iwslt2016_E19L2.64-29146B23.88

When I was in my 20s, I had my first psychotherapy patient.
I was a Ph.D. student, I was a clinician psychology in Berkeley.
She was a 26-year-old woman named Alex.
When Alex came to the first meeting, she wore jeans and a well-reviewed top. She fell on the sofa in my office, and she dragged her sandals from himself and told me she was there to talk about men's issues.
And when I heard that, I was relieved.
So my co-teacher got a fireman as the first patient.
And I got a woman in the 20s who wanted to talk about boys.
I'll get that one. I thought.
But I didn't get it.
With the funny stories that brought Alex to the meeting, it was easy for me to steal the head while we were moving the problems ahead of us.
"30 is the new 20," Alex said, and as far as I could, it was right.
Work later, married came later, children came later, even after death came later.
People like Alex in the 20s, and I had nothing but time.
But soon, my tutor got me to question, Alex's love life.
I stopped it.
I said, "Yes, she's going to meet with men under her level, she's asleep with a flawy head, but she's not going to marry him."
And my betfriend said, "No, but maybe she's marrying the next.
And also, the best time to work on Alex's marriage is to work that before she is married."
That's what psychologists call a "aha-ha moment."
That was the moment I realized that 30 is not the new 20.
Yes, people are leaving home later as a day, but that didn't make Alex's 20th cause for development.
That made Alex<unk>20 for the optimal development time, and we sat there and we encouraged them.
And I realized that this kind of helpless neglect was a serious problem with real consequences. Nonetheless, for Alex and her love lives, but for the careers, families and expectations of all the 20s.
At that point, there are 50 million people in the United States at the time.
We're talking about 15 percent of the population, or 100 percent, if you think nobody gets to the adult without going through the 20s.
Tell yourself, if you're in your 20s.
I want to see some of you.
Oh yeah! You're all amazing.
If you work with someone in the 20s, you love you because of your sleep in the 20s, I want to see you -- O.K. great. People in the 20s are really important.
My specialty is people in the 20s, because I believe that every single one of these 50 million know what psychologists, neurologists, and fruit activists know for a long time: the challenges of the 20s is one of the most basic, and yet, the most out-filled things that you can do for work, the love, the happiness, maybe the world.
This is not my opinion. These are facts.
We know that 80 percent of the most memorable moments happen in time until 35.
That means that eight out of 10 decisions, experiences and hip-lived experiences, that make up of your lives, what it's like to be your mid-30 already.
Don't be panicked if you're over 40.
This group will be fine, I think.
We know that the first 10 years of a profession has an exponential impact on how much money you're going to make.
We know that with 30 more than half Americans are married or living with our future partners or have a relationship with.
We know that the brain is going to be the second and last big growing in the 20s, and be wired for the adult, which means that whatever you want to change to you, now is the time to do that.
We know that the personality changes over the 20s, more often than at some point in life, and that women's fertility rate is going to hit with 28 and that they're going to be complicated after 35.
So in the 20s, you should be able to develop on the body and your own capabilities.
If we think about the evolution of a child, we all know that the first five years of language-winning and attachment is critical to the brain.
It's the time when the ordinary, everyday life has an impact on the future.
But we don't hear about it that there's a lot of things like adult engineering and our 20s of the critical time for it.
But they don't get to hear people in the 20s.
The press is talking about the time transition of adulthood.
Scientists call the 20s a prolific puberty.
Journalists think of stupid nickname for people in the 20s, like "Twixters" or "pidults" as a child.
That's true.
As a culture, we have this trivialized, which is now the most important decade for adults.
Leonard Bernstein said that there's a lot of stuff that was going to be done with a plan and a little bit of time.
Right?
So what happens when you put someone's head in the '20s and you say, "You're going to get 10 years in addition to doing something out of your life?"
Nothing.
This person has been harassed and the urgency, and it's not happening.
And so every day, intelligent people come in the 20s, like you or your sons and daughters come to my office and say something like, "I know my friend doesn't do good, but that relationship doesn't count. I'm just going to call it dead."
Or they say, "All the time I've done it for 30 years, my career is all good."
But later, it sounds like, "My 20s are almost over, and I don't have any idea.
I had a better life when I had just completed university."
And then it sounds like this: "In my 20s, there was a side-time commiser like the journey to Jerusalem.
Everybody walked around and had fun, but then at 30 years, the music suddenly went out, and everybody started to hang.
I didn't want to be the only one to stand. I sometimes think I married my husband because he was in my 30s of the next chair."
Where are the people in the 20s here?
Doesn't power that.
OK, that's easy said, but it doesn't make any mistakes, because it's a lot.
If there's a lot of money transmitted to the 1930s, there's a huge pressure, in the 30s, fast to start a career, to choose a city, a partner and two or three children in a much shorter space span.
Many of these things are incompatible, and as the research findings are now just starting to show you more relaxed and stressful and so much more stressed out in the 30s.
The Post-mandering Life crisis doesn't mean to buy a red sports car.
It means that you can't do the career you want to make.
Remember that this kid can't have, that you want to have, or you can't give a sibling to the kid.
Too many people in the '30s and '40s are looking at themselves and saying to me and say to their 20s, "What have I done? What have I thought?"
I want to change what people do in the 20s and think.
This is a story that shows how it can happen.
It's the story of Emma.
Emma came to my office when she was 25 because she expressed it, a identity crisis.
She said she would like to work in art or at the Entertainment, but she had not decided, so she would have been patented in the years.
Because that was cheaper, she lived with her friend, who made more of his crests than his ambitions.
And even though their 20s were hard, their years before, were far worse.
She cried in the meetings a lot, but then she gathered and she said, "Your family can't choose you, but your friends are already."
One day, Emma came in and cried for nearly every hour.
She had bought a ad account, and she spent the whole morning setting up her hostage, but then she sat down on the empty place, and she said, "In advance, please follow your hand."
She was almost hysterical when she looked at me and she said, "Who's going to be here for me if I have a car accident?
Who will feed me if I have cancer?"
And that's the moment I had to shake myself together to say, "I."
But Emma didn't need a therapist who was really, really, really taking care of her.
Emma needed a better life, and I knew that was her chance.
I've had been exploring Alex for the first patient, to see how to make the power of the Ema in the most meaningful decade,
In the next couple of weeks, and months, I gave Emma three advice that every 20-year-old, whether or not man or woman should hear.
One, I told Emma, she had no identity crisis, she should have helped herself to have an identity capital.
And I was asking them to look for something that they would carry on.
Make something that you're an investment, you're investing in something that you want to be next.
I didn't know about the Appma's career track, and nobody knows what the future of work looks like, but I know that identity creates capital.
So now is the time for this international job, this practice, this startup that they tried to do.
I don't need to romanticize the travelings of the 20s, but already those who are not counting, which are not really exploring travel.
This is Procastuation.
I said to Emma, they were looking at the work world, but do something draining.
Second, I said, the urban sippatory is overrated.
Good friends are neat to go to the airport, but 20s, who are hiring with people who think like them, are they limiting on who they know what they're thinking about, how they're talking and where they're working.
This new thing, this new person of advising, is often coming from outside of your own cathedral.
New things emerge from so forth. <unk>Unclear<unk> <unk> <unk> <unk> <unk>unclear<unk>, which is the friends of friends of friends.
It's true: half the 20s are underemployed or not at all.
But the other half is not and weak alliances they've put in there.
Half of the jobs have never been pushed out. So if you contact the head of the executive, you wouldn't commit a paid job.
That's not a fraud. That's how information spreads.
The last advice: Emma believed that you couldn't choose the family, but the friends.
This was true for her growing up, but when she was nine years old, she would soon choose her own family if she turned a mate and started a family.
I told her the time to go out and take a new family, would now be.
You may think it's a better place with 30 years to be able to get down than 20 or 25, and I agree with you.
But any time you're lying with or alive, you're holding your life, if everyone is cooking on Facebook, there's no progress.
The best time to plan your marriage is before you have one, and that means to be as accurate as you're in love as you're working on.
So your family is looking for you to look at what you want and what you want, not because it works, or someone else is trying to check the time you've just chosen.
So what happened to Emma?
We went through her addressbook, and she found the roommates of a cousin who was working in another state in a museum.
This weak band helped her get a job there.
This work message gave her the reason to leave her friend she lived with.
Now, five years later, it's an event plan for museums.
She married a man who accepted her deliberately.
She loves her new career and her new family, and she's going to send me a map, and she's like, "Now the line is, 'In case emergency, don't turn on enough."
Emma's story sounds like everything is simple. But that's what I love about 20 years.
It's so easy to help them.
Twenty-year-olds are like the start-up planes that are just leaving the airport and going to west somewhere.
And just after the launch, a small trajectory can make the difference if you land in Alaska or in Fidschi.
That's equally true for 21 or 25 years, or 29 years, a good conversation, a great vacation, a inspirational TEDTalk, can have a huge impact over years and even over generation generations.
This is an idea that should reach all 20s that you know.
It's as simple as what I said to Alex.
