【文章內(nèi)容簡介】 its per second. Thatamp。39。s why you canamp。39。t hear more than two people. You canamp。39。t understand more than two people talking to you.
　　這個人(作曲家)不需要去到這樣的地方。我們今天這個演講現(xiàn)場也像是一個古希臘的圓形競技場，這也是一個能帶來狂喜的地方。我們正在參與的現(xiàn)實(shí)，也與日常生活完全不一樣。但這個人(作曲家)任何地方都不用去，他只需一張紙，在上面寫下小小的音符，在這樣做的同時，他能在腦海里想象出從未有過的獨(dú)特聲音組合。只要他開始真正要創(chuàng)作，就像剛才珍妮弗的即興演奏一樣，他就進(jìn)入了一種新的現(xiàn)實(shí)，進(jìn)入狂喜。那是不一樣的現(xiàn)實(shí)。他說，那是一種非常強(qiáng)烈的體驗(yàn)，他似乎感覺不到自己的存在。這聽起來也許有點(diǎn)夸張的浪漫主義色彩，但事實(shí)上，我們的神經(jīng)系統(tǒng)無法在一秒的時間里處理超過約110比特的信息。你在聽我說話，并且嘗試去理解其中的意思，這就相當(dāng)于每秒處理約60比特的信息。所以說，同時聽懂兩個以上的人說話是不可能的。你不可能同時做到這一點(diǎn)。
　　Well, when you are really involved in this pletely engaging process of creating something new, as this man is, he doesnamp。39。t have enough attention left over to monitor how his body feels, or his problems at home. He canamp。39。t feel even that heamp。39。s hungry or tired. His body disappears, his identity disappears from his consciousness, because he doesnamp。39。t 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 seems to be moving by itself. Now, I could look at my hand for two weeks, and I wouldnamp。39。t feel any awe or wonder, because I canamp。39。t pose. (Laughter)
　　假如你真的是全身心的投入此間，像這位作曲家那樣去創(chuàng)造一種新的東西，就不可能再有精力去感知身體的感覺，或是家里的問題。他不知饑餓與勞累，似乎整個軀體都消失了。在他的意識里不再有自己的存在，他沒有那么多精力。事實(shí)上我們?nèi)魏稳硕疾豢赡茏龅玫?，因?yàn)樽瞿菢拥氖虑榇_實(shí)需要全副身心的投入，他就不可能感知自己的存在了，他的存在被暫時遺忘了。他自己也說，他的手似乎能夠自動行事。我也許對著自己的手看兩個星期，也不能看出有什么偉大或神奇的地方，因?yàn)槲也皇亲髑摇?笑聲)
　　So what itamp。39。s telling you here is that obviously this automatic, spontaneous process that heamp。39。s describing can only happen to someone who is very well trained and who has developed technique. And it has bee a kind of a truism in the study of creativity that you canamp。39。t be creating anything with less than 10 years of technicalknowledge immersion in a particular field. Whether itamp。39。s mathematics or music, it takes that long to be able to begin to change something in a way that itamp。39。s better than what was there before. Now, when that happens, 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 amp。quot。flow experience.amp。quot。 And it happens in different realms.
　　這說明了什么?很顯然，他所描述的這種自動的、自發(fā)的過程只有可能發(fā)生在一個受過嚴(yán)格訓(xùn)練以及培養(yǎng)了良好技藝的人身上。在創(chuàng)造力研究這一領(lǐng)域，有一個接近真理的說法是，沒有2020年時間在某個特定領(lǐng)域的技術(shù)知識積累，是不可能創(chuàng)造出什么奇跡的。不管是數(shù)學(xué)或音樂，都需要這樣漫長的時間來達(dá)到一種全新的升華。他對此深有體會，他說，音樂仿佛是自己流淌了出來了。30年來，在我采訪的眾多人中，有許多都將這種體驗(yàn)描述為一種自發(fā)的流動，于是我把這種體驗(yàn)稱為”。福流體驗(yàn)”。，它發(fā)生在許多不同的領(lǐng)域。
　　For instance, a poet describes it in this form. This is by a 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 was struggling with trying to understand how it worked. But it happens in other activities. For instance, this is another student of mine, Susan Jackson from Australia, who did work with some of the leading athletes in the world. And you see here in this description of an Olympic skater, the same essential description of the phenomenology of the inner state of the person. You donamp。39。t think。 it goes automatically, if you merge yourself with the music, and so forth.
　　比如，有位詩人是這樣描述它的(指幻燈片上的內(nèi)容)。這段內(nèi)容來自我的一位學(xué)生，他采訪了美國最杰出的作家、