At 7:45 a.m., I open the doors to a building dedicated to building, yet only breaks me down. I march down hallways cleaned up after me every day by regular janitors, but I never have the decency to honor their names. Lockers left open like teenage boys' mouths when teenage girls wear clothes that covers their
insecurities but exposes everything else. Masculinity mimicked by men who grew up with no fathers, camouflage worn by bullies who are dangerously armed but need hugs. Teachers paid less than what it costs them to be here. Oceans of adolescents come here to receive lessons but never learn to swim, part like the Red Sea when the bell rings.
1:06This is a training ground. My high school is Chicago, diverse and segregated on purpose. Social lines are barbed wire. Labels like \"Regulars\" and \"Honors\" resonate. I am an Honors but go home with Regular students who are soldiers in territory that owns them. This is a training ground to sort out the Regulars from the Honors, a reoccurring cycle built to recycle the trash of this system.
1:40Trained at a young age to capitalize, letters taught now that capitalism raises you but you have to step on someone else to get there. This is a training ground where one group is taught to lead and the other is made to follow. No wonder so many of my people spit bars, because the truth is hard to swallow. The need for degrees has left so many people frozen.
2:05Homework is stressful, but when you go home every day and your home is work, you don't want to pick up any assignments. Reading textbooks is
stressful, but reading does not matter when you feel your story is already written, either dead or getting booked. Taking tests is stressful, but bubbling in a Scantron does not stop bullets from bursting.
2:27I hear education systems are failing, but I believe they're succeeding at what they're built to do --to train you, to keep you on track, to track down an American dream that has failed so many of us all.
2:44(Applause)
清晨7点45分，我打开那扇门， 那扇通往建筑楼的门， 即便它只能让我失望。 我走过门廊， 清洁工每日在我的身后打扫， 但我从未高尚地记住他们的名字。 储物柜敞开着，就像青春期的男生们看到女生们穿着暴露的衣服——那种除了掩饰她们的不安全感， 其实什么都没有遮住的衣服时，他们张大的嘴一样。 处处彰显着自己的男子气概的， 是成长在没有父亲的家庭中的男人； 恃强凌弱、横行霸道的， 是需要拥抱的持枪者。 老师们拿着不足以维持生计的薪水， 孩子们如潮水一般涌来聆听教诲， 却从未学会游泳。 下课铃一响，孩子们便像红海分开一样，彼此说再会。
1:06这就是我们的训练场。 我的高中，芝加哥， 在那里，学生被蓄意分隔成不同类别。 像有一张铁丝网横在我们中间一样。 “普通学生”和“优等生”的标签不绝于耳。 我是一个优等生， 却混杂在普通学生中一道回家。 那些普通学生，就像战士站在统治他们的领地上一样。 这就是我们的训练场： 永无止境地从优等生中寻找平庸者， 只是为了回收体系的垃圾。
1:40从小接受的资本化训练告诉你， 虽然资本主义养育了你， 但你还必须踩在别人
的肩膀上才能实现自己的目标。 这就是我们的训练场： 在这里，一部分人被训练成领导者， 另一部分人被训练如何去服从。 为什么我们中很多人去饶舌， 因为真相很难下咽。 对学位的需求让许多人感到害怕。
2:05家庭作业让人抓狂， 每当你回到家中，你的家就是作业， 你根本不想拿起作业本。 读课本也让人抓狂， 但有时，读书也没有用：那就是当你觉得 你的命运已被决定—— 不是死亡，就是被征用的时候。 考试更让人抓狂， 但是在答题卡上填涂得再多， 也无法阻止枪声响起，子弹爆炸。
2:27我听到我们的教育正在走向失败， 但我以为， 我们的教育正是成功实现了它的预期目标—— 训练你在已有的轨道上前行， 去追寻一个对于我们很多人来说 已经失败的美国梦。
2:44（掌声）
This is a guy named Bob McKim. He was a creativity researcher in the '60s and '70s, and also led the Stanford Design Program. And in fact, my friend and IDEO founder, David Kelley, who’s out there somewhere, studied under him at Stanford. And he liked to do an exercise with his studentswhere he got them to take a piece of paper and draw the person who sat next to them, their neighbor, very quickly, just as quickly as they could.
0:48And in fact, we’re going to do that exercise right now. You all have a piece of cardboard and a piece of paper. It’s actually got a bunch of circles on it. I need you to turn that piece of paper over; you should find that it’s blank on the
other side. And there should be a pencil. And I want you to pick somebody that’s seated next to you, and when I say, go, you’ve got 30 seconds to draw your neighbor, OK? So, everybody ready? OK. Off you go. You’ve got 30 seconds, you’d better be fast. Come on: those masterpieces ... OK? Stop. All right, now.
1:38(Laughter)
1:40Yes, lot’s of laughter. Yeah, exactly. Lots of laughter, quite a bit of embarrassment.
1:46(Laughter)
1:47Am I hearing a few \"sorry’s\"? I think I’m hearing a few sorry’s. Yup, yup, I think I probably am.And that’s exactly what happens every time, every time you do this with adults. McKim found this every time he did it with his students. He got exactly the same response: lots and lots of sorry’s.
2:07(Laughter)
2:08And he would point this out as evidence that we fear the judgment of our peers, and that we’re embarrassed about showing our ideas to people we think of as our peers, to those around us.And this fear is what causes us to be conservative in our thinking. So we might have a wild idea,but we’re afraid to share it with anybody else.
2:35OK, so if you try the same exercise with kids, they have no embarrassment at all. They just quite happily show their masterpiece to whoever wants to look at it. But as they learn to become adults, they become much more sensitive to the opinions of others, and they lose that freedom and they do start to become embarrassed. And in studies of kids playing, it’s been shown time after time that kids who feel secure, who are in a kind of trusted environment -- they’re the ones that feel most free to play.