I have the privilege to share those 20s like Emma every day: The 30s are not the new 20s, so you're going to get a social capital, use your weak band, you're looking for your family.
I don't mean you're not sure what you don't know, or you haven't done.
You're just deciding about your life right now.
Thank you.
Throughout the computer history, it was always our goal to shrink the distance between us and digital information, the gap between our physical world and the world on the screen where we can experience our imagination.
And that distance has become smaller, smaller and smaller, and now it's smaller than a millimeter, the thickness of a touch puzzle, and computers have been able to reach everyone.
But I wondered what it would be like if there were no borders at all.
I've imagined what this would look like.
First, I created this tool that comes into the digital world, so when you press it up a lot, it turns the physical figure to Pixle.
Designers can combine their ideas in 3D, and surgeons can practice virtual organs under the screen.
So this tool was being broken.
But our hands still remain outside the screen.
How can we enter it with the digital information and use the whole mood of our hands?
I've started with Microsoft Applied Sciences, with my mentor, Cati Boulanger, who's engineering the computer and redesigning a small space on the keyboard into a digital workplace.
and by combining a transparent screen and deep cameras to record your fingers and face, you can now raise your hands from the keyboard to the 3D space pixel and touch with the bare hands.
Because windows and file have a position in the actual space, you can choose them as easily as you take a book from a shelf.
And then you can snap through this book and tag words and words. All of this on the virtual touchpad underneath every window.
Architects can move their models right into the front of their two hands and rotate.
So in these two examples, we're going to reach into the digital world.
But what if we turn it around and we turn it back to digital information instead?
I'm sure many of you have already done an experience of buying articles online and returning back to the next day.
But now, you don't have to worry about it anymore.
Here I have a "Online simulator box."
This view is where you get a body-in-face, or a transparent display, when the system understands the geometry of your body.
And this idea further, I began to think about, not only see the pixel in the room but to make it physical, so that we can touch and feel.
What would one of these future look like?
I joined the MIT Media Lab with my consultant's Hirishi Ishii and my collaborators, and I created a real pixel.
Now, in this case, this beautiful magnet acts like a three-dimensional pixel in our world, and that means that both computers can move anywhere, and humans can move around this object -- at least within this little 3D space.
Effective, we switched gravity, and control the movement by combining magnetic levitation, mechanical drive and these census technologies.
By digitizing the object, we're liberating it from the constraints of space and time, so that we can now take human movements and be kept permanent and free in the real world.
For example, Choreographic Indians can be taught for a long distance, or Michael Jordan can be rewosted again and again in the real world.
Students can use this to learn complex concepts like planet movement and physics, and unlike computer screen music or text bookmaking, this is a real and physical experience that you can touch and empathize, and it's very powerful.
And more exciting than just the things we have in the computer right now, we're able to materialize, is to imagine how the world programming is going to change our daily activity.
As you can tell, digital information will not only show us a little bit, but start to interact with us as part of our physical environment without separating ourselves from our real world.
Today, we've started talking about the borders, but when we remove that border, the only frontier is our imagination.
Thank you.
I was trained for two years to be a turkerin, in Hunan, China, in the 1970s.
When I was in the first grade, the government wanted to send me to a school for athletes, all costs.
But my mother said, "No."
My parents wanted me to become an engineer like her.
After they survived the revolution, they realized that the only way to happiness was a safer and well-pitched job.
It's not important whether I like the job or not.
But my dream was to become a Chinese opera singer.
This is me playing on my imaginary piano.
An opera singer has to start early with acrobatics training, so I tried everything to go to opera school.
I even wrote to the faculty director and the host of a radar game.
But the adults didn't like my idea.
The adults didn't think it was serious to me.
Only my friends supported me, but they were only children, just as comfortably as I am.
And at 15 years old, I knew that I was too old to start working with my training.
So my dream would never be true.
I was afraid that I could only open a happy choice to the rest of my life.
But that's so unfair.
So I put myself in my head to find another calling.
No one there to teach me something? It's good.
So I turned to books.
I kept my hunger for eligous advice with this book about a writer and musician family. <unk>"Brie the family of Fu Lei"<unk> I found my role in an independent woman while the Confuistian tradition of St. <unk>Jane Eyre"<unk> from this book, I learned to be efficient."<unk> <unk>"In fact, I had learned to study books in America.
<unk>Sanma's "<unk>sentence of history"<unk> <unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"What's the U. Clouds"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"<unk>"""""
Of course, books that are prohibited in China.
The good Earth is about Chinese farmers' lives.
It just doesn't take you for propaganda. I get to understand.
The Bible is interesting, but it's weird.
But that's a topic for another time.
But the fifth commander brought me a kind of epiphany: "You kill your father and your mother."
"Your job," I thought, "This is so different and much better than a carpentam."
That was my way to liberate myself from the conflicting guilt and to turn the relationship to my parents.
Through the encounter with a new culture, I started reading with a similar language.
This gives you a lot of insight.
For example, I didn't really find this map right first because Chinese students grew up with this one.
It never occurred to me that China doesn't have to be at the center of the world.
So a map tells you something about the personal perspective.
The comparative reading is actually not new.
In the academic world, it's a standard deviation.
There are even research areas like the comparative religious science and the comparison literature.
Compare and other people, it gives you a much more complex understanding of the subject.
So I thought, well, if you're thinking about reading, why doesn't it work in any kind of everyday life?
So I started reading two books at the same time.
You can act on people -- <unk>"Benjamin Franklin" by Walter Isaacson<unk> <unk> John McCullough"<unk> that was involved in the same event, or by friends, with shared experiences.
For example, we were using '" and by Katharine Graham<unk> <unk>"Badard's three stories -- life is like a snowball for Alice Schroeder. I'm also similar to the same stories in different genres <unk> <unk> <unk>"King-Yo Wings"<unk> <unk>"The Bible for Riff"<unk> -- or something like a lot of different stories, Joseph Campham by Joseph Camp's wonderful "Less."
In Christ, the attempts for economic, political and spiritual nature were the attempts for.
And Buddha was all psychological. It was lust, it was fear and social duty.
If you master a foreign language, it also makes fun to read the favorite books in two languages.
<unk>"Sinrapper for a sea bird" by Thomas Merton<unk> <unk>"The Souring of water <unk> <unk> the Sortality of the Taoism<unk> <unk> <unk> <unk>"<unk>"<unk>"<unk> rather than losing me in translation, I found out how much I can gain on it.
For example, translation has become aware that "happiness" in Chinese literally translates "lost joy."
"Weeds" in Chinese, literally translates "new Mother." Ohoo.
Books are like a magical gate for me. They have a connection with the people of the past and present.
I know I'll never feel lonely or feel helpless anymore.
A broken dream is really not something related to what many others have been through.
I have come to believe that it's not the only purpose of a dream to be true.
The most important purpose is to get us to the connection of where dreams come from, where our passion and happiness come from.
Even a broken dream can satisfy that purpose.
Because of books today, I am happy, again, with a purpose in life, and with clear-view, most of my time.
I mean, I want to have books that are always going to be with you.
Thank you.
Thank you.
Thank you.
When I was eight years old, a new girl came into class, and she was as impressive as new girls always seem to be.
She had long-touch hair and a little cute typewriter, was good at geography and writing in the book.
This year, I went out to see the day before I got a green-powered plan.
So one day, I stayed in school a little bit longer, much longer, and I sat in love with the girls' toilets.
When the air was in, I came out, I was embarrassed to the classroom and I took my voice to the teacher's textbook.
And then I did.
I was manipulating my rival scores, just a few more a donation.
All a one.
When I wanted to go back the book, I realized that some of my other classes had pretty good grades.
So I set out all the notes in the ejecture of the worm, without any imagination.
I gave up every fours, and I gave myself a loan, because I was also there all the time.
I'm still too much more dispersed about my behavior.
I don't understand where that thought came from.
I don't understand why I felt so good about it.
I felt really good.
I don't understand why I was never punished for it.
It was so obvious.
I never hit.
But the thing that struck me is, why was it so much bothering me that this little girl was so good at writing in the book?
I was amazed by the punishment.
It's so mysterious, so profound.
We know babies suffer from jealousy.
Like primates. Fixful singers are very vulnerable to nature.
We know that jealousy is the number one cause of homicide in the United States.
But I've never read a study that could explain to me their loneliness, their longevity, their macro-connected muscle.
And so we need to turn to the literature, because the novel is the lab, where the seduction was analyzed in all of their possible forms.
Is it a exaggeration to say that if we had no gasters, we would have no literature?
So no non-in Helena, no openy Sea.
No sinister king, no "noured ex-of-five night."
No Shakespeare.
And then the Learman of the U.S. teachers are taking it because we're losing "Dall and the tap," the great "Gatsby," "Fiesta," "Madame Bovary," "Anna Karenina."
No bad deal, no reporging. I know that there's been a way to say, well, Proust has the answer to everything but in his body of ecsta, he really has that.
This year, we celebrate the 200. Jubil's of his masterpiece "In search for the lost time" and its thorough analysis of sexual fraud and the normal race, my thing, we can have hope.
