【正文】 cesses. Itamp。39。s his role to be the awkward stranger. Itamp。39。s his role to tell them that they have to play the unplayable piano.
　　那么他為了使這些搖滾樂隊變得更好做了些什么呢? 他制造麻煩。他阻礙他們的創(chuàng)作過程。他的角色就是做那個”。尷尬的陌生人”。他的任務(wù)就是告訴他們一定要彈一下 那臺壞了的鋼琴。
　　And one of the ways in which he creates this disruption is through this remarkable deck of cards I have my signed copy here thank you, Brian. Theyamp。39。re called The Oblique Strategies, he developed them with a friend of his. And when theyamp。39。re stuck in the studio, Brian Eno will reach for one of the cards. Heamp。39。ll draw one at random, and heamp。39。ll make the band follow the instructions on the card.
　　他其中一個創(chuàng)造阻礙的方式就是用這一疊卡片。我手中的這疊是份簽名版。布萊恩，謝謝你。這叫”。傾斜策略”。，是他是和一個朋友一塊兒發(fā)明的。當(dāng)他們在工作室創(chuàng)意枯竭的時候，布萊恩。伊諾就會拿出其中一張卡片。他會隨意取出一張，然后讓樂隊根據(jù)卡片上的指示去做。
　　So this one ... amp。quot。Change instrument roles.amp。quot。 Yeah, everyone swap instruments Drummer on the piano Brilliant, brilliant idea.
　　看看這一張。 “。改變演奏樂器”。是的，每個人都交換一下樂器。比如鼓手去彈鋼琴。 真是非常非常棒的主意。
　　amp。quot。Look closely at the most embarrassing details. Amplify them.amp。quot。
　　amp。quot。Make a sudden, destructive, unpredictable action. Incorporate.amp。quot。
　　These cards are disruptive.
　　”。仔細看看最尷尬的細節(jié)。然后把它們放大。”。
　　”。做出既突然、同時又具有破壞性且無法預(yù)料的行動?！?。
　　這些卡片都有阻礙作用。
　　Now, theyamp。39。ve proved their worth in album after album. The musicians hate them.
　　現(xiàn)在，這些卡片已經(jīng)通過一張張的唱片證明了它的價值。音樂家們恨透了它們。
　　So Phil Collins was playing drums on an early Brian Eno album. He got so frustrated he started throwing beer cans across the studio.
　　菲爾?？铝炙乖?jīng)在布萊恩伊諾的一張唱片里打過鼓。有一次把他氣得把啤酒罐從工作室的一頭扔到了另一頭。
　　Carlos Alomar, great rock guitarist, working with Eno on David Bowieamp。39。s amp。quot。Lodgeramp。quot。 album, and at one point he turns to Brian and says, amp。quot。Brian, this experiment is stupid.amp。quot。 But the thing is it was a pretty good album, but also, Carlos Alomar, 35 years later, now uses The Oblique Strategies. And he tells his students to use The Oblique Strategies because heamp。39。s realized something. Just because you donamp。39。t like it doesnamp。39。t mean it isnamp。39。t helping you.
　　卡洛斯。阿洛瑪，非常優(yōu)秀的搖滾吉他手，和伊諾一起參與過大衛(wèi)。鮑伊專輯《Lodger》的制作。有一回，他跟布萊恩說， “。布萊恩，這個實驗蠢透了。”。 但事實證明那是一張非常棒的專輯，而且，卡洛斯。阿洛瑪在35年后，也就是現(xiàn)在正在使用”。傾斜策略”。他還介紹給他的學(xué)生們使用”。傾斜策略”。，因為他懂了一個道理。那就是你不喜歡它并不代表它對你沒用。
　　The strategies actually werenamp。39。t a deck of cards originally, they were just a list list on the recording studio wall. A checklist of things you might try if you got stuck.
　　這種策略實際上 原本并不是那一疊卡片， 而是一個列表。 列在錄音工作室的墻上。 列表上寫著當(dāng)你創(chuàng)意枯竭的時候 你可以嘗試做的事。
　　The list didnamp。39。t work. Know why? Not messy enough. Your eye would go down the list and it would settle on whatever was the least disruptive, the least troublesome, which of course misses the point entirely.
　　而這個列表并不管用。知道為什么嗎?因為還不夠麻煩。你的眼睛會瀏覽一遍列表，然后你就會選擇那個最不混亂的，最不麻煩的那條，這樣當(dāng)然就完全違背初衷了。
　　And what Brian Eno came to realize was, yes, we need to run the stupid experiments, we need to deal with the awkward strangers, we need to try to read the ugly fonts. These things help us. They help us solve problems, they help us be more creative.
　　然后布萊恩。伊諾就意識到，是的，我們需要進行這樣愚蠢的實驗，我們需要有尷尬的陌生人加入，我們需要試著去讀一讀難看的字體。這些都會幫助我們。它們可以幫我們解決問題，它們可以讓我們變得更有創(chuàng)造力。
　　But also ... we really need some persuasion if weamp。39。re going to accept this. So however we do it ...whether itamp。39。s sheer willpower, whether itamp。39。s the flip of a card or whether itamp。39。s a guilt trip from a German teenager, all of us, from time to time, need to sit down and try and play the unplayable piano.
　　但是同樣。 我們需要一些”。外部因素”。 來讓我們接受這樣做。所以不管我們怎樣做。 不管是靠純粹的意志力，還是靠抽出的那張卡片，還是碰見了一個德國青年內(nèi)疚的經(jīng)歷，我們所有人，有時，都需要坐下來，試著彈彈那臺彈不了的鋼琴。
　　Thank you.(Applause)
　　謝謝。(掌聲)