要求与希望:观后总结-ted talks：elizabeth_gilbert_on_genius

elizabeth gilbert：eat pray love的作者。 主要讲 灵感来源的换角度思考，怎样缓解想超越自己已有成就的焦虑 收获在：换个角度思考。也许不一定要完全按照她说的那种方法来思考，但这种思路可以借鉴，尤其当自己面对一个困难而焦虑的时候，或者因为一件事做的不好对自己很失望的时候，其实我是这件事没有做好，而不是我本身很糟糕，要想做好这类事，可以改进，一步一步来，且从当下开始，不用改造全部的自己，没有那么困难。还有，做好你该做的事，sometimes，尽人事听天命。 ------------------------摘抄------------------- 音乐家汤姆威兹 ，他告诉我说：一天他在洛杉矶高速公路开车，这时发生了一件改变他一生的事情 他正在加速前行，突然，他隐约听到了一小段优美的旋律,这旋律莫名地进入他的脑海，就像灵感来临时那样，捉摸不定而诱人心弦 这旋律莫名地进入他的脑海，就像灵感来临时那样，捉摸不定而诱人心弦 他急切地想要捕捉它，但是没有办法，他既没有纸笔，也没有录音机 他急切地想要捕捉它，但是没有办法，他感觉到那种熟悉的创作焦虑又在他体内集聚 “我就要失去这个灵感了，然后这首曲子会永世阴魂不散地折磨我”  “我根本不行，我做不到” 突然，他奇异般地停止了继续抓狂和焦躁情绪，然后做了一件不寻常的事情 他抬头望向天空，对它说道：“不好意思，您没看到我正在开车吗？” 我看上去像是能立马记下一首曲子的样子吗？ 如果你真想在世上流传，另挑个合适的时间再来吧，在我方便的时候  或者，你可以今天去骚扰别人，去找莱昂纳德·科恩去自从那件事以后，汤姆的整个创作过程改变了 不是作品变了，他的作品仍是一如既往的黑暗 但当他把创作天才从自身剥离开来时，伴随着创作过程的严重焦虑也被化解了 但当他把创作天才从自身剥离开来时，伴随着创作过程的严重焦虑也被化解了 将创作灵感归于自我，只是带来痛苦与麻烦，将它解放出来，倒像是放归原处 同时他也意识到，他原本无需将创作灵感内化于自身，自我折磨 创作灵感可以是他和这一外部未知存在之间奇异、奇妙又奇怪的合作关系 创作灵感可以是他和这一外部未知存在之间奇异、奇妙又奇怪的合作关系 那是一个自身以外的存在
 But then he got older, he got calmer, and one day he was driving down the freeway in Los Angeles he told me, and this is when it all changed for him. And he's speeding along, and all of a sudden he hears this little fragment of melody, that comes into his head as inspiration often comes, elusive and tantalizing, and he wants it, you know, it's gorgeous, and he longs for it, but he has no way to get it. He doesn't have a piece of paper, he doesn't have a pencil, he doesn't have a tape recorder. So he starts to feel all of that old anxiety start to rise in him like, "I'm going to lose this thing, and then I'm going to be haunted by this song forever. I'm not good enough, and I can't do it." And instead of panicking, he just stopped. He just stopped that whole mental process and he did something completely novel. He just looked up at the sky, and he said, "Excuse me, can you not see that I'm driving?" (Laughter) "Do I look like I can write down a song right now? If you really want to exist, come back at a more opportune moment when I can take care of you. Otherwise, go bother somebody else today. Go bother Leonard Cohen." And his whole work process changed after that. Not the work, the work was still oftentimes as dark as ever. But the process, and the heavy anxiety around it was released when he took the genie, the genius out of him where it was causing nothing but trouble, and released it kind of back where it came from, and realized that this didn't have to be this internalized, tormented thing. It could be this peculiar, wondrous, bizarre collaboration kind of conversation between Tom and the strange, external thing that was not quite Tom.   对艺术家来说，最棘手的是第二天早上，舞者悠悠转醒 舞者悠悠转醒 发现已经是周二上午11点了，他不再是神迹的显现 而只是那个腰腿不好，终将老去的凡人 而且，他或许再也无法达到昨晚那样的高度了 也许再也不会有人在他跳舞时喝彩神迹显现 他该如何自处呢？ 这是个很棘手的问题，也是创作生涯中最痛苦的自我认知之一  但也许,我们原本无需如此痛苦 如果你本来就从不曾认为，那无与伦比的艺术作品完全来源于你  如果你认为它们是某种神奇的存在，只是暂时借你一用，给你带来精美绝伦的作品  在你完成作品后，继续传递给其他人 如果我们这样看待这一问题，一切就都改变了 在过去的几个月中，我开始以这种方式看待这一问题 同时从事着我下一本书的写作 那本危险的，骇人的，被过度预期的，继我的畅销大作之后的作品  而我需要做的，就是不断告诉自己，尤其是在我忧郁焦躁的时候： “不要害怕，不要气馁，只需做好你的那部分工作” “不要害怕，不要气馁，只需做好你的那部分工作” 坚守在你的岗位上，无论你的岗位是什么：如果你是舞者，那就跳舞  如果那个属于你的，神圣却又邪门的精灵决定通过你让神迹显现，哪怕只是短短一瞬  那么，让我们喝彩：欧嘞！ 如果没有，那就请继续跳舞，坚守你的岗位，我依然为你喝彩：欧嘞！ 我坚信我们必须传授这一理念 只要你出于热爱与执着，坚守岗位，那你就值得喝彩：欧嘞！ But, the tricky bit comes the next morning, for the dancer himself, when he wakes up and discovers that it's Tuesday at 11 a.m., and he's no longer a glimpse of God. He's just an aging mortal with really bad knees, and maybe he's never going to ascend to that height again. And maybe nobody will ever chant God's name again as he spins, and what is he then to do with the rest of his life? This is hard. This is one of the most painful reconciliations to make in a creative life. But maybe it doesn't have to be quite so full of anguish if you never happened to believe, in the first place, that the most extraordinary aspects of your being came from you. But maybe if you just believed that they were on loan to you from some unimaginable source for some exquisite portion of your life to be passed along when you're finished, with somebody else. And, you know, if we think about it this way it starts to change everything. This is how I've started to think, and this is certainly how I've been thinking in the last few months as I've been working on the book that will soon be published, as the dangerously, frighteningly overanticipated follow up to my freakish success. And what I have to, sort of keep telling myself when I get really psyched out about that, is, don't be afraid. Don't be daunted. Just do your job. Continue to show up for your piece of it, whatever that might be. If your job is to dance, do your dance. If the divine, cockeyed genius assigned to your case decides to let some sort of wonderment be glimpsed, for just one moment through your efforts, then "Ole!" And if not, do your dance anyhow. And "Ole!" to you, nonetheless. I believe this and I feel that we must teach it. "Ole!" to you, nonetheless, just for having the sheer human love and stubbornness to keep showing up.