So let's think about bulldo, we think about emotion. Right?
We think of the little boy trying to sleep.
We think of a piece of cake, made in Lavendel shoe.
We forget how ray his vision was.
We forget how he's unconditional.
These kinds of books are as tough as katzendarmers for Virginia.
I don't know how katzendarm is, but let's say it's impressive.
Let's see why the novel and the ejecture that makes the punishment and the reporters so good.
Is it so obvious that jealousy, reduces on person -- desires -- that obstacle, that a fixed basis for a story?
I don't know. I think it's just hard to get to the pain line, because think what happens when we're more vulnerable.
If we're more vulnerable, we're telling ourselves a story.
Tell us stories about the lives of other people, and they make it bad because they're designed to be so bad.
As a narrator of history and the audience, we know what detail it needs to involve to break the knife into the ribs. Right?
Equuming turns out that we all have an amateur writer, and that's what Dave knew.
The first band, "In Swanns world," in the Roman Reann, Swann, one of the protagonists, is very loving of his loved ones, and how great she is in bed, and suddenly, through a number of sentences -- so they're so scrambs, they're as long as rivers -- and he's going to realize, "Won, everything I love to be love to be that woman.
Everything that she gives me and what makes me enjoy might also take someone else's joy, maybe even at this moment."
This is the story that he's told, and from there, he's a debug about, that Swann says every new reception he's been able to take to his tombstone to his community gathering in his private cartilage.
We have to admit that Swann and Prousty are notoriously jeal.
Proust's friends would have left the country if they wanted to finish it.
But you don't have to be more prominent to build a place that it's hard work. Right?
Equuming is a wasteful.
It's a hungry feeling that needs to be nurtured.
What does the ecstasy look like?
Ejecture may be information.
Ejecture may be detail.
Such as a lightweight hair, little little little letters of laughter.
Equults like photos.
That's why instagram is so successful.
Basically, bulldo is connecting the language of science and the ejecture.
When Swann's experience this ecstasy, suddenly, he's riding on the door and holding the servant of his loved ones, defusing that behavior.
He says, "You may think that's the misdirection, but it's not a more mundane to interpret an ancient text or look at a way of thinking."
He says, "There's scientific research with real intellectual value."
So, as a bit of a demonstration, we're trying to show that jealousy is safe and make us look silly, but in their core, it's a search for knowledge, for the truth, of the painful truth, and in terms of the repressive, the more painful, the better.
Now, grief, humiliation, loss -- that's the way to the wisdom.
He says, "A woman we need to suffer will give us a bigger and varied set of emotions than a man's genius that we care about."
Does he tell us, for example, that we should seek cruel women?
No. I think he's trying to tell us that jealousy tells us something about ourselves.
Is there another feeling that is opening us in this particular way?
So does some other sense of aggression leave us, our hidden ambition and our consent?
Do we have any other sense of looking for such strange intensity?
Freud should write about it later.
One day, Freud was rushed by a very talented young man who was taken away by the thought that he was deceiving his wife.
And Freud says, this man is kind of weird because he doesn't even look at what his wife does.
Because she's innocent, and everybody knows that.
The poor creature is inherently stiffing.
Instead, he looks for things that his wife does without realizing, therefore, irresistible behavior.
Remarkably, does she take her too much or randomly stall them with a man?
"Fearfriend" says that the man becomes the hip of the unconscious of his wife.
The novel is very good at this point.
The novel describes how ejecture works very well, but not looking at us.
Because the more we're more vulnerable, the more it strips to us.
So I don't think that jealousy leads us to do violent or illegal things.
As a result, we're very creative at getting better and more creative.
And I think about it at eight years, but I also think about the story that I've heard on the news.
A five-year-old woman from Michigan was arrested because she was arrested by a self-built false Facebook account a year of a perfectly thoughtful, deemed news on her own.
For a whole year.
She tried to push it into the shoes of her ex-boyfriend, and I would give when I heard that, I would respond to wonder.
Because -- let's be honest.
What is incredible, even if you didn't, creativity? Right?
This is something from a novel.
This is a novel from Patricia Highverith.
High is one of my favorite writers.
She's the most brilliant and odd woman in American literature.
From her, "one stranger in the train" and "The talented Mr. Ripley," everything that works on it, like Eififers, she confused our minds, and we are in the sphere of the semen, in this realm of the egg, in which the membrane is between, and what might be -- can be drilled in a moment.
Take Tom Ripley, her most famous character.
First of all, Tom Ripley wants to be you and have what you have, then he's you and she's got what you once, and you've disappeared like the ground floor. He responds to your name, he carries your jewelry, he leaps your bank account.
That's a method.
But what should we do? We can't do it like Tom Ripley.
I can't give the world four, even if I'd like to do it in some days.
It's a shame, because we live in a more or less time.
We live in a "tolerable" time.
We're all good citizens of social media, where the currency is envy. Right?
Show us the novel shall go out? I'm not sure.
So what do we do when characters aren't safe when they're in the possession of a puzzle.
Let's go to 221 Baker Street and ask Sherlock Holmes.
People think of Holmes, they think of his nemesis as a professor Moriarty, this genius criminal.
But I always liked "Inspector" Lestce Strestce, the head of Scotland Yard with a rat who needs the Holmes, who needs the Holm genius, but he does practice.
That's so familiar to me.
So, the reforestation needs its help, and it prays it and it sort of sticks with the stories.
But as they work together, something begins to change, and finally, in "The six napoleons" comes in as a residing, and all of them are amazed with the solution, ran to Holmes, and says, "We're not New to you, Mr. Holm.
We're proud of you."
And he adds that there wouldn't be any U.K., Yard, who didn't want to shake Sherlock Holmes.
This is one of the times that we see Holmes moving into his stories, and I find this little scene very moving, but also mysterious. Right?
It seems like anesthetic is not an emotional one, but it's a physical problem.
Right now, Holmes is on a different wavelength of river stations like plumbing.
And then the next moment, they're on a wavelength.
All of a sudden, it's possible for him to admire this genius that he's previously graded him.
Is it really so easy?
What if eififers were really just a physical problem? If we were to talk to the other people in relation to what they're doing?
Maybe we wouldn't treat somebody's ex-seeking.
We could use each other.
But I like emergency plans.
As we wait for it, we still have the literature as a comfort.
Literature alone is exploring the ecstasy.
Literature alone can force it, it invites you.
And who's coming up with this: the good trade, the terrifying Tom Ripley, the crazy Swann, Marcel Proust himself.
We're in excellent societies.
Thank you.
I was about 10 years old, and on a camping flight with my father at the Adirondack Mountains, a wilderness area in the northern part of the state of New York.
It was a beautiful day.
The forest was cooking.
The sun made the leaves look like colored glass, and if there was no path, you would have almost thought we were the first people to go through this forest.
We came to our tent.
I looked at the little hut on a cliff and looked over a crystallic white lake, and I noticed something horrible.
Behind the roof was a trash cliff, maybe four square meters, with apple roses, combined aluminum foil and an old sneakers.
I was amazed, I was angry and confused.
The brests were too lazy to kill away, what they had done -- who thought they were going to work for them?
The question stayed with me, and I'm going to generalize it.
Who are we in a space?
How do you turn it, or where the word "un" may be, who is the space that's behind us in Istanbul?
Who here are us in Rio? Or in Paris, or in London?
Here in New York City, the stadiuming of the city, about 11,000 tons of waste and 2,000 tons of recycling carriers.
I wanted to meet them -- as individuals.
I wanted to understand who does the job.
What is it like to wear a uniform and carry that brush?
So I started a research project with them.
I went out and I would go out and I would take the rackers and interview people in offices and facilities all over the city, and I learned a lot, but I was still a street greets.
I had to go deeper.
So I took a job as a cleaner.
I didn't just drive the truck. I drove the truck.
And I used the mechanical menu, and I added the snow.
It was a remarkable privilege, and it was an exciting experience.
Everybody asks for the smell.
He's there, but not as present as you think, and days when it's really bad, you get really used quite quickly.
You're just going to be used to weight.
I know people who did this job several years. Physical bodies used to keep their weight, carrying tons of garbage every week.
And then there's the danger.
After the Department of Labor, the profession is at the district level of the 10 most dangerous jobs in the country, and I learned why.
You're on traffic all day, everything's going on.
Everybody wants to go over and often don't fit the car drivers.
That's really bad for the workers.
And the waste itself is full of the toxins that go off the garbage cart and make it terrible.
I also learned about the indefiness of the trash.
If you come from the curb end of the river and you see the back of the garbage cart, you find that garbage is like a natural force itself.
He doesn't stop creating.
It's also a kind of breathing or circulation.
It's always to be in motion.
And then there's the stigma.
You put the uniform on, and you become invisible until someone else -- and whatever reason -- get angry because you're blocking traffic with the car or taking a break close to their apartment, or drinking a coffee in their local, and they come and they're getting you and they're screaming, and they're saying they don't want to have you anywhere near them.
