恰好在截止日期前的最后一刻交上。 I thought that was the end of everything. But a week later I get a call, and it's the school. And they say, "Is this Tim Urban?" And I say, "Yeah." And they say, "We need to talk about your thesis." And I say, "OK." And they say, "It's the best one we've ever seen." That did not happen.It was a very, very bad thesis. I just wanted to enjoy that one moment when all of you thought, "This guy is amazing!" No, no, it was very, very bad. 我以为事情就这么完了，但一周后，我接到一个电话，是学校打来的。他们说：“你是Tim Urban 吗?”我说：“是。”他们说：“我们要说一说你的毕业论文。”我说：“好啊。”他们说：“这是我见过最棒
TED励志演讲稿：怎么讲话别人才更愿意听 人类的声音：是我们所有人都弹奏的乐器。可能是这个世界上最有力的声音。它绝无仅有，或能引起战争，或能说“我爱你”。 然而，很多人有这种经历，当他们说的时候，人们并不在听。这是为什么呢? 我们怎样有力地说而让世界发生某种改变? 我所提议的是，我们需要改变一些习惯。在此我为你们收集整理了，说话的七宗罪。我没打算假装这是一个详细的列表，但这七个，我以为是我们相当容易犯的坏习惯。 第一就是：流言蜚语 在背后说某些人的坏话。这不是一个好习惯，我们都很明白那个说闲话的人在五分钟以后就会在别人跟前说我们的闲话。 第二，评判 我们知道有些人在谈话中是这样的，这让人很难听进别人的话，如果你知道你被人评判且被认为不合格。 第三，消极 你能陷入这个泥潭。我的母亲，在她生命的最后几年里，变得非常非常消极，很难让人听她说话。我记得有一天，我对她说，“今天是十月一号，”她说，“我知道，这不可怕吗?”当某人那么消极的时候是很难让人听进去的。 另外一种消极，就是抱怨
这是英国的全国性艺术。是我们的全国性运动。我们抱怨天气，体育和政治，几乎每件事，但实际上抱怨是病毒性的悲催，它不会在这个世界上传播太阳和光明。 借口 我们都遇上过这个家伙。也许我们都曾经是这个家伙。有些人有指责癖好。他们怪罪任何人而不是对自己的行为负责任，所以，这又是让人难以聆听的一种。 七件里面的老六，倒数第二，浮夸，吹牛 它有时贬低了我们的语言，事实上。比如，如果我看见什么真的很神奇的事情，那我该说什么呢? (笑声) 当然这种夸大后来就变成了说谎。彻头彻尾的说谎，我们就不想听这种我们知道会说谎的人。 最后是，固执己见 把事实和意见混淆。当这两件事混为一谈，你就像在听风一样。你知道，有人用他们自己的意见来强迫你。这很难让我们听讲。 这就是说话的七宗罪。我认为这些是我们需要避免的。 但有没有比较正面的呢? 的确有。我想建议四种我们可以牢靠站立的，真正强有力的基石或者基础，如果我们想让我们的言语有力并且让世界产生变化。 幸运的是，这些事情连起来是一个单词。这个词就是“hail”，
When I was in my 20s, I saw my very first psychotherapy client. I was a Ph.D. student in clinical psychology at Berkeley. She was a 26-year-old woman named Alex. 记得见我第一位心理咨询顾客时,我才20多岁。当时我是Berkeley临床心理学在读博士生。我的第一位顾客是名叫Alex的女性,26岁。 Now Alex walked into her first session wearing jeans and a big slouchy top, and she dropped onto the couch in my office and kicked off her flats and told me she was there to talk about guy problems. Now when I heard this, I was so relieved. My classmate got an arsonist for her first client. (Laughter) And I got a twentysomething who wanted to talk about boys. This I thought I could handle. 第一次见面Alex穿着牛仔裤和宽松上衣走进来,她一下子栽进我办公室的沙 发上,踢掉脚上的平底鞋,跟我说她想谈谈男生的问题。当时我听到这个之后松了一口气。因为我同学的第一个顾客是纵火犯,而我的顾客却是一个20出头想谈谈男生的女孩。我觉得我可以搞定。But I didn't handle it. With the funny stories that Alex would bring to session, it was easy for me just to nod my head while we kicked the can down the road. 但是我没有搞定。Alex不断地讲有趣的事情,而我只能简单地点头认同她所 说的,很自然地就陷入了附和的状态。 "Thirty's the new 20," Alex would say, and as far as I could tell, she was right. Work happened later, marriage happened later, kids happened later, even death happened later. Twentysomethings like
TED英语演讲稿：如何让选择更容易简介：面对商场里五花八门的商品，你的选择恐惧症又犯了吗? 美国哥伦比亚大学商学教授sheena iyengar 研究如何让你在做选择时更容易。为了让你的选择省时省力，商家又会有哪些诀窍呢? do you know how many choices you make in a typical day? do you know how many choices you make in typical week? i recently did a survey with over 2,000 americans, and the average number of choices that the typical american reports making is about 70 in a typical day. there was also recently a study done with ceos in which they followed ceos around for a whole week. and these scientists simply documented all the various tasks that these ceos engaged in and how much time they spent engaging in making decisions related to these tasks. and they found that the average ceo engaged in about 139 tasks in a week. each task was made up of many, many, many sub-choices of course. 50 percent of their decisions were made in nine minutes or less. only about 12 percent of the decisions did they make an hour or more of their time. think about your own choices. do you
