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TED演讲:我们都是设计师

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shangzening

2016年04月25日

随身学
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  I am no designer, nope, no way. My dad was, which is kind of an interesting way to grow up. I had to figure out what it is my dad did and why it was important.

  我并不是一个设计师,完全不是。 我父亲曾经是, 这使我的成长非常富有趣味。 所以我得弄明白我父亲的工作是什么, 以及为什么它如此重要。

  Dad talked a lot about bad design when we were growing up, you know, "Bad design is just people not thinking, John," he would say whenever a kid would be injured by a rotary lawn mower or, say, a typewriter ribbon would get tangled or an eggbeater would get jammed in the kitchen.

  父亲在我们童年时经常批评差的设计, 比如,他说:“约翰,差的设计是人们没有慎重思考的结果, 无论是导致儿童被旋转的割草机弄伤, 或者打字机纸带被缠绕住, 或者厨房的打蛋器堵塞。

  You know, "Design -- bad design, there's just no excuse for it. It's letting stuff happen without thinking about it. Every object should be about something, John. It should imagine a user. It should cast that user in a story starring the user and the object.

  你懂的,你不能为差的设计找借口。 这是轻率地放任事情发生的后果。 所有物品都必须有意义,约翰。 它必须以用户的角度为出发点。 它必须反映出,在以用户和物品为中心的故事中,用户的核心地位。

  Good design," my dad said, "is about supplying intent." That's what he said.

  好的设计,”我父亲说过,“要能够实现其存在的意义。” 这是他的原话。

  Dad helped design the control panels for the IBM 360 computer. That was a big deal; that was important. He worked for Kodak for a while; that was important. He designed chairs and desks and other office equipment for Steelcase; that was important. I knew design was important in my house because, for heaven's sake, it put food on our table, right?

  我父亲参与设计了IBM360大型计算机的控制面板。 那是个大工程,且意义非凡。他为柯达工作过一段,那也很重要。 他设计了Steelcase公司的桌椅和一系列办公用品;这也很有意义。 我认为设计对我的家非常重要,因为,上帝啊,有了它我们才能把食物拿上桌子,不是吗?

  And design was in everything my dad did. He had a Dixieland jazz band when we were growing up, and he would always cover Louis Armstrong tunes. And I would ask him every once in a while,

  而设计就是我父亲工作的全部。 我们童年时,父亲有一支迪克西兰爵士乐队, 他可以随时演奏路易斯.阿姆斯克朗的音乐。 我时不时会问他,

  "Dad, do you want it to sound like the record?" We had lots of old jazz records lying around the house. And he said, "No, never, John, never. The song is just a given, that's how you have to think about it. You gotta make it your own. You gotta design it. Show everyone what you intend," is what he said. "Doing that, acting by design, is what we all should be doing. It's where we all belong."

  “爸爸,你希望它听起来和唱片里一样吗?” 我们的房子里到处躺满了爵士乐的老唱片。 但他说,“不,永远不,约翰,永远不。 每首歌都只是授予我们的材料,这是你看待它的正确方式。 你要把它变成你自己的。你要设计它。 把你赋予它的意义展示给大家看。”这是他说的。 “设计,就是我们实现它的方式。 设计就是我们的最终答案。”

  All of us? Designers? Oh, oh, Dad. Oh, Dad.

  我们都是?都是设计师? 噢,噢,爸爸,噢,爸爸。

  The song is just a given. It's how you cover it that matters. Well, let's hold on to that thought for just a minute. It's kind of like this wheelchair I'm in, right? The original tune? It's a little scary.

  音乐是赋予的。 如何去改变它才是重点。 好,让我们停在这一会儿。 这就像我坐的轮椅,对么? 原本的故事?有点恐怖。

  "Ooh, what happened to that dude? He can't walk. Anybody know the story? Anybody?"

  “噢,你看那个伙计怎么了? 他不能走路。有谁知道这个故事? 谁知道?”

