解析創(chuàng)造力英漢對照張鐵城發(fā)送文本

1、解析創(chuàng)造力英漢對照張鐵城2016、1、發(fā)送張鐵城網(wǎng)上下載之七No.12參考消息2006/1/30解析創(chuàng)造力2008年高考復(fù)習資料之一 張鐵城 2007/9/26 Creativity special: Looking for inspiration by Helen Phillips New Scientist, Oct 29, 2005【英國新科學家周刊文章2005、12、29】題：創(chuàng)造性思維 尋找靈感 作者 海倫菲利普斯簡介我初次在2006/1/30參考消息看到這篇文章，2007/9/26把它選作2008年高考復(fù)習資料之一。但是，參考消息只翻譯了它的前幾個段落，可作為精讀材料處理

2、。其余部分，網(wǎng)友們可試著自己翻譯一下。后面還有作者介紹，和一篇名人的相關(guān)話題的文章，都沒有漢語譯文，大家只能把它們作為泛讀材料處理了。PEOPLE have speculated about their own creativity for centuries - perhaps ever since we became able to think about thinking. Because creative thought just seems to “arrive”, the credit has been laid at the feet of gods and spirits or

3、, recently, the id or the subconscious mind. Whatever it is, it is thinking at the edge, at the very fringes. The only bit of the creative process we actually know about is the moment of insight, yet creative ideas and projects may incubate beyond our awareness for months or even years. Not surprisi

4、ng, then, that creativity has long eluded scientific study.幾個世紀以來也許是從人能夠?qū)λ季S進行思考以來，人類就一直在對他們自己的創(chuàng)造行為進行思考。由于創(chuàng)造性的想法似乎只是“不期而至”，因此，從前它們被看成是上帝或者神靈的賜予。而最近的一個解釋是，他們來自本我或潛意識。不管怎樣，創(chuàng)造性思維都是一種邊緣思維，我們所了解的有關(guān)創(chuàng)造過程的唯一知識是靈感到來的時刻。但實際上，此前創(chuàng)造性的想法和計劃可能已經(jīng)存在了幾個月甚至幾年，只不過不為我們自己所察覺。因此，毫不奇怪的是，長期以來我們都無法對創(chuàng)造力進行科學研究。 In the early 197

5、0s, it was still seen as a type of intelligence. But when more subtle tests of IQ and creative skills were developed in the 1970s, particularly by the father of creativity testing, Paul Torrance, it became clear that the link was not so simple. Creative people are intelligent, in terms of IQ tests a

6、t least, but only averagely or just above. While it depends on the discipline, in general beyond a certain level IQ does not help boost creativity; it is necessary, but not sufficient to make someone creative.直到上個世紀70年代早期，創(chuàng)造力還被看成是智力的一個方面，但是在上個世紀70年代對智商和創(chuàng)造技能進行的更細致的測驗，特別是由創(chuàng)造力檢測之父保羅托蘭斯進行的那些測試表明，智力于創(chuàng)造力之

7、間的聯(lián)系并非如此簡單。富于創(chuàng)造力的人都很聰明至少在智商測試上是如此，但他們也僅僅是處于中上等水平。一般說來，超過一定水平后，IQ對提高創(chuàng)造力并無幫助；一定水平的IQ是必要的，但并不足以導(dǎo)致某人富于創(chuàng)造力。 Because of the difficulty of studying the actual process, most early attempts to study creativity concentrated on personality. According to creativity specialist Mark Runco of California State Univ

8、ersity, Fullerton, the “creative personality” tends to place a high value on aesthetic qualities and to have broad interests, providing lots of resources to draw on and knowledge to recombine into novel solutions. “Creatives” have an attraction to complexity and an ability to handle conflict. They a