3:15And if you’re starting a design firm, let’s say, then you probably also want to create a place where people have the same kind of security. Where they have the same kind of security to take risks.Maybe have the same kind of security to play.
3:32Before founding IDEO, David said that what he wanted to do was to form a company where all the employees are my best friends. Now, that wasn’t just self-indulgence. He knew that friendship is a short cut to play. And he knew that it gives us a sense of trust, and it allows us then to take the kind of creative risks that we need to take as designers. And so, that decision to work with his friends -- now he has 550 of them -- was what got IDEO started.
4:14And our studios, like, I think, many creative workplaces today, are designed to help people feel relaxed: familiar with their surroundings, comfortable with the people that they’re working with. It takes more than decor, but I think we’ve all seen that creative companies do often have symbols in the workplace that remind people to be playful, and that it’s a permissive
environment. So, whether it’s this microbus meeting room that we have in one our buildings at IDEO; or at Pixar, where the animators work in wooden huts and decorated caves; or at the Googleplex, where it’s famous for its [beach] volleyball courts, and even this massive dinosaur skeleton with pink flamingos on it. Don’t know the reason for the pink flamingos, but anyway, they’re there in the garden. Or even in the Swiss office of Google, which perhaps has the most wacky ideas of all.And my theory is, that’s so the Swiss can prove to their Californian colleagues that they’re not boring. So they have the slide, and they even have a fireman’s pole. Don’t know what they do with that, but they have one.
5:16So all of these places have these symbols. Now, our big symbol at IDEO is actually not so much the place, it’s a thing. And it’s actually something that we invented a few years ago, or created a few years ago. It’s a toy; it’s called a \"finger blaster.\" And I forgot to bring one up with me. So if somebody can reach under the chair that’s next to them, you’ll find something taped underneath it. That’s great. If you could pass it up. Thanks, David, I appreciate it.
5:41So this is a finger blaster, and you will find that every one of you has got one taped under your chair. And I’m going to run a little experiment. Another little experiment. But before we start, I need just to put these on. Thank you. All right. Now, what I’m going to do is, I’m going to see how -- I can’t see out of these, OK. I’m going to see how many of you at the back of the room can actually get those things onto the stage. So the way they work is, you know, you just put your finger in the thing, pull them back, and off you go. So, don’t look backwards. That’s my only recommendation here. I want to see how many of you can get
these things on the stage. So come on! There we go, there we go. Thank you. Thank you. Oh. I have another idea. I wanted to -- there we go.
6:26(Laughter)
6:30There we go.
6:31(Laughter)
6:35Thank you, thank you, thank you. Not bad, not bad. No serious injuries so far.
6:40(Laughter)
6:44Well, they’re still coming in from the back there; they’re still coming in. Some of you haven’t fired them yet. Can you not figure out how to do it, or something? It’s not that hard. Most of your kids figure out how to do this in the first 10 seconds, when they pick it up. All right. This is pretty good; this is pretty good. Okay, all right. Let’s -- I suppose we'd better... I'd better clear these up out of the way; otherwise, I’m going to trip over them. All right. So the rest of you can save them for when I say something particularly boring, and then you can fire at me.
7:16(Laughter)
7:18All right. I think I’m going to take these off now, because I can’t see a
damn thing when I’ve -- all right, OK. So, ah, that was fun.
7:27(Laughter)
7:29All right, good.
7:31(Applause)
7:33So, OK, so why? So we have the finger blasters. Other people have dinosaurs, you know. Why do we have them? Well, as I said, we have them because we think maybe playfulness is important.But why is it important? We use it in a pretty pragmatic way, to be honest. We think playfulness helps us get to better creative solutions. Helps us do our jobs better, and helps us feel better when we do them.
7:58Now, an adult encountering a new situation -- when we encounter a new situation we have a tendency to want to categorize it just as quickly as we can, you know. And there’s a reason for that: we want to settle on an answer. Life’s complicated; we want to figure out what’s going on around us very quickly. I suspect, actually, that the evolutionary biologists probably have lots of reasons [for] why we want to categorize new things very, very quickly. One of them might be, you know, when we see this funny stripy thing: is that a tiger just about to jump out and kill us? Or is it just some weird shadows on the tree? We need to figure that out pretty fast. Well, at least, we did once. Most of us don’t need to anymore, I suppose.
8:37This is some aluminum foil, right? You use it in the kitchen. That’s what it is, isn’t it? Of course it is, of course it is. Well, not necessarily.
8:44(Laughter)
8:46Kids are more engaged with open possibilities. Now, they’ll certainly -- when they come across something new, they’ll certainly ask, \"What is it?\" Of course they will. But they’ll also ask, \"What can I do with it?\" And you know, the more creative of them might get to a really interesting example. And this openness is the beginning of exploratory play. Any parents of young kids in the audience? There must be some. Yeah, thought so. So we’ve all seen it, haven’t we?
9:12We’ve all told stories about how, on Christmas morning, our kids end up playing with the boxesfar more than they play with the toys that are inside them. And you know, from an exploration perspective, this behavior makes complete sense. Because you can do a lot more with boxes than you can do with a toy. Even one like, say, Tickle Me Elmo -- which, despite its ingenuity, really only does one thing, whereas boxes offer an infinite number of choices. So again, this is another one of those playful activities that, as we get older, we tend to forget and we have to relearn.