  I don't like to talk about this very much, but I'll tell you guys the story today. All right, exactly 36 years ago this week, that's right, I was in a poorly designed automobile that hit a poorly designed guardrail on a poorly designed road in Pennsylvania, and plummeted down a 200-foot embankment and killed two people in the car. But ever since then, the wheelchair has been a given in my life. My life, at the mercy of good design and bad design.

  我不是很喜欢谈论这件事,但是今天我想把这个告诉你。 好吧,确切的说是36年前的这个星期,好吧, 我在一个设计很糟糕的车子里 撞上了一个同样设计糟糕的护栏 位于一个设计糟糕的路,在宾夕法尼亚, 从一个200英尺高的路堤上径直跌下去 两个人当场死在了车里。 从那以后,轮椅就成了我生活中的一部分。 我的生活中,有幸遇到好的设计和糟糕的设计。

  Think about it. Now, in design terms, a wheelchair is a very difficult object. It mostly projects tragedy and fear and misfortune, and it projects that message, that story, so strongly that it almost blots out anything else.

  想想这个,用设计的语言来讲, 轮椅是一个非常困难的事物。 它通常被赋予害怕与不幸, 这个寄托的信息,这个故事,是如此的强烈 仿佛吸干了一切。

  I roll swiftly through an airport, right? And moms grab their kids out of the way and say, "Don't stare!" The poor kid, you know, has this terrified look on his face, God knows what they think. And for decades, I'm going, why does this happen? What can I do about it? How can I change this? I mean there must be something. So I would roll, I'd make no eye contact -- just kinda frown, right? Or I'd dress up really, really sharply or something. Or I'd make eye contact with everyone -- that was really creepy; that didn't work at all. (Laughter) You know anything, I'd try. I wouldn't shower for a week -- nothing worked.

  我在机场快速的滚动(轮椅),好? 母亲们从路上抓住他们的孩子并说道“别盯着看!” 那个可怜的孩子,你知道,充满恐惧的看着他的脸,上帝知道他们是怎么想的。 几十年了,我一直想, 为什么会发生这个?我又对此能做些什么?我能改变什么?我想这一定意味着什么。 我滚动着,躲开视线的接触——就像一种皱眉,对么? 或者精心打扮整齐 或者,我和每一个人目光接触 这真是诡异;这一点也不管用 (笑声) 你知道所有这些,我都试过了。我一周没洗澡——一点不管用。

  Nothing whatsoever worked until a few years ago, my six-year-old daughters were looking at this wheelchair catalog that I had, and they said,

  无论什么都不管用直到几年以后, 我六岁的女儿们看着这个轮椅的目录,她们说道,

  "Oh, Dad! Dad! Look, you gotta get these, these flashy wheels -- you gotta get 'em!"

  “噢,爸爸!爸爸!看啊,你一定要买这种闪光轮子的轮椅”

  And I said, "Oh, girls, Dad is a very important journalist, that just wouldn't do at all."

  我说道,“噢,孩子们,爸爸是个很重要的记者, 这跟我身份不符。”

  And of course, they immediately concluded,

  当然,她们立刻推断,

  "Oh, what a bummer, Dad. Journalists aren't allowed to have flashy wheels. I mean, how important could you be then?" they said.

  “噢,好可惜,爸爸。记者不允许有闪光轮子。 我的意思是,你是有都重要才能拥有它们?“她们问道。

  I went, "Wait a minute, all right, right -- I'll get the wheels." Purely out of protest,

  为了反驳她们我说:“等等,好啦,我会买这种”

  I got the flashy wheels, and I installed them and -- check this out. Could I have my special light cue please? (Laughter) Look at that! Now ... look at, look at this! Look at this!

  我买了这台轮椅,装上发光轮子 我能让灯光暗下来吗? (笑声) 你看! 现在,你看!你看!

  So what you are looking at here has completely changed my life, I mean totally changed my life. Instead of blank stares and awkwardness, now it is pointing and smiling!

