TED演讲：一个编舞者的现场创作过程(2)

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　　It's very much in mind, as well as in body, and it's a collaborative process.  不光存在于我们的思维中，也存在于我们的身体里，它是一个互相协作的过程。

　　It's something that I have to do with other people.  这是需要与他人合作才能完成的。

　　You know, it's a distributed cognitive¹ process in a way.  从某种意义上说，这是一个分散的认知过程。

　　I work often with designers and visual artists, obviously dancers and other choreographers,  我经常与设计师和视觉艺术家合作，当然还有舞者和其他的编舞，

　　but also, more and more, with economists², anthropologists, neuroscientists, cognitive scientists,  但越来越多的，我会与经济学家、人类学家、核物理学家、认知科学家搭档，

　　people really who come from very different domains³ of expertise⁴, where they bring their intelligence to bear on a different kind of creative process. 大家的专业领域各不相同，他们为个人专业之外的创作过程贡献才华。

　　What I thought we would do today a little bit is explore this idea of physical thinking, and we're all experts in physical thinking.  我觉得今天要让大家稍稍发掘一下肢体思考的理念，我们全都是肢体思考的专家。

　　Yeah, you all have a body, right?  大家都长了一个身体，不是吗？

　　And we all know what that body is like in the real world, so one of the aspects of physical thinking that we think about a lot is this notion of proprioception,  我们都知道现实世界中的人体是什么样子的，所以肢体思考的一个方面就是我们一直要提到“本体感受”这个概念，

　　the sense of my own body in the space in the real world.  在真实空间中对自己身体的意识。

　　So, we all understand what it feels like to know where the ends of your fingers are when you hold out your arms, yeah?  比如说，我们都知道自己的手指尖在哪里，当你双臂平举的时候，对不对？

　　You absolutely know that when you're going to grab a cup, or that cup moves and you have to renavigate it.  你完全知道当你去拿一个杯子的时候或者杯子动了一下，你需要重新调整方向。

　　So we're experts in physical thinking already.  所以我们已经是肢体思考的专家了。

　　We just don't think about our bodies very much.  我们只是不太关注自己的身体。

　　We only think about them when they go wrong, so, when there's a broken arm,  我们只有在身体出问题时才关注它，比如手臂骨折了，

　　or when you have a heart attack, then you become really very aware of your bodies.  比如心脏病发了，这时候你才会密切关注自己的身体。

　　But how is it that we can start to think about using choreographic thinking, kinesthetic intelligence, to arm the ways in which we think about things more generally? 但是我们怎样才能开始用舞蹈艺术的思维，运动知觉的智慧去武装我们的思维呢？

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