I find this stigma particularly ironic, because I firmly believe that the people who are at the periphery of the city are the most important workforce on the streets of the city. That's three reasons.
They are the drivers of public health.
If they didn't remove the garbage, save the garbage every day, and effectively, it would feed out of the body, and the dangers that we're all going to threaten were in a very neat way.
Now, diseases that we've had for decades and centuries of control would spread and harm us.
The economy needs it.
If we can't throw away the old stuff, we don't have a place for the new. The motors of the economy begin to stumble when the consumer is dwinded.
I'm not rating capitalism, I'm just asking for interaction.
And then there's what I call our average, common speed.
And I'm just talking about how fast we're used to movement these days.
We don't care about fixing our coffee cups, repair our bag or our water bottle, or to clean, or to move around.
We take them, we throw them away, we forget them, because we know that there are people on the other side who care about it.
So today, I want to propose a couple of ways to think about the sports, to improve the stigma and bring it into this conversation, how to create a city that is sustainable and human.
Her work, I think, is kind of a hypocistic work.
You see the streets every day, regularly.
They carry uniforms in many cities.
You know when to expect it.
And their work makes us do our work.
They're like a back insurance.
The process that keeps them sustaining will keep us safe from ourselves, before our discomfort, the disengage, and the process to maintain and sustain to any price.
And then morning after 9<unk>11, I heard the thunder of a trash car on the street, my little son stepped down and ran down the stairs, and there was a man who drove his paper processing route, as he did every other day.
And I tried to thank him for his work, this day, all day, but I started crying.
And he looked at me and he looked just looking up and said, "Everything is going to be fine."
"Everything will be fine."
I started my research on the stadium, and I met the man again.
His name is Paulie, and we worked together a lot, and eventually we became good friends.
I wanted to believe Paulie was right.
Everything gets good.
But in our efforts to change the way we exist on this planet as a species, we also need to take all the costs, including the very human cost of work.
And we should have been informed to reach people who are doing this work, collect their experience, how we think about how we can develop our systems around the road recycling, which is a remarkable success of the last 40 years, about the United States of America and the United States of America and the world, and we are getting a horizon on which we can look at other types of waste and production.
Third trash, what we think about when we talk about waste, three percent of the national waste waste is made.
It's a remarkable statistic.
In your daily lives, in the process of your life, if you see someone the next time they're doing it, they're going to be clean behind you, take a moment to perceive it.
Take a moment to stand up to you.
Hello TEDWomen, what's going on?
That's not enough.
Hello TEDWomen, what's going on?
My name is Maysoon Zayid, and I'm not drunk, but the doctor is already at birth.
He cut my mother six times in six different directions and took me poor little bits of air.
That's why I have infantically cerebral palsy, which means I'm going to paint all the time.
Look at it.
It's a work. I'm a cross from Shakira, Shakira and Muhammad.
Poor pals are not genetically.
It's not a birthrate. You can't get it.
No one has the uterus of my mother, and I didn't get it, because my parents are first degrees, what they are.
You're just getting them through accidents, like the one that happened on my birth day.
I have to warn you. I'm not a source of inspiration, and I don't want anyone here with pity, because you all have a point in your life, your eternal lives.
Just hold your breath.
It's just before Christmas, you're rolling circles on the road looking for a parking lot, and what do you see?
Sixteen empty-legged parking spaces.
And you think, "Why can't I be a little disabled?"
I've got to tell you, I have 99 problems and cerebral palsy is one of them.
If there was a Olympic director of oppression, I'll be a gold medal.
I'm Palestinian, Muslim, female, disabled, and I live in New Jersey.
If you don't feel better now, I don't know.
Cliff thought park in New Jersey is my hometown.
I love the fact that my prayer and my place has the same initial.
I also love the fact that I could walk from my house to New York City if I wanted to.
Many people don't walk with CPC, but my parents didn't believe in "can't believe."
My father's man was, "Yes, you can do this! You can."
So when my three older sisters mixed, I mixed with them.
When my three older sisters went to public school, my parents threw the school system so I could go, and if we didn't catch up all the inmates, we would put the pantoff of my mother.
My father took me out of the run when I was five, and he put my heel on his feet and just walked around.
Another one of his tactics was to let a dollar bill in front of my nose be able to start it.
My inner bowress was very strong, and as -- yes. So, the first day in kindergarten, I went like a champion that had caught you too much.
At the time, only six Arabs in my town were and all my family were.
Today, we have 20 Arabs in the city, and they're still my family.
I don't think any one has ever noticed that we're not Italian.
That was before September 11, and before politicians put it in for me, "I hate Muslims to use as a campaigning.
The people I grew up with had no problem with my faith.
But they were really worried that I could actually be starving to Ramadan.
I explained to them that I could live from my body shop for three months, so the light from sunrise to -- the end of a car game.
I've been teaching Broadway.
Yes, Broadway. Excellent mad.
My parents couldn't afford physical psychotherapy, so they sent me to dance school.
I learned how to dance for recognition, so I can walk on recognition.
And I'm from Jersey, where it's really important to be chic, so when my friends wore loads of documents, I'm also.
And if my friends spent their summer inmates on the coast of 12, I don't.
I spent my summer in a war zone because my parents were scared that if we don't go back to Palestine every summer, one day like Madonna.
The summerguards often passed out that my father wanted to cure me, so I drank milk of deer, was chipped, was sunged in the Dead Sea, and I still know how the water burned in the eyes, and I thought, "It works!" It works!"
But a miracle thing we found: yoga.
I have to say it's really boring, but before I did yoga, I was a stand-up comedian, who can't even stand.
Now, I can stand on my head.
My parents always dare me to be able to do anything that I wasn't a dream that was impossible, and my dream was to play with the soap opera man.
Because of the funding of the minority, I got a great scholarship at the ASU, Arizona State University because I'm substrating any minority.
I was the day of the stage of the actress.
Everybody loved me.
I started following all the homework of not smart kids, got into all my classes, got into all their curments.
Every time I played a scene from "The Glass Canier" my teachers gave birth to me.
But I never got a role.
My graduate year, the ASU, finally, came out with a song called "You dance in Jackson really slow."
A piece about a girl with CP.
I was a girl with CP.
So I ran everywhere: "I'm going to get a role!
I have cerebral palsy!
Finally free! Never!
Thank God, I'm finally free."
I didn't get the role.
Sherry Brown got the role.
I went to the head of the acting process, I cried hysterically as if someone had shot my cat, and she asked me why. She told me they were afraid that I wouldn't get the stunts.
I said, "Sorry, but if I can't do the stunts, the character can't do it."
I was actually born for this role, and they gave them a spectator without a drama.
The university was prevented.
Hollywood is a very nasty thing to have physical actors play as a way to a living person.
After graduation, I moved home. My first role was to be statistics in a soap opera.
My dream became true.
And I knew that soon I was going to rise from the "Betast" to "The Hearst Guilding Girl."
But instead, I stayed a glamorized furniture piece that was only visible in the back of my head, and I realized that Casting-talking, ethnic, disabled actor.
They just put perfect people in.
But exceptions, yes, the rule.
I grew up with Whoopi Goldberg, Roseanne Barr and Ellen, and all these women had one thing in common: They were comritists.
So I became a comrist.
My first job was to drive a famous comrist from New York City to Shows in New Jersey, and I'll never forget the face of the first comet I ever drove when he realized that he was going to New Jersey with a girl to a bike ride.
I've come to clubs all over the United States, I've also made shows in the Middle East in Arabic, unforgetted, un-down.
Some people say I'm the first cometic in the Arab world.
I don't like to call myself the first one, but I know they've never heard of the evil little dorkers that women aren't funny, and they're getting really crappy.
In 2003, my brother started from another mother and father, Dean Obeidallah, and I, with the New Yorker Comedy Festival, who's now celebrating his 10-year-old.
Our goal was to change the negative image of Americans in Arabic, and at the same time to remember Castingen's companies that South Asia and Arabia are not synonymous with synonymous.
The pursuit of Arabs was much more likely than the challenge to face against disability.
My big breakthrough was 2010.
I was invited as a guest to the news show "Count till Keith Olbermann."
I got dressed in like a senior ball, and she lifted me into a studio, and I sat down on a rolling chair.
So I looked at the stage manager and I said, "Excuse me, can I get another chair?"
And she looked at me and she said, "Fire, four, three, two ...
And we were live!
So I had to hold myself on the table of the host, so I couldn't roll out of the scene during the scene, and when the interview was over, I was out of me.
There was my chance, and I let her go, and I knew I never put myself back.
But Mr. Olbermann invited me not only again, but he made me a full-time partner and stuck my chair.
I've learned a bit about the work with Keith Olbermann: All the people on the Internet are little kisses.
People say children are cruel, but as a child or a growner, nobody has ever made fun of me.
I'm a freewild in the World Wide Web with my disability all of a sudden.
When I look at videos online, I see comments like, "Ey, why does that fit like this?"
"Ey, is that nuts?"
And my favorite is, "Aran Howers Slickist.
Did she have disease?