9、re also usually highly self-motivated, perhaps even a little obsessive.由于創(chuàng)新的實際過程難以研究，早期對創(chuàng)造力的探索大多集中在對性格的研究上。據(jù)加利福尼亞州立大學的創(chuàng)造力專家馬克倫科說，“富于創(chuàng)造力的性格”一般十分看中美學因素，并且興趣廣泛，知識淵博，從而能夠找到一些新奇的解決問題的辦法?！坝袆?chuàng)造力的人”喜歡復(fù)雜的事物，并且擅長處理沖突。他們通常非常主動，甚至可能有點固執(zhí)。Less creative people, on the other hand, tend to become irritated if they ca

10、nnot immediately fit all the pieces together. They are less tolerant of confusion. Creativity comes to those who wait, but only to those who are happy to do so in a bit of a fog.另一方面，創(chuàng)造力差的人在問題得不到立即解決時常常會變得煩躁。他們?nèi)淌芾Щ蟮哪芰^弱。創(chuàng)造力只光顧那些耐心等待、并且樂于在迷霧中等待的人。 But there may be a price to pay for having a creative

11、 personality. For centuries, a link has been made between creativity and mental illness. Psychiatrist and author Kay Redfield Jamison of Johns Hopkins University in Baltimore, Maryland, who has bipolar disorder, found that established artists are significantly more likely to have mood disorders. But

12、 she also suggests that a change of mood state might be the key to triggering a creative event, rather than the negative mood itself.但擁有一種富于創(chuàng)造力的性格也許需要付出代價。幾個世紀以來，人們發(fā)現(xiàn)在創(chuàng)造力和精神疾病之間存在某種聯(lián)系。約翰斯霍普金斯大學的精神病專家兼作家凱雷德菲爾德賈米森發(fā)現(xiàn)，有成就的藝術(shù)家明顯地易于出現(xiàn)情緒問題。但她也指出，情緒的改變與其說是一種負面因素，不如說是引發(fā)創(chuàng)造性活動的關(guān)鍵。Some features of schizophrenia

13、 are also thought to be more common in creative types, according to psychiatrist Gordon Claridge of the University of Oxford. He uses a “schizotypy scale” to record features of the illness that are not pathological by themselves, including experiencing hallucinations, hearing voices, having disorgan

14、ised thoughts, believing in magic and so on. People with these traits tend to score highly on tests of lateral, divergent and open thinking. But those who score very highly on such tests find this kind of thinking can be very destructive. Intelligence can help channel this thought style into great c

15、reativity, but when combined with emotional problems, lateral, divergent or open thinking can lead to mental illness instead.據(jù)牛津大學的精神病專家戈登克拉里奇說，在一些創(chuàng)造型性格中更容易出現(xiàn)精神分裂癥的一些特點。他使用一種“精神分裂癥等級”來記錄包括幻想、幻聽、思維混亂、相信魔法等病態(tài)。擁有這些情況的人們在進行橫向和發(fā)散性思維測試時往往得分很高。但對那些在者些測試中得分極高的人所進行的研究發(fā)現(xiàn)，這類思維可能帶來極大的負面影響。智力有助于將這種思維模式導(dǎo)向巨大的創(chuàng)造力，但

16、如果出現(xiàn)情緒問題，橫向和發(fā)散性思維可能引起精神疾病。Jordan Peterson, a psychologist at the University of Toronto, Canada, believes he has identified a mechanism that could help explain this. He says that the brains of creative people seem more open to incoming stimuli than less creative types. Our senses are continuously fee

17、ding a mass of information into our brains, which have to block or ignore most of it to save us from being snowed under. Peterson calls this process latent inhibition, and argues that people who have less of it, and who have a reasonably high IQ with a good working memory can juggle more of the data

18、, and so may be open to more possibilities and ideas. The downside of extremely low latent inhibition may be a confused thought style that predisposes people to mental illness. So for Peterson, mental illness is not a prerequisite for creativity, but it shares some cognitive traits.加拿大多倫多大學的心理學家喬丹彼得