  你眼前看的 完全改变了我的生活, 我的意思是彻底改变我的生活 我以前面对的是呆滞的眼神和尴尬, 现在它们在指指点点和微笑

  People going, "Awesome wheels, dude! Those are awesome! I mean, I want some of those wheels!" Little kids say, "Can I have a ride?" (Laughter)

  人们说道,“真了不起的轮子,伙计!真了不起! 我的意思是,我想要这样的轮子!“小孩子说道, ”我能骑一下么?“ (笑声)

  And of course there's the occasional person -- usually a middle-aged male who will say, "Oh, those wheels are great! I guess they're for safety, right?" (Laughter) No! They're not for safety. No, no, no, no, no.

  当然偶尔会有一些人—— 一般是中年男性会说到, ”噢,这些轮子太棒了! 我猜这样为了更安全,对吧?” (笑声) 不!它们不是为了安全。 不,不,不,不 ,不。

  What's the difference here, the wheelchair with no lights and the wheelchair with lights? The difference is intent. That's right, that's right; I'm no longer a victim. I chose to change the situation -- I'm the Commander of the Starship Wheelchair with the phaser wheels in the front. Right? Intent changes the picture completely. I choose to enhance this rolling experience with a simple design element. Acting with intent. It conveys authorship. It suggests that someone is driving. It's reassuring; people are drawn to it. Someone making the experience their own. Covering the tragic tune with something different, something radically different. People respond to that.

  这就是不同的地方, 没有灯光的轮椅 和有亮灯的轮椅? 不同的地方在于设计意图。 这就对了,这就对了;我不再是一个受害者。 我选择改变情况——我是一个拥有前轮滚动发光的轮椅星球战舰的指挥官,对么? 设计目的完全改变了人的感受。 我选择改善 坐轮椅的体验 用一个简单的电子设计。 体现它的设计目的 它展示的是自主性。 它展示我是驾驶 它让人心安,吸引人 让他们有不同的感受 掩盖过去的悲剧性 而给人不同 极度不同的感受。 人们对此有所回应。

  Now it seems simple, but actually I think in our society and culture in general, we have a huge problem with intent. Now go with me here. Look at this guy. You know who this is? It's Anders Breivik. Now, if he intended to kill in Olso, Norway last year, dozens and dozens of young people -- if he intended to do that, he's a vicious criminal. We punish him. Life in prison. Death penalty in the United States, not so much in Norway. But, if he instead acted out of a delusional fantasy, if he was motivated by some random mental illness, he's in a completely different category. We may put him away for life, but we watch him clinically. It's a completely different domain. As an intentional murderer, Anders Breivik is merely evil. But as a dysfunctional, as a dysfunctional murderer/psychotic, he's something much more complicated. He's the breath of some primitive, ancient chaos. He's the random state of nature we emerged from. He's something very, very different.

  看似简单,但我认为 在我们的文化和社会中, 我们在设计目的有很大问题。 跟上我。看这家伙。你知道这是谁么? 他是安德斯·貝林·布雷維克。如果他的意图是在去年 挪威奥斯陆 杀死成批的人—— 如果他的目的就是这个, 那他是恶毒的。我们要惩罚他。 判终身监禁。不像美国,挪威没有终身监禁。 但如果这是患妄想症下的行为, 如果他是因为患了精神疾病才这样做, 这就完全不同了, 我们也许会把他终身隔离起来, 但我们会对他医疗监控。 与刑罚完全不同。 作为故意杀人犯, 安德斯·貝林·布雷維克是一个魔鬼。 但是作为一个有障碍的人, 一个有障碍的谋杀犯/精神病人, 他的这件事就更复杂了。 他是某种 原始,古老混乱的产物。 他的内在性格十分混乱 不想我们能控制本能 他是某种非常非常复杂的人。

  It's as though intent is an essential component for humanity. It's what we're supposed to do somehow. We're supposed to act with intent. We're supposed to do things by design. Intent is a marker for civilization.