We should pray for them."
One even suggested that I would take my disability into the Credits: Spintor, cometic, cerebral palsy.
Now, disability is as visible as the origins.
If a wheelchair driver can't play Beyonc<unk>, Beyonc<unk> can't play a wheelchair driver.
The disabled are the biggest -- yes. That's worth a round. Go.
People with disabilities are the biggest minority in the world, and we are the most underrepresentated in the entertainment industry.
The doctors said I can never walk, but I'm sitting here in front of you.
But I would grow up with social media, I might not be here.
I hope that we can create a more positive image of disability in the media and in everyday life.
Maybe there are fewer hatreds on the Internet if there are more positive models.
Or maybe not.
Maybe it still takes a village to get a child to work well.
My journey to the side of it has taken me to a few very special places.
I was allowed to walk on the red carpet next to soap rhinocers, Susan Lucci and the ikon-American Lorraine Arbus.
I was invited to play in a movie with Adam Sandler and work with my idol, the wonderful, Matthews.
I'm a major character with the comedy "Arabs Gone Gones."
I was representative of the great state of New Jersey in the Democratic National Committee of 2008.
I started " Maya's Children" -- a charity, who is trying to give Palestinian refugee children a fraction of a chance my parents gave me.
But the one moment that's most striking -- before this one, -- -- the moment that's most striking was that when I was in front of the man who flies like a butterfly and a bee, the Parkinson's disease, and just as much as I say, Muhammad Ali.
That was the only time my father saw a live-and-a-half-step journey from me, and I was looking at this talk.
: May God be more forgiving your soul, Dad. My name is Mayoson Zayid, "If I can, you can too."
There was a time when we solved big problems.
On July 21, 1969, Buzz Ald Ald Ald, from the Mermaid March 11 and went down to the sea of the calm.
Armstrong and Aldrin were alone, but their present was the culmination of the moon, the climax of a persistent, collaborative endeavor.
The Apollo program was the largest peacebuilding in the history of America in the history of America.
To get to the moon, NASA invested about 180 billion dollars according to today's value, or four percent of the federal budget.
Apollo created jobs for 400,000 people, and needed the cooperation of 20,000 companies, universities and institutions.
People died, including the arrival of the Apollo 1.
But until the end of the Apollo program, 24 people flew to the moon.
From the 12th, who went to the surface, is Aldrin, after the death of Armstrong last year, now the oldest.
But why did they go?
They didn't bring back a lot: 380 kilos of old rocks, and something that every 24 years later was -- a new sense that our home is small and fragile.
Why did they go? Zynish did watch, because President Kennedy wanted to show the Soviets that his nation had better rockets.
But Kennedys's own words from 1962 at the Rice University give a better cue.
For the time, Apollo was not just a victory of the West over the east during the Cold War.
At that time, the most powerful feeling of the amazingness of technology was about the supernatural forces of technology.
They flew to the moon because it was a big thing.
The moon land was happening in front of a series of a long-scale technological trumpet.
From the first half of the 20th century, the assembly line of the station and the plane, penicillin and a vaccine against tuberculosis.
In the middle of the century, polio and smallpox were eradicated.
Technology seemed to have something to be known as Alvin Toffler 1970 called a "compensational advance."
For most of human history, we couldn't move faster than a horse or a boat with rodies, but in 1969, the chief of the Apollo went 10 times the speed of about 40 miles an hour.
Since 1970, no human beings have been on the moon.
No one has ever moved faster than the Apollo 10, and the unconditional optimism of the power of technology is evaporated, because the big problems we've hoped to solve technology, for example, to fly Mars, to cure clean energy, or to free the world of hunger, seem to be unable to be solved.
I remember my age as a five-year-old.
The March 17 saw, and my mother used to see me not too much in the guardding of Saturn's prototype.
I had an idea that this would be the last moon award, but I was 100 percent sure that there would be a hundred percent in my life in Mars.
The objection was something that happened to our ability to solve big problems with technology, has become a low-fetched place.
You hear it everywhere.
We heard it here in the last two days at TED.
It's something that's occurred to you as technologists, and we've been enriching yourself with unnamed toys, things like iPhones and personal media, or algorithms that speed automated business.
It's not a fake thing for most of these things.
They have surrendered our lives and enriched our lives.
But they don't solve the great problems of humanity.
What happened?
There's a more recent explanation from Silicon Valley, where you have to admit that, lately, fewer ambitious companies have been sponsored than in the years that Intel, Microsoft, Apple and Genetech were funded.
In Silicon Valley, you're told the markets were guilty, the priorities that the risk investors are offering to the companies.
Silicon Valley says that risk investors have moved away from supporting world-changing ideas, and instead promote growing problems or even inventing problems.
But this explanation is not good enough to me.
It's basically what's wrong with Silicon Valley.
Even in their lower-income times, risk investors raised small facilities. Lots of investment with a barrier opportunity within 10 years.
Investments have been struggling to invest in technologies like energy, which are a tremendous asset and development that's long and sustained, and risk investors have never financed the development of technologies that solve big problems without immediate commercial capital.
No, the reason why we can't solve a big problem is more complicated and profound.
Sometimes we don't realize how to fix the big problems.
We could fly to Mars if we want.
NASA even designed a plan.
But going to Mars would be a political choice for public popularity, and so it's never going to happen.
We're not going to fly to Mars because everybody thinks there are more important things on the planet that are going to be done here.
Another time, we can't solve the big problems because our political systems fail.
Today, less than two percent of the energy consumption of the Earth is from advanced renewables, like solar, wind and biofuels, less than two percent, and the reason for that is clean.
Coal and natural gas are cheaper than solar and wind and oil than biofuels.
We all want alternative sources of energy that can keep it at the bottom. But there's no such thing.
Now, the way that engineers, business leaders and economists are basically all the same opinion, the kind of national practices and international agreement would drive the development of alternative energy: the most significant growth in research and development and development and cost of carbon.
But in the current political climate, there is no hope that the global warming policy or the international treaty will record and restore those opinions.
Sometimes deep problems that have been technically soluble, but not that.
It was a long time believed that famine is a failure for food supply.
But 30 years of research have taught us that famine are political crises that have catastrophic impact on the distribution of food.
Technology can improve things like pepper or systems like logging and transportation and transportation, but there will be famine as long as there are poor governments.
In the end, there are major problems that are sometimes being taken out of the solutions, because we don't really understand the problem.
President Nixon explained war in 1971, but soon they found that there are many types of cancer, which are most resilient for therapy, and only in the last 10 years, seem to be effective, realistic therapies.
The hard problems are difficult.
It's not true that we can't solve big problems with technologies.
We can, we must, but to do that, we need to be able to be in the four elements of the world: We need to be interested in the public and the public to solve a problem; institutions need to support the solution; it's really a technical problem; and we need to understand it.
Apollomission, which became a kind of metaphor for the ability of technology to solve big problems, filled these criteria.
But this is a model that can't be repeated in the future.
It's not the year of 1961.
There's no dramatic struggle like the Cold War, no politicians like John Kennedy, who does all the hard and dangerous to a heroism, and no popular science fiction as the explore of the solar system.
But most of all, it was easy at the end of the day to fly to the moon.
He was only three days away.
And it's counter-dough whether this has really solved a serious problem.
We are on our own, and the solutions of the future are going to be more difficult to achieve.
God knows, we don't have any problem with challenges.
Thank you.
I'd like to invite you to close your eyes.
Imagine you're standing in front of your front door.
and look at the door, the color and the material that it's made from.
Now, you're going to represent a group of overweight FKers on their bikes.
It's a naked bicycle ride, and they're just coming up to you and your pet.
You have to really imagine that.
They're clinging, and they're sweating and they're going to turn you up.
And then they're all just rolling right into your front door.
Cicycles, wheels, everything flies and circle. Spoke in wireless places.
Now, the threshold of your apartment is going to your tub, your flame, or whatever's on the other side of your apartment, and it's like the light is breaking in the space.
The light appears to be the crucible.
It's going to turn you off from the back of a yellow-sized horse.
A spoken horse.
You can almost feel the blue furches of your nose.
You cut the chocolate boxes that it's going to move into the mouth.
Go over to him, over in your living room.
Here you are in front of the performance of the British Spears.
Their clothes only cover the most ardent, they sing "Hit Me Baby One More Time," while they're dancing on your living room.
Now, I follow myself in your kitchen.
The ground was replaced by a yellow Bandway, and out of your oven, you come from Dorothy, the Zinnman, Monkey Concert, and the lion from Oz, to the magic of Oz, hands, they hop on you.
Okay. Now open your eyes.
I want to tell you about a very bizarre competition that is held every year in the spring of New York City.
It's called "Our State Nation Memory Championhip."
A couple years ago, I wanted to report this competition as a science journalist, and I expected to find the anniversary of the island earlier.
It was a bunch of guys, and a few ladies, from a lot of age and a lot of caregiving.
They were looking at hundreds of random numbers before they were.
Learning taught the names of dozens and dozens and dozens of untles of the unknown.
and I found all the poetry in just a few minutes.