9:12我们都说过在圣诞节早上的故事， 孩子们竟然在玩纸箱， 而不玩包在里面的玩具。 你知道的，从探索的角度看， 这种行为是有道理的。 因为箱子可以玩的方式比玩具多得多。 举例而言：像｢搔癢娃娃｣， 它虽有原创性，却只有一个用途， 而箱子却有无限的选择。 再一次，这又是一个好玩的活动，当我们长大后，我们倾向忘记，而要重新学习。
9:49So another one of Bob McKim’s favorite exercises is called the \"30 Circles Test.\" So we’re back to work. You guys are going to get back to work again. Turn that piece of paper that you did the sketch on back over, and you’ll find those 30 circles printed on the piece of paper. So it should look like this. You should be looking at something like this. So what I’m going to do is, I’m going to give you minute, and I want you to adapt as many of those circles as you can into objects of some form. So for example, you could turn one into a football, or another one into a sun. All I’m interested in is quantity. I want you to do as many of them as you can, in the minute that I’m just about to give you. So, everybody ready? OK? Off you go.
10:41Okay. Put down your pencils, as they say. So, who got more than five circles figured out?Hopefully everybody? More than 10? Keep your hands up if you did 10. 15? 20? Anybody get all 30? No? Oh! Somebody did. Fantastic. Did anybody to a variation on a theme? Like a smiley face? Happy face? Sad face? Sleepy face? Anybody do that? Anybody use my examples? The sun and the football? Great. Cool. So I was really interested in quantity. I wasn’t actually very interested in whether they were all different. I just wanted you to fill in as many circles as possible.And one of the things we tend to do as adults, again, is we edit things. We stop ourselves from doing things. We self-edit as we’re having ideas.
11:30And in some cases, our desire to be original is actually a form of editing. And that actually isn’t necessarily really playful. So that ability just to go for it and explore lots of things, even if they don’t seem that different from each other, is actually something that kids do well, and it is a form of play. So now, Bob
McKim did another version of this test in a rather famous experiment that was done in the 1960s. Anybody know what this is? It’s the peyote cactus. It’s the plant from which you can create mescaline, one of the psychedelic drugs. For those of you around in the '60s, you probably know it well.
12:10McKim published a paper in 1966, describing an experiment that he and his colleagues conducted to test the effects of psychedelic drugs on creativity. So he picked 27 professionals -- they were engineers, physicists, mathematicians, architects, furniture designers even, artists --and he asked them to come along one evening, and to bring a problem with them that they were working on. He gave each of them some mescaline, and had them listen to some nice, relaxing music for a while. And then he did what’s called the Purdue Creativity Test. You might know it as, \"How many uses can you find for a paper clip?\" It’s basically the same thing as the 30 circles thing that I just had you do.
13:02Now, actually, he gave the test before the drugs and after the drugs, to see what the difference was in people’s facility and speed with coming up with ideas. And then he asked them to go awayand work on those problems that they’d brought. And they’d come up with a bunch of interesting solutions -- and actually, quite valid solutions -- to the things that they’d been working on. And so, some of the things that they figured out, some of these individuals figured out; in one case, a new commercial building and designs for houses that were accepted by clients; a design of a solar space probe experiment; a redesign of the linear electron accelerator; an engineering improvement to a magnetic tape recorder -- you can tell this is a while ago; the completion of a line of furniture; and
even a new conceptual model of the photon. So it was a pretty successful evening.
13:53In fact, maybe this experiment was the reason that Silicon Valley got off to its great start with innovation. We don’t know, but it may be. We need to ask some of the CEOs whether they were involved in this mescaline experiment. But really, it wasn’t the drugs that were important; it was this idea that what the drugs did would help shock people out of their normal way of thinking, and getting them to forget the adult behaviors that were getting in the way of their ideas. But it’s hard to break our habits, our adult habits.
14:23At IDEO we have brainstorming rules written on the walls. Edicts like, \"Defer judgment,\" or \"Go for quantity.\" And somehow that seems wrong. I mean, can you have rules about creativity? Well, it sort of turns out that we need rules to help us break the old rules and norms that otherwise we might bring to the creative process. And we’ve certainly learnt that over time, you get much better brainstorming, much more creative outcomes when everybody does play by the rules. Now, of course, many designers, many individual designers, achieve this is in a much more organic way.
14:57I think the Eameses are wonderful examples of experimentation. And they experimented with plywood for many years without necessarily having one single goal in mind. They were exploring following what was interesting to them. They went from designing splints for wounded soldierscoming out of World War II and the Korean War, I think, and from this experiment they moved on to chairs.
15:19Through constant experimentation with materials, they developed a wide range of iconic solutionsthat we know today, eventually resulting in, of course, the legendary lounge chair. Now, if the Eameses had stopped with that first great solution, then we wouldn’t be the beneficiaries of so many wonderful designs today. And of course, they used experimentation in all aspects of their work, from films to buildings, from games to graphics. So, they’re great examples, I think, of exploration and experimentation in design.
15:53Now, while the Eameses were exploring those possibilities, they were also exploring physical objects. And they were doing that through building prototypes. And building is the next of the behaviors that I thought I’d talk about. So the average Western first-grader spends as much as 50 percent of their play time taking part in what’s called \"construction play.\" Construction play -- it’s playful, obviously, but also a powerful way to learn. When play is about building a tower out of blocks, the kid begins to learn a lot about towers. And as they repeatedly knock it down and start again, learning is happening as a sort of by-product of play. It’s classically learning by doing.
16:37Now, David Kelley calls this behavior, when it’s carried out by designers, \"thinking with your hands.\" And it typically involves making
multiple, low-resolution prototypes very quickly, often by bringing lots of found elements together in order to get to a solution. On one of his earliest projects, the team was kind of stuck, and they came up with a mechanism by hacking
together a prototype made from a roll-on deodorant. Now, that became the first commercial computer mouse for the Apple Lisa and the Macintosh.