  目的是人性中非常重要的一环。 我们必须根据其做出反应。 我们必须根据目的行事。 我们必须根据设计行事。 目的是文明的象征。

  Now here's an example a little closer to home: My family is all about intent. You can probably tell there are two sets of twins, the result of IVF technology, in vitro fertilization technology, due to some physical limitations I won't go into. Anyway, in vitro technology, IVF, is about as intentional as agriculture. Let me tell you, some of you may have the experience. In fact, the whole technology of sperm extraction for spinal cord-injured males was invented by a veterinarian. I met the dude. He's a great guy. He carried this big leather bag full of sperm probes for all of the animals that he'd worked with, all the different animals. Probes he designed, and in fact, he was really, really proud of these probes.

  现在,这是我家的一个例子: 我家人做的一切都是根据目的。 你可以看见这有两个上胞胎, 是试管受精科技的产物, 因为我个人的身体限制细节就不说了。 总而言之,试管受精。 就像农业的意图。 让我告诉你,你也许有这样的经验。 事实上,从脊椎受伤的男子身上抽取精子的技术 是由一位兽医发明的。 我有见过这位老兄,是个很棒的人。 他携带者一个大皮带 里面充满从动物身上 抽取精子的工具。 这些用具是他设计的, 事实上,他也非常因此为傲。

  He would say, "You're right between horse and squirrel, John." (Laughter) But anyway, so when my wife and I decided to upgrade our early middle age -- we had four kids, after all -- with a little different technology that I won't explain in too much detail here -- my urologist assured me I had nothing whatsoever to worry about.

  他会说,“马和松鼠基本用具都一样,约翰” (笑声) 但是不论如何,当我和我妻子决定 要让我们生活更有品质——我们已经有了四个孩子, 用一些复杂的技术 我不会在这解释太多细节 我的泌尿科医师说我什么都不用担心。

  "No need for birth control, Doc, are you sure about that?"

  “医生,你确定我不用避孕吗?”

  "John, John, I looked at your chart. From your sperm tests we can confidently say that you're basically a form of birth control."

  “约翰,约翰,我看了你的病例。 由你的检测结果 我们可以很有信心的说 你身体本身已经拥有避孕功能。”

  Well! (Laughter) What a liberating thought! Yes! And after a couple very liberating weekends, my wife and I, utilizing some cutting-edge erectile technology that is certainly worthy of a TEDTalk someday but I won't get into it now, we noticed some familiar, if unexpected, symptoms. I wasn't exactly a form of birth control. Look at that font there. My wife was so pissed.

  是么! (笑声) 多么令人松口气的想法啊!太好了! 过了几个快和的周末, 我的妻子和我, 是用来先进的勃起技术 这技术某天一定成为TEDTalk的这题 但我这次没办法说, 我们发现一些相似的,意料之外的症状。 我的身体并没有避孕功能。 看那个字。我太太气坏了。

  I mean, did a designer come up with that? No, I don't think a designer did come up with that. In fact, maybe that's the problem. And so, little Ajax was born. He's like our other children, but the experience is completely different. It's something like my accident, right? He came out of nowhere. But we all had to change, but not just react to the given; we bend to this new experience with intent. We're five now. Five. Facing the given with intent. Doing things by design. Hey, the name Ajax -- you can't get much more intentional than that, right? We're really hoping he thanks us for that later on. (Laughter)

  我是说,设计师怎么想出来的? 不,我不认为设计师这个意图。 事实上,也许那时故意为之的。 因此,小Ajax诞生了。 他向我们其他的孩子一样, 但是感受完全不一样。 这有点像意外事故,对么? 他莫名其妙的就来了。 但是我们不得不改变, 不是根据即成的是反映; 我们要让新的经验充满目的性 我们现在有五个(孩子)了。五个。 面对已经给的目的。根据设计出来的事情做。 嗨,他叫Ajax——你不能比这个更多的目的性,对么? 我们真希望他以后能感谢我们 (笑声)