19、森相信，他找到了能夠解釋這一現(xiàn)象的內(nèi)在機制。他說，那些富于創(chuàng)造力的人們的大腦對外部刺激的接受度比那些創(chuàng)造力較弱的人更高。我們的感觀在不停地向我們的大腦傳達大量信息，為了不被這些信息壓倒，大腦必須阻止或忽視大部分這樣的信息。彼得森將這一過程稱為內(nèi)部抑止。他認為，那些內(nèi)部抑止越少的人，如果擁有相對高的智商、記憶力較好的話，他們就能夠接收更多的數(shù)據(jù)，因而能產(chǎn)生更多的主意和找到更多的可能性。內(nèi)部抑止極低的負面影響是可能導(dǎo)致思維混亂，并最終導(dǎo)致精神疾病。因此，在彼得森看來，精神疾病并非創(chuàng)造力的前提，但兩者的認知途徑有些相似。 But what of the creative act itself? On

20、e of the first studies of the creative brain at work was by Colin Martindale, a psychologist from the University of Maine in Orono. Back in 1978, he used a network of scalp electrodes to record an electroencephalogram, a record of the pattern of brain waves, as people made up stories. Creativity, he

21、 showed, has two stages: inspiration and elaboration, each characterised by very different states of mind. While people were dreaming up their stories, he found their brains were surprisingly quiet. The dominant activity was alpha waves, indicating a very low level of cortical arousal: a relaxed sta

22、te, as though the conscious mind was quiet while the brain was making connections behind the scenes. Its the same sort of brain activity as in some stages of sleep, dreaming or rest, which could explain why sleep and relaxation can help people be creative.但是創(chuàng)造性為本身又是什么呢？對大腦創(chuàng)造活動進行的最早的一些研究是由奧羅諾緬因大學的心理學

23、家科林馬丁代爾在1978年進行的。他讓參與試驗的人們編故事，同時記錄下他們的腦波。他發(fā)現(xiàn)，創(chuàng)造過程包含兩個階段：靈感階段和發(fā)揮階段，在這兩個階段中，大腦處于十分不同的狀態(tài)。當參與試驗的人們在尋找故事線索時，他發(fā)現(xiàn)他們的大腦出人意料地十分平靜。主要的活動是阿爾法波，這說明皮質(zhì)興奮水平極低：這是一種放松狀態(tài)，大腦就像是在幕后建立聯(lián)系，與此同時知覺部分則處于安靜狀態(tài)。這與人在睡眠、做夢或是休息時的腦活動相同，這能解釋為什么睡眠和放松有助于提高人的創(chuàng)造力。However, when these quiet-minded people were asked to work on their storie

24、s, the alpha wave activity dropped off and the brain became busier, revealing increased cortical arousal, more corralling of activity and more organised thinking. Strikingly, it was the people who showed the biggest difference in brain activity between the inspiration and development stages who prod

25、uced the most creative storylines. Nothing in their background brain activity marked them as creative or uncreative. “Its as if the less creative person cant shift gear,” says Guy Claxton, a psychologist at the University of Bristol, UK. “Creativity requires different kinds of thinking. Very creativ

26、e people move between these states intuitively.” Creativity, it seems, is about mental flexibility: perhaps not a two-step process, but a toggling between two states.但當這些大腦處于安靜狀態(tài)的人們被要求進一步發(fā)揮他們的故事的時候，阿爾法波的活動減少，大腦變得忙碌起來，這說明皮質(zhì)的興奮度增強，皮質(zhì)活動增加，有邏輯的思維增多。給人留下深刻印象的是，在靈感階段和發(fā)揮階段腦活動差異越大的人編的故事越有創(chuàng)造性。但在他們的背景腦活動中沒有任何

27、跡象能夠顯示出創(chuàng)造力的高低。英國布里斯托爾大學的心理學家蓋伊克拉克斯頓說：“那些創(chuàng)造力極低的人表現(xiàn)得就像是不能給汽車換檔。創(chuàng)造力需要不同的思維模式。那些極富創(chuàng)造力的人能在這些思維模式間進行本能的轉(zhuǎn)換?！眲?chuàng)造力似乎是一種大腦的靈活性：也許并不是一個兩步驟過程，而是在兩個過程間自由轉(zhuǎn)換。In a later study, Martindale found that this change in activity was particularly noticeable on the right side of the brain. However, people who had the connec