They competing for who could distort the order of a mixed card blade as they can.
That's crazy.
These people need to have supernatural skills.
I started talking to some of them.
This is Ed Cook, a guy from England who came from, and there's one of the most popular sudden stories in the world.
And I asked him, "Ed, when did you notice that you have this particular complaint?"
And Ed said, "I'm not an island account.
I only have an average memory.
Anyone who's here will tell you that he or she has one average memory.
We've all trained by ancient techniques, training them to perform this incredible memory work. techniques that the Greeks invented two 500 years ago. The same techniques that Cicero used to learn to communicate, and they're using traditional scholars to learn all the books."
And I just thought, "Wow, how come I've never heard of it?"
We stood outside of the competition store and Ed, this wonderful, brilliant, and something that's an internal English guy says to me, "Josh, you're an American journalist.
Do you have Britney Spears?"
I said, "What? Nee. Why?"
"I'd like to teach Britney Spears how to memorize the order of a curved card. On U.S. TV.
It would prove to the world that this is anyone in the world."
I told him, "I'm not British Spears, but you could teach me.
I mean, you have to start somewhere, right?"
And that was the beginning of a very strange journey for me.
Most of the next year, I spent not only learning my memory, but also trying to study it and understand how it works, why it might not work and what it might be.
I've met a lot of really interesting people.
This is E.P.
It's suffering from memory, and probably has the worst memory in the world.
His memory is so bad that he doesn't even remember his memory problem. Which is amazing.
Although it was so tragic, he provided insights into how much memory makes us who we are.
On the other side of the spectrum, I learned.
Kim Peek knows.
He was the forefront for Dustin Hoffmans's character in the movie "Rain Man."
We spent a afternoon learning textbooks in Salt Lake City's bookbooks. It's just amazing.
And I came back to read a whole stack of papers about memory, papers that were written two thousand years ago and more in Latin America, and later in the Middle Ages.
And I learned a lot of really interesting things.
I was especially fascinated with the fact that there was a time to train memory, to culture, not nearly as alien as we have today.
There was a time when people invested in their memory, just like, "I'm going to keep it alive."
Over the last few millennia, we've invented a series of technologies -- from the alphabet to the character, to the code, the printing, the photography, the computer, the smartphone -- that made it easier to store our memory to target this fundamental human ability.
These technologies have enabled our modern world, but we are also changing.
They have changed us culturally, and I would argue that they have changed our cognitive abilities.
And without remembering the need, sometimes it seems like we've forgotten how to do that.
One of the last places of the Earth, where you can still find people who are still passionate about their memory, compost, cultivating, that unique memory competition.
In fact, it's not as unique, there are competition as this all over the world.
And that's what got me into the cup, I wanted to know how these people do it.
A couple years ago, a group at the University of London, they brought a group of memory doors to the lab.
They wanted to know, is the structure or anatomy of their brains different from us?
The answer was no.
Are they smarter than we are?
They gave them a stack of cognitive tests, and the answer was, actually, not.
But there was an interesting and a lot of description between the brain of a memory master and the control person that was compared to it.
If you put them in an fMRI machine and you scan their brain while they're signing numbers and faces and images of snowflakes, you can see that when you look at the bones of the brain, you can see that there's different regions of the brain than you are.
It seems like they're using the part of their memory that's used for the spatial moments and navigation of space.
Why? And can we learn from it to others?
The competition for memory is dominated by a kind of competition that every year, someone with a new technology, has to have a faster impact of more facts, and to bring the rest of the field.
This is my friend Ben Pridmore, three times memory championship.
On the table before him, 36 mixed cards that he's created within an hour with a technique that he's invented and he's been a single-celled.
He used a similar technique to fit the exact order of 4, 140 random stations in half an hour.
Yes.
And although there's a lot of techniques to make different things in the fight, but all of these techniques are based on the idea that psychologists call "lendivative."
This is the so-called baker bubble paradox that's so much more elegant. So here's the idea: If I ask two people to remember the same word, and I'll tell you, "You're going to be a person called baker."
This is his name.
And I'm going to tell you, "You know, there's a person who's a baker."
Now, if I come back to you one day and I say, "You know the word I told you before, a while ago?
Do you know what the word it was?"
The person who should remember the person called baker remembers the word less likely than the person to be aware of the bee.
Same word, different memory capacity; that's weird.
What's going on here?
Well, the name baker means nothing to you.
It's completely independent of all the memory gaps that are swimming around in your head.
But the job of the baker, we know baker.
Brank bellers wear weird white fans.
Boomers have levers on their hands.
Boomers smell well when they come home from work.
We may even know a baker.
And when we hear the word first, we connect this associations with the word and allow the word to find the memory even easier again.
The secret to what's going on in memory fights, and the secret to be able to make common things better is to find a way to turn the names of baker into the profession -- a piece that doesn't link to the association, no meaning in a way that they can transform meaning and that they're already going to be in the context of all the inter-knowered and in-knowered and in the context of the memory.
One of the most sophisticated techniques for this can be dated back to the ancient Greeks, two 500 years.
It was known as the memory palace.
The story of his creation is going to be the following: There was a poet named Simonides, who went to a feist.
He was in charge of the conversation, because at the time, if you wanted to have a really big party, you didn't commit a d.J., but a poet.
He's wearing his poem from memory and leaving the space, and right now the hall rings behind him and advancing all the guests.
Not only are all dead, their bodies are deformed to the inevitable.
No one can tell who's there, nobody knows where to go.
The body cannot be properly protected.
It's a tragedy after another.
Simonides is out there, the only survival of this disaster, and he joins his eyes, and suddenly he realizes that he can see in front of his inner eye, which hosts where he was going.
And so he takes the remaining one, and he takes it through the wreckage to the deceased.
And that's when Simonides understood something that we all intuitively know that no matter how bad we can even recognize names, phone numbers or voice calls, we have a very good visual and spatial memory.
Would I ask you to repeat the first 10 words of history about Simonides, so you would find it difficult.
But I bet if I were to ask you to remember who is sitting on a speaking yellow-sized horse in your booth, you might be able to visualize that.
The idea of memory palace is to build a building in front of your eye and fill it with images of reminded things -- the crappy, awkward, awkward, messy, dirty, hamchy, that picture is so stronger to intervene in memory.
This is a advice that goes back to the over 2,000-year-old Latin texts about memory.
So how does it work?
Imagine if you were invited to give a lecture here at TED, and you want to take it out of the memory, just like Cicero did, he was invited to TEDxRome 2,000 years ago.
You could do this. Imagine yourself in front of your front door.
Imagine a perfectly crazy and deformed story with unconcognition images to remind you that you'd want to first talk about this crazy competition.
And then you go into your house and you see the Cookie Monster on the back of Mr. Ed.
And that would remind you to introduce your friend Ed Cook.
And then, if you see Britney Spears, you remember a funny anecdote that you wanted to tell.
You go to your kitchen, and the fourth thing you wanted to talk about was this weird journey that you had gone to for a year, and you have some friends who are helping you remember it.
And so, Roman speakers realized their language, not words for words, which is just confused, but subject.
The English word "topic" is the theme, and one is the phrase that comes from the Greek word "topos," which means "inbody."
These are remains of when people thought about language and speaking in real time terms.
The phrase "an first" is actually "the first place in your memory palace."
I just found this all fascinating and still still.
to some more memory fighting.
I might want to write a bit of a book about this interspecies of well-being.
But there was a problem.
The problem that memorybuilzards are dead in the world.
It's like a group of people sitting there and writing a test.
It's exciting to see if someone's going to stick the bat.
I'm a journalist, I need something that is worth writing.
I know that the most amazing things that happen in the minds of these people, but I don't have access to them.
So if I wanted to tell this story, I had to put myself in their shoes.
And so I started to start, every morning, 15 to 20 minutes before I went to my paper, just to learn anything.
Maybe a poem or a poem.
The names from an old yearbook I bought on the bunk market.
I had to find out that it's amazing fun.
I could never imagine that.
It's been fun because it's not about training memory.
You just want to get better and better at getting these crazy, colorful, messy, funny, and hopefully even enjoying the unseen images in front of your inner eye.
I was taking care of it.
Here I am with my standard-preventing communications training worker.
A pair of earists and a protective patrol that was covered up to two small stripes, because distractions are the greatest enemy of memory police.
I went to the same competition that I visited a year earlier.
and I was sitting in front of it, just as a journalist experiment.
It could be a nice epog to do my research.
The problem was that the experiment didn't have to be as planned.
I won the competition, which should have never happened.
It was nice to be able to speak and have phone numbers and shopping lists, but that wasn't what I wanted to get.
These are just tricks.
tricks that work because they're building on some simple ideas about how our brain works.
You don't have to build memory palms or you have to memorize your cards to help you understand how your memory works.
We often talk about people with good memory, as if it were a special desire, but that's not true.
Good laughs are trained.
We're better at realizing things when we're looking for them.
We remember when we're committed.