  But I never became a designer. No, no, no, no. Never attempted. Never even close. I did love some great designs as I was growing up: The HP 35S calculator -- God, I loved that thing. Oh God, I wish I had one. Man, I love that thing. I could afford that. Other designs I really couldn't afford, like the 1974 911 Targa. In school, I studied nothing close to design or engineering; I studied useless things like the Classics, but there were some lessons even there -- this guy, Plato, it turns out he's a designer. He designed a state in "The Republic," a design never implemented. Listen to one of the design features of Plato's Government 4.0:

  但是我从来没有成为设计师。不,不,不,不。从来没有这个尝试。甚至没接近过。 当我长大的时候我的确喜欢一些产品设计: HP 35S计算器——老天,我爱死那个东西了。老天,我多希望我能拥有一个。 哥们,我爱死那个了。 我买的起。 另一些我喜欢大设计但是的确买不起,像1974 911 Targa(一种车的型号) 在学校,我学的和设计或者工程一点不沾边; 我学习没有用的像古典文学, 但是还是有一些课程的 这家伙,柏拉图,原来是个设计师。 他设计了国家的“理想国” 一个从来没有被实施的设计。 听一下柏拉图设计的 政府4.0版的特色

  "The State in which the rulers are most reluctant to govern is always the best and most quietly governed, and the State in which they are most eager, the worst."

  “在那些统治者不情愿实行统治的国家 往往治理的比较好且安稳, 越是渴望统治国家的君主,他们的国家反而更糟”

  Well, got that wrong, didn't we? But look at that statement; it's all about intent. That's what I love about it. But consider what Plato is doing here. What is he doing? It's a grand idea of design -- a huge idea of design, common to all of the voices of religion and philosophy that emerged in the Classical period. What was going on then? They were trying to answer the question of what would human beings do now that they were no longer simply trying to survive? As the human race emerged from a prehistoric chaos, a confrontation with random, brutal nature, they suddenly had a moment to think -- and there was a lot to think about. All of a sudden, human existence needed an intent. Human life needed a reason. Reality itself needed a designer. The given was replaced by various aspects of intent, by various designs, by various gods. Gods we're still fighting about. Oh yeah.

  这有错吗,我们搞错了吗? 但是看到这样的表述;充满意图。这正是我喜爱的。 但是考虑一下如果柏拉图在这里。他会做些什么? 这是一个广义的设计——一个大想法的设计, 对于所有的出现在古典时期的 宗教和哲学都适用。 接下来要怎样? 他们将尝试回答这个问题 当人类不再为生存而挣扎的时候人类在做什么? 当人类诞生于史前混乱时, 与残酷,混乱的自然对峙, 他们有一刻突然开始思考,而且确实有很多要去思考 突然,人类存在一种对意图的需要 人类的生活需要一个原由。 现实本身需要一个设计师。 需求被各种形式的意图取代 意图取代 由那些多种多样的设计师 各种各样的神 我们仍然和神在抗争。我的老天。

  Today we don't confront the chaos of nature. Today it is the chaos of humanity's impact on the Earth itself that we confront. This young discipline called design, I think, is in fact the emerging ethos formulating and then answering a very new question: What shall we do now in the face of the chaos that we have created? What shall we do? How shall we inscribe intent on all the objects we create, on all the circumstances we create, on all the places we change? The consequences of a planet with 7 billion people and counting. That's the tune we're all covering today, all of us. And we can't just imitate the past. No. That won't do. That won't do at all.