17:08So, they learned their way to that by building prototypes. Another example is a group of designerswho were working on a surgical instrument with some surgeons. They were meeting with them; they were talking to the surgeons about what it was they needed with this device. And one of the designers ran out of the room and grabbed a white board marker and a film canister -- which is now becoming a very precious prototyping medium -- and a clothespin. He taped them all together, ran back into the room and said, \"You mean, something like this?\" And the surgeons grabbed hold of it and said, well, I want to hold it like this, or like that. And all of a sudden a productive
conversation was happening about design around a tangible object. And in the end it turned into a real device.
17:51And so this behavior is all about quickly getting something into the real world, and having your thinking advanced as a result. At IDEO there’s a kind of a back-to-preschool feel sometimes about the environment. The prototyping carts, filled with colored paper and Play-Doh and glue sticks and stuff -- I mean, they do have a bit of a kindergarten feel to them. But the important idea is that
everything’s at hand, everything’s around. So when designers are working on ideas, they can start building stuff whenever they want. They don’t necessarily even have to go into some kind of formal workshop to do it. And we think that’s pretty important.
18:27And then the sad thing is, although preschools are full of this kind of stuff, as kids go through the school system it all gets taken away. They lose this stuff that facilitates this sort of playful and building mode of thinking. And of
course, by the time you get to the average workplace, maybe the best
construction tool we have might be the Post-it notes. It’s pretty barren. But by giving project teams and the clients who they’re working with permission to think with their hands, quite complex ideas can spring into life and go right through to execution much more easily.
18:27悲哀的是，学龄前儿童虽然 充满这些东西，一旦儿童进入学校系统 这些都不见了。 他们失去这些物品，这些能促成 好玩的、建造模式的思考。 当然，当你到达一般工作场合时， 我们能有的最佳建造工具 或许就是便利贴了。蛮寒酸的。 但如能让专案小组及一起工作的客户 允许他们用手去思考， 极复杂的构想就会油然而生 并能更方便地加以执行。
19:05This is a nurse using a very simple -- as you can see -- plasticine prototype, explaining what she wants out of a portable information system to a team of technologists and designers that are working with her in a hospital. And just having this very simple prototype allows her to talk about what she wants in a much more powerful way. And of course, by building quick prototypes, we can get out and test our ideas with consumers and users much more quickly than if we’re trying to describe them through words.
19:37But what about designing something that isn’t physical? Something like a service or an experience? Something that exists as a series of interactions over time? Instead of building play, this can be approached with role-play. So, if you’re designing an interaction between two people -- such as, I don’t know -- ordering food at a fast food joint or something, you need to be able to
imagine how that experience might feel over a period of time. And I think the best way to achieve that, and get a feeling for any flaws in your design, is to act it out.
20:08So we do quite a lot of work at IDEO trying to convince our clients of this. They can be a little skeptical; I’ll come back to that. But a place, I think, where the effort is really worthwhile is where people are wrestling with quite serious problems -- things like education or security or finance or health. And this is another example in a healthcare environment of some doctors and some nurses and designers acting out a service scenario around patient care. But you know, many adults are pretty reluctant to engage with role-play. Some of it’s embarrassment and some of it is because they just don’t believe that what emerges is necessarily valid. They dismiss an interesting interaction by saying, you know, \"That’s just happening because they’re acting it out.\"
20:51Research into kids' behavior actually suggests that it’s worth taking role-playing seriously.Because when children play a role, they actually follow social scripts quite closely that they’ve learnt from us as adults. If one kid plays \"store,\" and another one’s playing \"house,\" then the whole kind of play falls down. So they get used to quite quickly to understanding the rules for social
interactions, and are actually quite quick to point out when they’re broken.
21:18So when, as adults, we role-play, then we have a huge set of these scripts already internalized.We’ve gone through lots of experiences in life, and they provide a strong intuition as to whether an interaction is going to work. So we’re very good, when acting out a solution, at spotting whether something lacks
authenticity. So role-play is actually, I think, quite valuable when it comes to thinking about experiences. Another way for us, as designers, to explore role-play is to put ourselves through an experience which we’re designing for, and project ourselves into an experience.
21:56So here are some designers who are trying to understand what it might feel like to sleep in aconfined space on an airplane. And so they grabbed some very simple materials, you can see,and did this role-play, this kind of very crude role-play, just to get a sense of what it would be like for passengers if they were stuck in quite small places on airplanes.
22:16This is one of our designers, Kristian Simsarian, and he’s putting himself through the experience of being an ER patient. Now, this is a real hospital, in a real emergency room. One of the reasons he chose to take this rather large video camera with him was because he didn’t want the doctors and nurses thinking he was actually sick, and sticking something into him that he was going to regret later. So anyhow, he went there with his video camera, and it’s kind of interesting to see what he brought back. Because when we looked at the video when he got back, we saw 20 minutes of this.
22:45(Laughter)
22:48And also, the amazing thing about this video -- as soon as you see it you immediately project yourself into that experience. And you know what it feels like: all of that uncertainty while you’re left out in the hallway while the docs are
dealing with some more urgent case in one of the emergency rooms, wondering what the heck’s going on. And so this notion of using role-play -- or in this case, living through the experience as a way of creating empathy -- particularly when you use video, is really powerful.
23:15Or another one of our designers, Altay Sendil: he’s here having his chest waxed, not because he’s very vain, although actually he is -- no, I’m kidding -- but in order to empathize with the pain that chronic care patients go through when they’re having dressings removed. And so sometimes these analogous experiences, analogous role-play, can also be quite valuable.