越有钱越无情 It's amazing what a rigged game of Monopoly can reveal. In this entertaining but sobering talk, social psychologist Paul Piff shares his research into how people behave when they feel wealthy. (Hint: badly.) But while the problem of inequality is a complex and daunting challenge, there's good news too. (Filmed at TEDx Marin.) 一个被操纵的大富翁游戏能告诉我们的东西竟然有那么多！在这个有趣且发人深省的演讲中，社会心理学家保罗-皮夫分享了他对于“人感到富有时如何表现”的研究结果（暗示：很坏）。在面对异常复杂、异常严峻的不平等问题的同时，我们也听到了好的消息。。（摄于TEDx加州马林县） Paul Piff studies how social hierarchy, inequality and emotion shape relations between individuals and groups. Why you should listen: Paul Piff is an Assistant Professor of Psychology and Social Behavior at the University of California, Irvine. In particular, he studies how wealth (having it or not having it) can affect interpersonal relationships. His surprising studies include running rigged games of Monopoly, tracking how those who drive expensive cars behave versus those driving less expensive vehicles and even determining that rich people are literally more likely to take candy from children than the less well-off. The results often don't paint a pretty picture about the motivating forces of wealth. He writes, "specifically, I have been finding that increased wealth and status in society lead to increased self-focus and, in turn, decreased compassion, altruism, and ethical behavior." What others say: “When was the last time, as Piff puts it, that you prioritized your own interests above the interests of other people? Was it yesterday, when you barked at the waitress for not delivering your cappuccino with sufficient promptness? Perhaps it was last week, when, late to
三分钟励志英文演讲稿大全 励志英语演讲是用英语语言的激发力让人心潮澎湃，达到励志效果。下面是小编为你整理的几篇三分钟励志英文演讲稿，希望能帮到你哟。 三分钟励志英文演讲稿篇一 We should learn to stick to our life no matter how difficult the life is and we should learn to love others .It is the flim tellsx me . It is a story talks about a black girl named Precious .Precious isx fat and not beautiful. Her bad temped mother never workx, always cheated others to relieve her ,and atex while watching TV all day.What is worse ,Precious was only 16,but she had pregnant for twice .Out of assumption ,her child is her farther s child .Living in this life ,she alawys imagine to avoid facing her life .Fortunately,with the help and careneof the teacher and doctor ,her life became not so bad . Precious has a tough life ,and if she gives up her life and does not join the adult education ,she will not meet the teacher and her
ted演讲稿中英文对照 小编今天推荐给大家的是 ted演讲稿中英文对照，仅供参考，希望对大家有用。关注网获得更多内容。 ted演讲稿中英文对照 Hi. I'm here to talk to you about the importance of praise, admiration and thank you, and having it be specific and genuine. 嗨。我在这里要和大家谈谈向别人表达赞美，倾佩和谢意的重要性。并使它们听来真诚，具体。 And the way I got interested in this was, I noticed in myself, when I was growing up, and until about a few years ago, that I would want to say thank you to someone, I would want to praise them, I would want to take in their praise of me and I'd just stop it. And I asked myself, why? I felt shy, I felt embarrassed. And then my question became, am I the only one who does this? So, I decided to investigate. 之所以我对此感兴趣是因为我从我自己的成长中注意到几年前，当我想要对某个人说声谢谢时，当我想要赞美他们时，当我想接受他们对我的赞扬，但我却没有说出口。我问我自己，这是为什么? 我感到害羞，我感到尴尬。接着我产生了一个问题难道我是唯一一个这么做的人吗?