  现在我们不用面对自然的混乱。 现在的我们面对的混乱是人对地球的影响 这个年轻的学科叫做设计,我想, 这实际上是一种正在形成的新兴的社会思潮 然后我们要回答一个新的问题 我们现在能做什么 去面对我们所制造的混乱? 我们能做什么? 我们如何在我们所创造的 事物上赋予意图, 所有我们创造的环境, 在所有我们改变的地方? 这个70亿人并人口持续增长的星球上的后果。 这就是今天我们所有人要承担的后果,所有人。 我们不能仅仅模仿过去。不。 不能那样做。 完全不能这样做。

  Here's my favorite design moment: In the city of Kinshasa in Zaire in the 1990s, I was working for ABC News, and I was reporting on the fall of Mobutu Sese Seko, the dictator, the brutal dictator in Zaire, who raped and pillaged that country. There was rioting in the middle of Kinshasa. The place was falling apart; it was a horrible, horrible place, and I needed to go and explore the center of Kinshasa to report on the rioting and the looting. People were carrying off vehicles, carrying off pieces of buildings. Soldiers were in the streets shooting at looters and herding some in mass arrests. In the middle of this chaos, I'm rolling around in a wheelchair, and I was completely invisible. Completely. I was in a wheelchair; I didn't look like a looter. I was in a wheelchair; I didn't look like a journalist, particularly, at least from their perspective. And I didn't look like a soldier, that's for sure. I was part of this sort of background noise of the misery of Zaire, completely invisible. And all of a sudden, from around a corner, comes this young man, paralyzed, just like me, in this metal and wood and leather pedal, three-wheel tricycle-wheelchair device, and he pedals up to me as fast as he can.

  这是一个我最喜欢的设计: 在1990年在扎伊尔金沙萨, 我为为美国广播公司工作,我播报 推翻蒙博托·塞塞·塞科,扎伊尔的残暴独裁者, 他残暴并抢劫整个国家。 当时在金沙萨的中部发生暴乱 那个地区很快就崩溃了;变得恐怖,非常恐怖, 我需要去金沙萨的中心探索 去报到暴乱和抢劫。 人们在车中,和建筑物中都会丧命 士兵在街道上射杀抢劫者或者把他们拘捕到一起。 我在混乱的中心滚着轮椅, 我完全就是隐形的,完全。 我坐在轮椅,完全不像抢劫者。 我在轮椅上;一点也不像是旅游者,特别,至少是他们无视。 并且我看起来也不像是士兵,那是确定的。 我是混乱的扎伊尔的一种背景噪声,完全隐身。 突然,从周边的一个角落,过来一个年轻人,瘫痪了,向我一样, 在一个金属,木材,皮革脚踏板, 三个轮子的轮椅上, 他踏着踏板尽全速向我驶来

  He goes, "Hey, mister! Mister!"

  他过来了,“嗨,先生!先生!”

  And I looked at him -- he didn't know any other English than that, but we didn't need English, no, no, no, no, no. We sat there and compared wheels and tires and spokes and tubes. And I looked at his whacky pedal mechanism; he was full of pride over his design. I wish I could show you that contraption. His smile, our glow as we talked a universal language of design, invisible to the chaos around us. His machine: homemade, bolted, rusty, comical. My machine: American-made, confident, sleek. He was particularly proud of the comfortable seat, really comfortable seat he had made in his chariot and its beautiful fabric fringe around the edge. Oh, I wish I'd had those sparkly wheels back then to have shown him, man! He would have loved those! Oh yeah. He would have understood those; a chariot of pure intent -- think about it -- in a city out of control. Design blew it all away for a moment. We spoke for a few minutes and then each of us vanished back into the chaos. He went back to the streets of Kinshasa; I went to my HOTEL. And I think of him now, now ...

  我看着他—— 除此之外他不会别的英语了,但是我们不需要英语,不,不,不,不,不。 我们坐在并排那里轮子辐条管子对齐 我看着他的疯狂的脚踏机械; 他对自己的设计非常自豪。 我真想向你展示那个精巧的设计 他微笑,我们热情洋溢 我们交流着一种关于设计的宇宙 通用语言 我们在周边的混乱中隐身了。 他的设备:家庭制造,用螺栓栓的,生锈的,滑稽的。 我的设备:美国制造,自信的,井然有序的。 他对舒服的座椅特别的自豪,实在是一个舒服的座椅 他为他的二轮战车 并且有漂亮的布穗在边缘。 噢,我真希望我那些闪光的轮子装回去给那哥们秀一下! 他一定会爱上那些的!噢呀! 他也本该理解这些的。 一个纯意图的二轮车——想想吧—— 在一个失控的城市。 设计在那一刻吹遍每一个角落。 我们聊了几分钟然后然后各自销声匿迹回混乱。 他回到了金沙萨的街道 我回到了旅店。我现在还想着他,现在...