We remember when we have the opportunity to figure out why information and experience are meaningful for us, why they have meaning and they have meaning, if we can turn them into something that is meaningful for us in terms of our other memory, if we can transform the name "takers" in the profession.
The memory palace, these memory techniques, they're all just shortcuts.
In fact, it's not even really easy shortcuts.
They work because they force us to work.
They force us to process and be alert, in a way that we don't normally do.
But they're not shortcuts.
That's how things are enshrined in memory.
One of the things I'd like to leave you with is something that I've learned from E.P., the man who didn't even remember his memory problem, is that our lives are the sum of our memories.
How much are we willing to lose our short lives, that we are constantly looking at our Blackberry or our iPhone instead of giving us a message to the people who are talking to us, how much are we willing to lose, because we're so lazy that we don't want to physically process and remember?
I've learned that memory, in each one of us, has incredible capacity.
If we want to live a self-esteem, we need to be the person who doesn't forget.
Thank you.
At the age of 27, I left a hard job in the business department for a more challenging job: Teaching.
I teach high school in New York, I teach math to you when I'm a senior.
Like every teacher, I did tests and exams.
I gave homework.
When the work came back, I calculated grades.
And the I<unk> was not the only difference between the best and worst students.
I'm the I've had some of my most strong students were not retrofitting.
Some of my smartest kids don't do very well.
That made me think.
What you learn in math in the seventh year of the year is really hard: National Replameter, declassal numbers, the area of a parallelogram.
But impossible is not these concepts. I was convinced that all my students could learn the stuff if they worked long and hard enough.
After a few more years of school, I came to the conclusion that we needed a much better understanding for education and learning from a perspective of motivation, from a psychological perspective.
What we can measure most is the I.<unk>. But what if you're in school and life, when you're in a lot more than the capacity to learn and easily?
So I left the classroom and I made a research professor to the psychologist.
I started studying children and adults in all sorts of ultra-powerful situations, and I always wondered who is successful and why?
My research team and I went to the West Point Militraki.
We tried to predict which kadets would stay in the troops's sexual training, and which ones wouldn't.
We went to the national bookstore, and we tried to predict which kids would come best.
We looked at teenagers who worked in very difficult homes, and we asked, who would teachers at the end of the school year and do better on their students' learning outcomes.
We collaborated with private companies, and we asked, what do the salesmen keep their jobs?
and who would deserve the most money.
In all these different contexts, a feature was made as a significance of success.
We weren't social intelligence.
It wasn't good looks, physical health, and it wasn't me.
It was compliant.
Overrongness is passion and perseverance for very long-term goals.
Overratability is home-enherness.
Overrongness is, if you think about a future plan, not just for a week or a month, but for years, and really hard to get this plan to happen.
Overrides, life is like a marathon, not a sprint.
A while ago, I started teaching in public schools in Chicago's private sector.
I asked thousands of students to try to fill down the bottom grade questions to the back of the workforce, and then spent a year waiting to see who was going to graduate.
It turns out that children with higher persistence have made more likely to graduate, even if I could make all the measurable properties, things like family income, outcomes at standardized tests, even how safe they felt in school.
So the unconsciouss are not just in Westpoint and the book competition, but also in school, especially for children with the degradation risk.
The most terrifying thing about this issue is that for me, we know so little that science knows so little about how to build it.
Every day, parents ask me and teachers, "How do we support the memory of children?"
How do I teach kids a solid work ethic?
How do I make them manage for distance loops?"
The honest answer: I don't know.
But what I know is that you don't have talent to do with you alone.
Our data shows that many talented people are just not loyal to their dedication.
In fact, the internal obligation for our knowledge is usually not talented, but even correlated with talent.
As far as the best idea I've heard about building resilience, is what we call the growth mindset.
This idea was developed at the Stanford University of Carol Dweck, and it includes the belief that the ability to learn is not determined, but that it can change with your effort.
Dr. Dweck has shown that children, when they read about the brain and learn how it's changing for challenges and growing, are far more likely to be made for failure, because they don't believe that failure is a permanent state.
This growth mindset is a great idea for building resilience.
But we need more.
So here I want to end my mind, because we're so far.
That's the work that we're facing.
We need to embrace and test our best ideas and our strongest intuitions.
We need to measure if we succeeded. We need to be willing to be wrong, wrong, to learn lessons and to start.
In other words, we need complacency to give our children more resilience.
Thank you.
My work at the heart of my work is the connection to our community lives and our community environments, where architecture is growing from the natural, local conditions, and traditions.
Today, for example, I've brought together with these two projects that we've made today.
Both projects are emerging economies, one in Ethiopia and one in Tunisia.
They also have the common that different analyses from different perspectives become a much more part of the saddest architecture.
The first example that I did was I was invited to design a multi-story mall in Ethiopia's capital capital of Addis Abeba.
This is the kind of building that we, my team and me, for example, was demonstrated for what we should design.
First of all, I thought I wanted to run out.
After seeing some of these buildings -- there are many of them in the city -- we realized that they have three essential features.
First, these buildings are almost empty because they have very large stores where people can't afford to buy things.
Second, they need a lot of energy because the surfaces are made of glass, which produces heat inside, and then you need a lot of cooling.
In a city that shouldn't happen, because they have pretty mild weather that is going to be between 20 to 25 degrees in the year.
And third, their image has nothing to do with Africa and Ethiopia.
It's a place with such rich culture and tradition.
And I was also fascinated with our first Ethiopia's first oil method, with this open-blown structure, where thousands of people go and shop every day with little players.
It also has this idea of public space that uses the outdoor area to create activity.
So I thought, this is exactly what I really want to design, not a shopping mall.
But the question was, how could we design a more recent, contemporary building with these principles?
The next challenge came when we looked at the property, because it's in a real growth area of the city, where most of the buildings you see on the picture are not there yet.
And it's also between two parallel roads that don't have any connection over hundreds of meters.
First of all, we created a connection between these two streets, and we put all the inputs in there.
This is ongoing in a rigaged Atrium that creates a free-light space in the building that will be safe by its own form of sun and rain.
In the course of this breadfills, we've switched the idea of a market with little stores that are changing in every floor because of the form of breadfills.
I also thought, how do we close the building?
I really wanted to find a solution that responds to local climate structures.
I started thinking about textiles, like a bowl of concrete with perforations that let the air go, and the light, but in filtered form.
And then I inspired these beautiful buttons to the dress of Ethiopian women.
They have the properties of a fractal geometry, and that helped me to make the entire facade.
We're building this with these little pre-controlling components, windows, air and light in controlled way into the building.
and that's going to be filled by these little colored glasses that use the light from the building to illuminate the building at night.
It wasn't just the first time that the contractor was trying to convince these ideas, because they thought, "This is not a shopping mall. We didn't ordered that."
But then we've all realized that this idea of the market is much more profitable than the idea of a mall because they can basically sell more stores.
The idea of the facade was much, much cheaper, not just because of the material, but also because we didn't need air conditioning anymore.
So we created some cost savings that we used to realize the project.
The first approach was to think about how we could make the building energy-efficient, in a city that has nearly a daily supply.
We created a valuable contribution by putting solar panel on the roof.
And under this pan, we were imagining the roof as a new public space with the spaces and bars that create this urban oasis.
These vordives on the roof collect the water to reuse in sanitation facilities.
Hopefully for the first year, because we've done the construction until the fifth floor.
The second example is a master plan for 2,000 apartments and institutions in Tunis.
To do this big project, the biggest project I've ever designed, I really had to understand the city of Tunis, but also the environment, the tradition and the culture.
And while this analysis, I was particularly paying attention to the medina, this is the 1,000-year-old structure that was set up by a wall, supported by 12 Tore, and was connected to nearly straight lines.
When I went to the property, the first step was to prolong the existing roads to create the first 12 blocks, with the size of the size and the properties that we saw in Barcelona and in other European cities.
In addition, we chose some strategic points in the process of the show, and we connected them with straight lines, and that changed the original pattern.
The last step was to think about the cell, the little cell of the project, like the apartment, as a major part of the master's.
What would be the best position in a meditating climate for a apartment?
This is Northern Jewish because of the temperature-stiffing between the two sites that are created and produces a natural ventilation.
So we're putting a pattern on this that makes sure that most apartments are perfectly aligned in this direction.
And that's the result, it's almost like a combination of European blocks and Arab city.
There are blocks with the floors and the ground floor, there's all these connections for pedestrians.
It also has the local regulations that hold a higher density in the upper floors and a lower density of the Earth's soil.
It also enhances the concept of the tore.
The volume has this bonding form that's used to allow itself to move through three different apartments, and also into very dense areas of light into the ground, and in the courtyard, there are three different institutions, like a fiter and a kindergarten, and a whole variety of business that will bring into the ground.
The roof, my favorite place at this project, is almost a place where the community is taken from the building.
And there, all the neighbors can go up and come together and do things like a two-kilometer drive in the morning, from a building to another.
These two examples have a common approach to the design process.
They're in the emerging economies where you can literally see the cities grow.
In these cities, the impact of architecture in today and future lives of people's communities and economies change as fast as the buildings grow.