23:34So when a kid dresses up as a firefighter, you know, he’s beginning to try on that identity. He wants to know what it feels like to be a firefighter. We’re doing the same thing as designers.We’re trying on these experiences. And so the idea of role-play is both as an empathy tool, as well as a tool for prototyping experiences. And you know, we kind of admire people who do this at IDEO anyway. Not just because they lead to insights about the experience, but also because of their willingness to explore and their ability to
unselfconsciously surrender themselves to the experience. In short, we admire their willingness to play.
24:16Playful exploration, playful building and role-play: those are some of the ways that designers use play in their work. And so far, I admit, this might feel like it’s a message just to go out and play like a kid. And to certain extent it is, but I want to stress a couple of points. The first thing to remember is that play is not
anarchy. Play has rules, especially when it’s group play. When kids play tea party, or they play cops and robbers, they’re following a script that they’ve agreed to. And it’s this code negotiation that leads to productive play.
24:56So, remember the sketching task we did at the beginning? The kind of little face, the portrait you did? Well, imagine if you did the same task with friends while you were drinking in a pub. But everybody agreed to play a game where the worst sketch artist bought the next round of drinks.That framework of rules would have turned an embarrassing, difficult situation into a fun game. As a result, we’d all feel perfectly secure and have a good time -- but because we all understood the rules and we agreed on them together.
25:30But there aren’t just rules about how to play; there are rules about when to play. Kids don’t play all the time, obviously. They transition in and out of it, and good teachers spend a lot of timethinking about how to move kids through these experiences. As designers, we need to be able to transition in and out of play also. And if we’re running design studios we need to be able to figure out, how can we transition designers through these different experiences? I think this is particularly true if we think about the sort of --
26:03I think what’s very different about design is that we go through these two very distinctive modes of operation. We go through a sort of generative mode, where we’re exploring many ideas; and then we come back together again, and come back looking for that solution, and developing that solution. I think they’re two quite different modes: divergence and convergence. And I