  And I pose this question. An object imbued with intent -- it has power, it's treasure, we're drawn to it. An object devoid of intent -- it's random, it's imitative, it repels us. It's like a piece of junk mail to be thrown away. This is what we must demand of our lives, of our objects, of our things, of our circumstances: living with intent. And I have to say that on that score, I have a very unfair advantage over all of you.

  我提出这个问题来讨论。 每个事物被灌输意图—— 他将由能量, 这个很宝贵,我们被他吸引。 一个事物缺乏意图—— 它是混乱,它是模仿的, 它使我们厌恶。它就像废信封一样被遗弃。 这就是我们要从生活中探寻的, 从身边的物品,从身边的事情,从周围的环境: 有意图的生活。 我不得不说 在这一点上,我有一个对于你们来说,不公平的优点

  And I want to explain it to you now because this is a very special day. Thirty-six years ago at nearly this moment, a 19-year-old boy awoke from a coma to ask a nurse a question, but the nurse was already there with an answer.

  我想将它向你表述因为这是非常特别的一天。 36年前的这个时刻, 一个19岁的男孩从昏迷中醒来 去问护士一个问题, 但是护士已经准备好了答案。

  "You've had a terrible accident, young man. You've broken your back. You'll never walk again."

  “你遭遇了非常糟糕的事故,年轻人。你后背受伤了。 你再也不会站起来了。”

  I said, "I know all that -- what day is it?" You see, I knew that the car had gone over the guardrail on the 28th of February, and I knew that 1976 was a leap year.

  我说,“这个我都知道——今天是哪天?” 你看,我知道了车子是28日周五冲过了护栏, 并知道了1976年是闰年。

  "Nurse! Is this the 28th or the 29th?"

  “护士!这是28号还是29号?”

  And she looked at me and said, "It's March 1st."

  她看着我说道, “是3月1日”

  And I went, "Oh my God. I've got some catching up to do!" And from that moment, I knew the given was that accident; I had no option but to make up this new life without walking. Intent -- a life with intent -- lived by design, covering the original with something better. It's something for all of us to do or find a way to do in these times.

  我知道了,"哦,我的上帝。 我要有一些事情要做了 !" 从那一时刻起,我知道 是那起事故造成了这些; 我没有选择的余地除非 构造新的不能行走的生活。 意图——人生的意图—— 被设计的生活 用更好的 覆盖原有的。 这是对于我们要做或找到一种方法,在这些时间做所有的事情。

  To get back to this, to get back to design, and as my daddy suggested a long time ago,

  回到这一点, 重新设计, 作为我的爸爸建议很久以前,

  "Make the song your own, John. Show everybody what you intend."

  “你自己来唱这首歌,约翰。 向每一个人展示你的想法”

  Daddy, this one's for you. (Music)

  爸爸, 这只为你。 (音乐)

  ♫ Jo Jo was a man who thought he was a loner ♫ ♫ but he was another man. ♫ ♫ Jo Jo left his home in Tucson, Arizona to attend a California bash. ♫ ♫ Get back, get back, ♫ ♫ get back to where you once belonged. ♫ ♫ Get back, get back, ♫ ♫ get back to where you once belonged. ♫ (Applause)

  Jo Jo认为自己是个孤独的人 但是他是另一个人。 Jo Jo离开他位于亚利桑那周图森的家,来到了加利福尼亚的海滩 回去吧,回去吧, 回到你归属的地方。 回去吧,回去吧, 回到你归属的地方。 (鼓掌)


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