28、tions between the two sides of their brain severed to treat intractable epilepsy seemed to become far less creative, showing that communication between the sides of the brain is also important.在稍后的一項研究中，馬丁代爾發(fā)現(xiàn)，這種轉(zhuǎn)換在大腦右側(cè)的活動中尤其明顯。但當癲癇患者在接受治療中兩側(cè)大腦的聯(lián)系被切斷時，他們似乎表現(xiàn)得創(chuàng)造力極其低下，這表明兩側(cè)大腦的聯(lián)系也非常重要。Researchers are n

29、ow trying to identify some of the specific anatomy of creativity. Brain studies of people with particular types of creativity show, perhaps not surprisingly, that the active areas are determined by the specialist knowledge being used. Language, imagery, spatial awareness and so on - each skill is lo

30、calised to some extent to a particular brain part or parts. Mathematicians and physicists may have larger parietal lobes, important for spatial representation, while writers may have more widely distributed language regions in the frontal and temporal lobes, perhaps spreading across both sides, when

31、 they are normally confined to the left.But its not just these speciality areas that are active. Using information creatively needs coordination between many areas. “Creative synthesis requires a new pattern, to put the brain in a state where a large number of areas are simultaneously active,” says

32、Claxton. When we concentrate in a less creative way, such as when reading the gas bill, there are fewer active centres and less synthesis.Ingegerd Carlsson, a psychologist from the University of Lund in Sweden, and her colleagues found something that they think might link different forms of creativi

33、ty. When people were performing a creative task - trying to list as many uses for an object as they could - the frontal lobes of their brain were noticeably more active. The frontal lobes are thought to help people change tasks and strategies and to shift attention from task to task.The frontal lobe

34、s also help coordinate the connectivity between different brain areas by controlling the release of signalling chemicals, says neurologist David Beversdorf of Ohio State University in Columbus. One thing that relaxed states of mind, sleep and depression - all linked with increased creativity in some

35、 way - have in common are low levels of a brain signalling chemical called noradrenalin, or norepinephrine.This chemical controls how easily neurons “talk” to each other. Low levels of it seems to encourage broad networks of neurons to communicate, whereas higher levels seem to focus that activity i

36、nto tighter, smaller networks. Treating people with precursors to noradrenalin seems to hinder their ability to solve creative word puzzles, says Beversdorf, while drugs such as propranolol, which block the chemical, can help people do better at tasks such as spotting anagrams.Paul Howard-Jones, who

37、 works with Claxton at Bristol, believes he has found another aspect of creativity. He asked people to make up a story based on three words and scanned their brains using functional magnetic resonance imaging. In one trial, people were asked not to try too hard and just report the most obvious story

38、 suggested by the words. In another, they were asked to be inventive. He also varied the words so it was easier or harder to link them.As people tried harder and came up with more creative tales, there was a lot more activity in a particular prefrontal brain region on the right-hand side, extending

39、backwards towards a deeper region called the anterior cingulate cortex. These regions are probably important in monitoring for conflict, helping us to filter out many of the unhelpful ways of combining the words and allowing us to pull out just the desirable connections, Howard-Jones suggests. It sh

40、ows that there is another side to creativity, he says. The story-making task, particularly when we are stretched, produces many options which we have to assess. So part of creativity is a conscious process of evaluating and analysing ideas. The test also shows that the more we try and are stretched,

41、 the more creative our minds can be.But to be truly creative needs more than just the right personality and the right brain areas and networks. Its about using them effectively. Skills, situations and our social setting can shape our creativity just as dramatically as the brain resources we are born

42、 with. The most creative people also use the different rhythms of the day, the weekends and the holidays to help shift focus and brain state. They may spend two hours at their desk then go for a walk, because they know that pattern works for them, and they dont feel guilty.And creativity need not al

43、ways be a solitary, tortured affair, according to Teresa Amabile of Harvard Business School. Though there is a slight association between solitary writing or painting and negative moods or emotional disturbances, scientific creativity and workplace creativity seem much more likely to occur when peop