think it’s probably in the divergent mode that we most need playfulness. Perhaps in convergent mode we need to be more serious. And so being able to move between those modes is really quite important. So, it’s where there’s a more nuanced version view of play, I think, is required.
26:45Because it’s very easy to fall into the trap that these states are absolute. You’re either playful or you’re serious, and you can’t be both. But that’s not really true: you can be a serious professional adult and, at times, be playful. It’s not an either/or; it’s an \"and.\" You can be serious and play. So to sum it up, we need trust to play, and we need trust to be creative. So, there’s a connection.And there are a series of behaviors that we’ve learnt as kids, and that turn out to be quite useful to us as designers. They include exploration, which is about going for quantity; building, and thinking with your hands; and role-play, where acting it out helps us both to have more empathy for the situations in which we’re designing, and to create services and experiences that are seamless and authentic.
27:44Thank you very much. (Applause)
这位仁兄, 这位仁兄叫做博布‧马金。 '60、'70 年代时他是创造力研究者， 同时负责史丹福大学的设计学程。 事实上，我的朋友兼 IDEO 创办人大卫‧凯利， 他也在场，曾在史丹福当他的学生。 他喜欢要学生做一个练习 要他们拿一张纸 画坐在身边的人，他们的邻座， 很快地画，越快越好。
0:48事实上，我们就要来做那个练习。 你们都有一片纸板和一张纸。 它有着一堆的
圆圈在上面。 我要你们把纸翻过来， 背面是空白的，是吧？ 也该有一枝铅笔。 我要你找个坐在你旁边的人， 当我说｢开始｣，你用 30 秒画你的邻座，好吗？ 都预备好了吗？好了？开始。 你有 30 秒，最好画快些。 加油，画出杰作。 好？停。很好，到了。
1:38(笑声)
1:40是呀，很多笑声。就是这样。 很多笑声，有点难为情。
1:46(笑声)
1:47有人说｢不好意思｣？我猜我听到有人说｢不好意思｣。 对，对，我有听到。 那正是每次都有的事， 每次你要大人做这个。 马金每次要学生做，都发现这样。 得到的反应完全一样：许许多多｢不好意思｣。
2:07(笑声)
2:08他会指出这是证据 我们害怕同侪的评断， 我们不好意思展现自己的构想 给我们的同侪，给周边的人。 就是这种害怕使我们 变成思想上保守。 我们或许有个狂野的想法， 但我们怕和任何人分享。
2:35好，如果你要儿童做同样的练习， 他们一点都不会难为情。 他们都高兴地展现自己的杰作 给任何想看它的人。 但当他们学着长大， 他们对别人的意见变得大为敏感， 而失去了那个自由，也开始变得难为情。 研究游戏中的儿童，已经一次次 证明了只要孩子们觉得安心、 是在一种信赖的环境里， 他们就越觉得能尽兴去玩。
3:15例如说，你计划要成立一家设计公司， 你因此可能也要规划一个地方 让人感到
有安全感。 那里他有敢去冒险的安全感。 也许有敢去游戏的安全感。
3:32创立 IDEO 之前，大卫说他想做的是 组一家员工全是他的好朋友的公司。 那并不是只自我陶醉。 他知道，友谊是游戏的关键。 他知道，那给我们信赖感， 也容许我们去冒创意风险 就是设计师都要冒的风险。 所以那种想和朋友一起工作的决定 － 如今他有 550 位 － 是 IDEO 的缘起。
4:14而我们的工作室，像今天的许多创意工作区一样， 其设计是要帮助人们觉得放松。 熟悉他们的周遭， 自在地与同事一起工作。 它不只是装潢，我想你们都知道， 创意公司往往在工作区都有个｢象征｣ 可以提醒人要敢玩， 以及那是个容许放肆的环境。 因此不论是这个箱型车会议室 就在 IDEO 的一栋大楼里， 或在匹克萨，动画师们在木屋及装饰的洞穴里工作。 或在谷歌城，你知道的， 它有名的是沙滩排球场， 以及这个巨大的恐龙骨骼及上面的红鹤。 不懂红鹤的理由是什么， 但是总之，它们就在庭院里。 或者，甚至瑞士的谷歌办公室， 这里有或许是最搞怪的点子。 我的理论是这样的：瑞士可以证明给 加州同事们说，他们不会无聊。 他们有滑梯，他们甚至有消防队的钢管。 不知他们拿那个做什么，但他们就是有。
5:16因此, 所有这些地方都有这些｢象征｣。 而我们在 IDEO 的大｢象征｣，实际上 并不是个地点，而是件物品。 它实际上是我们几年前发明的东西， 或几年前创造出来的。 那是个玩具，叫做 「弹射镖」。 我忘了带一个上来。 谁可以到旁边那把椅子下， 你可以找到就贴在座垫底下。 很好。请递给我。谢谢你大卫，感谢。
5:41这就是弹射镖，你们都可以找到一个 贴在你的座垫下。 我要来个小实验。另一个小实验。 但是开始前，我要戴上这个。 谢谢。好了。 现在，我要做的是：我要看如何 － 我看不到，好了。 我要看有多少位坐在房间后面的 可以把这些东西射上舞台。 使用方法是，
你知道的， 把手指套进去， 向后拉，放开就射出了。 不要回头看。这是我唯一的建议。 所以我要看有多少人能把它射上舞台。 开始了！来吧、来吧。谢谢、谢谢。噢。 我有另一个想法。我要 － 来吧。
6:26(笑声)
6:30来吧。
6:31(笑声)
6:35谢谢、谢谢、谢谢。 不错、不错。还没有严重伤害。
6:40(笑声)
6:44嗯，它们继续从后方飞过来： 继续飞过来。 有些人还没有发射。 你不知如何射，或怎么了 并不难的。大部分小孩都会射 拿到后十秒内就会了。 好了。很好、很好。 好了。我想我们最好... 我最好清理一下场地 否则我会踏到它们。 好。其他人可以留着它 如果我讲得特别无聊时， 就拿来射我。
7:16(笑声)
7:18好了。我要把它脱下， 因为我看不到东西 － 好了，好。 所以，啊，那真好玩。
7:27(笑声)
7:29好了，好。
7:31(鼓掌)
7:33所以，好，为什么？ 所以我们有弹射镖，其他人有恐龙，你知道的。 为何我们要有它？嗯，我说过， 我们有它，因为我们认为：好玩是重要的。 但是，为什么重要？ 我们用它在实用上，老实说。我们认为：好玩帮我们找到更有创意的解答。 帮我们做得更好， 当我们做事时，帮我们感觉更好。
7:58现在，大人遇到了新的情况 － 当我们遇到新情况，我们倾向 要将它尽快归类。 这是有道理的。我们想找个解答。 生活是复杂的。我们要尽快 弄清楚四周的状况。 我猜，实际上演化论生物学者 或许有很多理由可说明为何 我们要尽快归类事情。 其中一个理由也许是， 当我们看到个怪条纹的东西， 那是老虎要跳出来吃人吗？ 或者只是树上的一些怪影？ 我们必须很快弄清楚。 嗯，至少我们做过一次。 我猜，我们大部分都不必再做。
8:37这是铝箔，对吧？你在厨房里用它。 就是那样，不是吗？当然是的、当然是的。 嗯，未必吧。
8:44(笑声)
8:46小孩更愿意接受开放的可能性。 他们将必然 － 当他们遇到新的事情， 他们将必然会问：这是什么？当然他们会。但他们也会问：我能用它做什么？ 而你知道，比较有创意的小孩 将会得到真正有趣的例子。 这种开放是探索游戏的开始。 观众中有人有小孩吗？ 一定是有的。 呀，想必如此。因此我们都看到了，不是吗？
9:49因此，博布‧马金的另一个喜爱的练习 叫做｢30 圈测验｣。 因此我们回来工作。你们都要回来工作。把刚才画图的纸翻过来， 背面印有 30 个圆圈。 就是这样。你看到
的就像这个。 我要做什么呢，我要给你一分钟， 我要你尽量利用这些圆圈， 画成某些物品。 例如，你可以把一个画成足球， 或另一个画成太阳。我要的是数量。 我要你尽可能画越多越好， 利用我将给你的一分钟。 准备好了吗？好吗？开始。
10:41好了。请放下铅笔。 谁画超过五个？ 应该是每个人？超过 10 个？ 如果画满 10 个的，请举手。15？20？有人画满 30 个？ 没有？喔！有人做到了。好极了。 有人用同一主题去变化吗？如笑脸？快乐脸？悲伤脸？瞌睡脸？有人吗？ 有人用我的例子吗？太阳、足球？ 很好。酷。我要的是数量。实际上我不在意它们是否都差别很大。 我只是要你们尽量使用圆圈。 大人的另一个倾向，会去编辑东西。 我们停住自己，不再去做。 我们一有想法就自我编辑它。
11:30有时候，我们想要有原创性，其实是一种编辑。 而实际上未必真的好玩。 因此那种往前探索许多事物的能力， 即使它们彼此并不那么不同， 实际上小孩子做得很好，是一种游戏。 因此，现在博布‧马金做了另一个 － 测验的另一个版本， 一个颇有名的实验，在 1960 年代。 有人知道这是什么吗？是皮约特仙人掌。 用它可以制造美斯卡灵， 一种迷幻剂。 '60 年代的人或许知道。
12:10马金在 1966 年发表了一篇论文，描述一个实验 由他和他的同事执行的， 测试迷幻药对创造力的影响。 因此他挑选了 27 名专业人士。他们是： 工程师、物理学者、数学家、建筑师、 家具设计师、还有艺术家。 他请他们某个晚上过来 带个他们正在处理的问题。 他给每个人吃一些美斯卡灵， 让他们听一下好听、轻松的音乐。 接着他要他们做所谓的｢普度创造力测验｣。 也许你知道，就是：想出回形针有多少用途？ 基本上和我要你们做的 30 个圆圈一样。
13:02实际上，用药前他也有做测验， 用药后也有，要比较 － 人们在产生构想的熟
练度 和速度上有何不同。 接着他要他们离开 开始处理带来的问题。 他们都产生了一大堆的 有趣解答，实际上都相当 具体的解答用在正处理的问题上。 他们想出的一些点子， 这些受试者想出的... 如：新的商业大楼和住屋设计 被客户接受了。 太阳的太空探测实验设计。 线性电子加速器的再设计、 录音磁带的工程改进。－ 这是好几年前的事。 完成家具产品线， 甚至光子的新概念模型。 因此，这是个蛮成功的夜晚。
13:53也许这个实验是硅谷为什么 在创新上能有那么大的突破。 我们未得而知，但有可能的。 我们要问几位执行长 他们是否参加了这个美斯卡灵实验。 真的，重要的不是药， 而是实验的发现： 药可以帮人跳出平常的思维方式。 让人忘记大人的行为 这些行为有碍创意。 但是很难改变习惯，我们的大人习惯。
14:23在 IDEO，我们把脑力激荡规则写在墙上。 昭告如下：｢延后判断｣，或｢追求数量｣。 好像这样也不对。 我是说，创造力可以有规则吗？ 好像我们需要规则 来帮我们打破旧规则及常态 否则我们又把它放到创造过程里。 当然长时来我们已学会它， 可以有较好的脑力激荡， 有更具创意的产出，只要大家遵守规则。 当然，许多设计师、个人设计师， 以更有机的方式达成这个。
14:57我认为，伊姆斯夫妇是实验的最佳实例。 他们多年实验各种合板 未必心中先有单一目标。 他们循着他们的兴趣探索。 他们当初是要设计伤兵的断骨夹板 我想，是为二战及韩战的伤兵。 从这个实验，他们进展到各种椅子。
15:19经由不断的材料实验， 发展了广范围的经典解答 现在我们都知道，后来导致 那个传奇的靠椅。 如果伊姆斯停止在那个伟大的解答， 我们受益的将没有那么多 今日的绝佳设计。 当然，他们把实验用在工作的所有面向。 从影片到建筑、从游戏到图文。 因此我想，他们是绝佳的设计探索 和实验的范例。
15:53当伊姆斯探索各种可能时， 他们也探索实体物品。 经由建造模型来做。 ｢建造｣是我要谈的另一个行为。 平均的西方小一学生 花游戏时间的一半之多 做所谓的「建构游戏」。 建构游戏 － 显然很好玩， 也是有力的学习方法。 当玩用积木建造一个塔， 小孩开始学许多有关塔的事。 当他们不断地拆了又建， 学习就以游戏的副产品发生着。 这是古典的「做中学」。
16:37大卫‧剀利叫这种行为， 当由设计师做时：「用手思考」。 它基本上包含快速地 制作多次草模。如，往往是组合找到的东西 以得到解答。 最早期的一个项目，小组卡住了， 后来得到的机构是拼组了 除臭剂的滚球而成的模型。 而成为第一款上市计算机鼠标 用在苹果丽莎和麦金塔。