44、le are positive and buoyant.In a decade-long study of real businesses, to be published soon, Amabile found that positive moods relate positively to creativity in organisations, and that the relationship is a simple linear one. Creative thought also improves peoples moods, her team found, so the proc

45、ess is circular. Time pressures, financial pressures and hard-earned bonus schemes on the other hand, do not boost workplace creativity: internal motivation, not coercion, produces the best work.Another often forgotten aspect of creativity is social. Vera John-Steiner of the University of New Mexico

46、 in Albuquerque and author of Creative Collaboration (Oxford University Press, 2000) says that to be really creative you need strong social networks and trusting relationships, not just active neural networks. One vital characteristic of a highly creative person, she says, is that they have at least

47、 one other person in their life who doesnt think they are completely nuts.作者介紹Helen PhillipsDr Helen Phillips, Chief ExecutiveHelen was appointed Natural Englands first Chief Executive in February 2006 by the Secretary of State. She is also a member of Natural Englands Board and is the Accounting Of

48、ficer of both Natural England and the Joint Nature Conservation Committee. In leading the Executive, Helen has overall responsibility for the performance of Natural England.Helen was appointed for her track record in leading organisational change, to create a high performing organisation where pursu

49、it of efficiency programmes will deliver increased investment in the natural environment. Natural England aspires to be the environmental commentator of choice, Helens trenchant advocacy in her role as CEO will be key to achieving this.A post doctoral graduate of University College Dublin in zoology

50、, Helens career spans biology in academia to leadership roles in the National Rivers Authority and the Environment Agency. Before taking up her current appointment, she was the Director of Environment Agency, Wales.Biographical details:Dr Phillips joins Natural England from the Environment Agency. D

51、uring her 11 years there she has held senior operational and strategic policy roles. Her most recent position was that of Director of Environment Agency Wales. She is 39, married, with a young family.聯(lián)系方式Nobel House, 17 Smith Square, London SW1P 3JROut of hours telephone 020 7270 8960一篇相關(guān)話題的文章Creati

52、vity special: One cultureArthur I. Miller 29 October 2005What is scientific creativity?It involves the same kind of elements as artistic creativity. Both the scientist and the artist are trying to represent the reality beyond appearances. I believe that at the moment of creative insight, boundaries

53、dissolve between disciplines and both artists and scientists search for new modes of aesthetics. That was certainly the case with Albert Einstein and Pablo Picasso. They were both trying to understand the true properties of space, and to reconcile them with how space is seen by different observers.

54、Einstein discovered relativity and Picasso discovered cubism almost simultaneously.Has scientific creativity ever been sparked by art?Cubism directly helped Niels Bohr discover the principle of complementarity in quantum theory, which says that something can be a particle and a wave at the same time

55、, but it will always be measured to be either one or the other. In analytic cubism, artists tried to represent a scene from all possible viewpoints on one canvas. An observer picks out one particular viewpoint. How you view the painting, thats the way it is. Bohr read the book by Jean Metzinger and

56、Albert Gleizes on cubist theory, Du Cubisme. It inspired him to postulate that the totality of an electron is both a particle and a wave, but when you observe it you pick out one particular viewpoint.So scientists can benefit by thinking in artistic terms?Sometimes scientific discoveries are made th

57、rough visual design. For instance, theres the Hertzsprung-Russell diagram in astrophysics. Its a graph that basically plots the temperature versus brightness of a star. It was invented when Henry Russell had only 10 minutes to give a speech and 300 stars to show. He plotted them all onto one diagram

58、 just to condense the information. When he did, this whole collection of stars assumed a shape, fell into a specific sequence. The interpretation of that diagram has become a major topic in astrophysics.Another example is Harry Kroto, who was awarded the Nobel prize in chemistry in 1996. Krotos first love was graphic design. That gave him a real advantage in science. Artistic insight helped him construct a three-dimensional image from two-dimensional data to deduce the design of carbon-60. Scientists who understand