17:08因此他们以建造模型找到那个解答。 另个例子是有一群设计师 和外科医师讨论手术器具设计 他们开会，他们和外科医师谈 问他们需要这个器具做什么。 其中一个设计师跑出房间 抓了一支白板笔和一个底片盒 － 它们变成很有用的模型道具 － 加上晒衣夹。用胶带捆起来， 跑回房间说：你是说像这个？ 外科医师抓住把手，说： 我要像这样或那样握它。 突然间，建设性的对话开始 绕着实际的物品讨论设计。 最后产生了真实的器具。
17:51所以这个行为是为了快速放东西 到真实世界，以便思考也跟着前进。 在 IDEO 有点像回到学前的感觉， 关于它的环境。 塞满色纸做购物车的模型 玩面团、黏棒子及其他东西。 他们真的有点像是在幼儿园的感觉。 但最重要的概念是，事事物物都在周边、顺手可得。 因此当设计师在找构想时 他们任何时候都能开始建造东西。 他们未必需要去 某个正式的工场去做它。 我们认为这是很重要的。
19:05这位护士用很简单的 － 你看得出 － 油土模型， 说明她要用手持信息系统做
什么 给技术人员及设计师小组听 他们正一起在医院合作。 只用这个简单的模型 让她有力地表达她想要的东西。 当然，建造快速模型可以 让我们更快速提出构想， 并和顾客及使用者测试它， 比只是用口头描述好多了。
19:37但如果要设计非实体的事物呢？ 像是服务或体验？ 时间上的一系列互动之类的? 不是建造游戏，这时要用角色扮演。 如果你要设计两个人之间的互动 例如，在快餐店点餐 或什么的，你要能想象 那个时间历程上经验的感觉。 我想，最好的达成方式 并感受设计缺点，就是扮演一下。
20:08在 IDEO 我们花佷多工夫 说服我们的客户采用它。 他们有点怀疑，等下我再说。 但我认为，有个值得努力的地方 是在人们致力的严肃问题上。 例如教育、保险、财务、或医疗。 这是另一个医疗环境的例子 医生、护士、及设计师们 扮演着病患照顾的服务情境。 但是你知道，许多大人 很不愿参与角色扮演。 有的怕难为情，有的则是因为 他们就是不相信，这样得到的会是有效的。 他们推辞有趣的互动，说： 它的发生是因为有人这样演出。
20:51研究儿童行为则实际指出 角色扮演值得认真看待。 因为当儿童扮演一个角色时 他们真的蛮密切地跟着社会剧本 那是从大人那里学来的。 如果有个小孩扮商店，另一个扮房子， 则整个游戏就垮了。 因此他们习惯于很快地 了解社会互动的规则， 实际上也很快能指出规则的违反。
21:18因此，当大人扮演角色时， 我们有一大堆已经内化的剧本。 在生活中我们已有许多经验。 而它们提供很强的直觉 去得知某项互动是否可行。 因此我们很拿手于演出一个解答， 去指出某事是否缺乏真实感。 因此，我认为角色扮演是 很有价值的，可用在思考各种体验。 另一个提供设计师探讨角色扮演的方式 是亲自去经历要设计的事情， 就是
把自己投入那项经验。
21:56这里有几位设计师试着要了解 睡在飞机上狭窄空间 的感觉是如何。 因此他们取用非常简单的材料，你看。 而去做这样的角色扮演，这种很粗糙的角色扮演， 只想理解一下旅客会有的感觉 如果旅客被塞在机上的小小空间。
22:16这是我们的一位设计师克力仙‧西姆萨连， 他自己经历在急诊室当病患的体验。 这可是真的医院，在真的急诊室。 为何他选择要带着 这个颇大的录像机？ 因为他不想被医生或护士认为 他是真的有病，而跟他打什么针 这会令他后悔。 总之，他带着录像机去了那里， 有趣的是看他带回的东西。 因为当他回来时，我们看了他的录像， 我们看了 20 分钟的这个。
22:45(笑声)
22:48还有，这个录像的神奇之处是， 只要你看它，你就立刻好像 自己投入那个体验。 而知道那种感觉，那种不确定感 当你被留置在走廊 而医师们忙着其他更急的事 去了另一间急诊病房，你不解到底是怎么了。 因此使用角色扮演的这个概念， 这个例子里，就是去经历那个经验 是一种创造同感的方式，尤其当你使用录像，是佷有力的。
23:15另一位我们的设计师阿尔泰‧仙迪尔， 他来做胸部除毛 ，并不是为了爱虚荣， 虽然他实际是的。不，我开玩笑。 而是为了感同慢性病人的痛苦 去经历他们移除敷料贴片的感觉。 因此有时这些模拟的经验， 即模拟的角色扮演，也可以很有用。
23:34当小孩穿上消防装， 他开始尝试那个身分。 他要知道当消防员的感觉。 身为设计师我们做相同的事。 我们尝试这些体验。 因此角色扮演的想法不但是感同的工具， 也
是型塑体验的工具。 我们很羡慕在 IDEO 有人去做这个。 不只因为他们带来体验的洞见， 也因为他们愿意去探索 以及他们有能力在无意识中 忘我地去体验。 简言之，我们羡慕他们愿意去扮演。
24:16因此，好玩的探索、好玩的建造、及角色扮演。 这些都是设计师工作中用的方法。 至此，我承认这好像是 叫你们像个小孩那样去玩。 某个程度上是的，但我要强调几点。 首先记住游戏不是乱无章法的。 游戏有规则，尤其是团体游戏。 当孩子玩茶会、或玩警察抓小偷， 他们依着彼此同意的剧本。是这个守则协商带来有产出的游戏。
24:56记得一开始的画图任务吗 你画的那个小脸、画像？ 想想如果你和朋友做这个 一边在酒廊里喝酒。 大家同意玩个游戏 画得最差的要付下一巡酒钱。 这个规则将使难为情、 窘境成为有趣的游戏。 结果呢，我们将有安全感，过得很愉快 － 因为我们都了解规则，我们一起同意它。
25:30但是，不只有「如何玩」的规则， 也有「何时玩」的规则。 显然，孩子们不是一直在玩。 他们进入及退出游戏。 而好的老师要花许多时间 思考如何带孩子走过这些经验。 身为设计师，我们也要能进入及退出游戏。 如果我们经营设计公司 我们要让设计师， 如何进出这些不同的体验？ 尤其是当我们思考...
26:03设计上有很大差别的是 我们经历两种很独特的操作模式。 我们经历产出模式， 此时我们探索创意。接着，我们又回来， 回来寻找解答， 并发展那个解答。 我认为两者是极不同的模式。 发散及收敛。或许是在发散模式中 我们最需要「好玩」。 或许在收敛模式中，我们要严肃一点。 因此能够在这两个模式间移动 真的很重要。因此 有个更细致的游戏观，我想是需要的。
26:45因为很容易掉入陷阱，以为这两种状态是绝对的。 要不是好玩，就是严肃，不能两者都有。 但不是那样。你可以是严肃的专业人士， 有时却是好玩的。 那不是二择一，而是兼有。 你可以严肃又好玩。 总结一下，我们需要信赖感才敢玩， 需要信赖感才有创意，这有关联。 有一系列的行为我们在儿童时学到 那对设计师很有用。 它们包含探索，即追求数量。 建造及用手思考。 及角色扮演，演出可帮助我们对 我们的设计情境更同感， 及创立服务和体验，27:44谢谢大家。
使它顺畅无缝、真实可靠。
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