And so I think it's important to me to find that architecture is simple, but affordable solutions that are more stimulating the relationship between the community and the environment, and that are aiming to connect nature and people.
Thank you.
I want to talk about trust, and I want to remind you of the common opinions of trust.
They're so ubiquitous that they've become the clich.
There's three of them, I think, of that.
First of all, trust is a huge decline, they believe a lot.
Then one goal: We should trust more.
And one thing: We should rebuild trust.
I believe that the claim is to be the goal and the task for the wrong ideas.
I want to tell you a different story about a claim, a goal and a task that has a much better approach to the cause.
First, the claim: Why do people think trust has gone back?
And if I really think about my current knowledge, I don't know the answer.
Maybe it's taken into some activities or institutions, and maybe in others.
I don't have a way to go.
But of course, I can look at the polls that I'm supposed to be the source for belief that trust has gone back.
Think about opinion over time, there's not a lot of evidence for that.
So the people that were going to defy 20 years ago, mainly journalists and politicians are still complaining.
And the people who were very familiar about 20 years ago still get very familiar: Richards, nurses.
We're in between others. By the way, the average citizen is almost right in the middle.
But is that a good proof?
Askful questions -- clear -- opinion.
What else could they raise?
So they're looking at the general mindset of people when they're asked to ask them a specific question.
Do you trust politicians? Do you trust teachers?
Now, if you ask someone, do you trust a vegetable?
Do you trust fish addicts?
Do you trust first-riders?
<unk> then you'd probably ask yourself, "Which in particular?"
And that would be a reasonable response.
And if you understand the answer to it, you might say, "I trust some of them, but others don't."
It's rational.
In short, we're trying to bring trust to different ways in our short lives.
We don't really think of it as being a citizen or as a leader in an official or an institutional institution.
So for example, I could say that I would trust a particular leadership teacher to teach the first class to teach them how to read, but I wouldn't let them drive the school bus.
I may be sure that it doesn't go well.
I trust that my most troubled friend is going to have a conversation to work, but maybe not to have a secret to her.
Simple.
So we know from our everyday lives how different trust can look, but why do we take this knowledge and think about it when we think about trust?
The surveys here are very, very bad places about the actual trust level, because they ignore the common sense that you're using trustful trusts.
Secondly, we're going to get to the destination.
The goal is to trust more.
Honestly, I think the goal is stupid.
I wouldn't target that.
I would try to trust the trustworthy more, but I wouldn't be trusted.
I'm actually not going to get involved in trustworthy.
And those who put their savings in the hands of a certain Mr. Madoff, who then assume that the name was already made out of the dust, "offed" -- "weled it," I think, yes, too much trust.
"Dear trust" is not a clever goal in this life.
Give trust a promise to use and refuse to be the goal.
And then you say, yeah, well, what's most important is not trust, but trustworth.
to value the trustworthiness of people.
And to do that, we need to look at three things.
Are they competent? Are they honest? Are they reliable?
If we find a person who is more competitive and reliable and honest, we have a good reason to trust them, then they're trustworthy.
But if the person is essential, then probably not.
Some of my friends are competent and honest, but I wouldn't send them up on a letter, because they're notoriously accused.
I have friends who trust very much in their own competence, but they're overestimate them.
And I'm very glad I don't have many friends who are competent and reliable but unsafe.
If, you know, I haven't noticed it.
But after that, we're looking for trustworthiness, then trust.
Trust is the reaction.
We need to take on trustworthiness. That's a hard thing to do.
Over the last decades, we've been trying to set control systems and services in all sorts of institutions and experts that make it easier to value their trustworth.
Many of these systems have the opposite effect.
They don't work like you're supposed to.
A midwife once said to me, "The problem is that paperwork takes longer than the baby is going to bring the world."
All over our public life, in our institutions, we have this problem, and this control system is to make trustworthiness and credibility, but the opposite.
It's taking people like Hebrew from their difficult tasks, by putting them on their boards.
And I'm sure that any examples can contribute to this.
So that's the goal.
The goal is more trustworthiness, and that's going to be difficult if we want to be trustworthy and to communicate with others, and if we're going to be able to value whether other people or officials or politicians are trustworthy.
It's not easy. You have to estimate it. You don't have to judge or lose attitudes.
And now, to the task.
And then, as a way of describing that, this re-invented itself as a reticiation.
Because it suggests that you should rebuild and trust me.
We can do that for ourselves, of course.
We can gain some trustworthiness.
so two people can combine their trust.
But ultimately, it's a belief that it's given to you that it's given to you from others.
You can't rebuild what others are going to give you.
You have to give them a basis that they trust you.
So you have to be trustworthy.
And of course, that's because you don't usually have to take all the people around the nose.
But you also have to make evidence that you're trustworthy.
How does that happen?
This happens every day, everywhere. Normal people do it, elected, "ter, very effective.
Here's a simple commercially commercial example.
The store where I'm driving my socks, they're going to let me bring them back and they're not asking questions.
They take it back and they give me the money back, or some of the socks that they want to paint.
That's great. I trust them because they've been told to me that they've been vulnerable.
And there's an important morality in it.
Now, if you stand up as vulnerable, that's a very good clue that you're trustworthy, and that you're distracting your own words.
So our goal is basically not very hard to see.
They're relationships between trustworthy people, and they're empowered when and if the other people are trustworthy.
So the moral of history is to think a lot less about trust, or a lot less about the attitudes that are being recognized by opinion questions or correct in governance, and a lot more about trustworthiness, and how to bring people to the right, and to make people rational, useful evidence of trustworthiness.
Thank you.
You know, the best part of the father is for me the films I can look at.
I love looking at my own favorite films with my kids, and when my daughter was four years old, we looked at "The Magic of Oz."
The movie didn't let it go for months.
Her favorite character was, of course, Glinda.
So she had a good excuse to wear a glowing dress and a magic wand to her.
But if you look at this movie a lot, you find how extraordinary it is.
We live in time now, and we raise our children in a kind of spectacular child-made industrial surgery.
But "The wizard of Oz" was different.
He didn't start this trend.
It took 40 years to get through this trend, with -- interestingly -- another movie, where a guy from metal and a guy rescued a lot of furs by stating like the guards of the enemy.
You know what I'm talking about, right?
Exactly.
Well, there's a big difference between these two films, even a variety of different differences between the magic of Oz and all the films that we're looking at today.
First of all, there's a lot of violence in "The Ruby of Oz."
The monkeys are quite aggressive, as are the apple trees.
But I think if the magician of Oz had been produced these days, the magicer would have said, "Dorothy, you're the Retterin of Oz, who was once called us.
Use your magic shoes to beat the hands of the evil trox of the West."
But it doesn't happen.
Another point that I find a very unique part of the "the magician of Oz" is that the most heroic and brightest and even vulnerable characters are female.
I first noticed this when I showed my daughter "Star Wars," which was years later, and the situation was different.
I also had a son at that point.
He was three years old at the time.
He wasn't invited to this cinema night. He was too young for that.
But he was the second child, and he was much less commanded than his sister.
So he turns on, and he's turned on the movie, and he's turning on the movie, and he's making a duck's look at his mother, and I don't think he's understood what was going on, but he's certainly looked at it.
And I wondered what he was saying there.
Did he get to know that it's about courage, resilience and loyalty?
Did he get to the point that Luke was going to join a army to get over the government?
Did he make a decision that there are only boys in the universe taken from a aunt Beru, and of course this princess, who is really cool, but during most of the time, they can actually blame the heroes with a meda bear and a eye to thank him for saving the universe, which he did for the magic he was born?
Compare this to "The Magic Of Oz" by 1939.
How does Dorothy bring her film to a good end?
By being a leader, by being a leader.
That's the kind of world that I would rather raise my children -- Oz, right? -- and not in the world where guys fight with each other, which is pretty much what we're doing today.
Why is there so much power -- big M, power -- in the movies that are available for our children, and so few yellow tones?
There's a lot of good literature about the impact that the movies have about violent boys on girls, and they should be read. It's very good.
But I didn't read as much about how boys deal with this influence.
I know from my own experience that Princess Leia did not take the appropriate role model that I could have used to find the world of adults, in which girls and boys are taught together.
I think there was this moment with the first kiss, when I really expected the stier to start, because that's how the movie ends, right?
I finished my mission, I got the girl.
Why are you still up there?
I don't know what to do.
The films are very much determined to beat the evil face and to raise your reward, and there's no big room for other relationships and other travel.
It seems almost like you're a bright animal, and if you're a girl, you should be better bring your war agent.
There are several exceptions to this, and I'm going to defend the Disney Concesss before any of you.
But they're going to give a message to the young boys that the boys aren't really the head audience.
They're amazing about teaching the girls how to fight against the patriarch, but they don't necessarily show the boys how to vote against the patriarch.
There's no role models for them.
There are also some great women who write new stories for our children, and they're so three and wonderful Hermine and Katniss, they're still war movies.
And of course, the most successful studio of all time produces a classic after another, and each one of them is about the journey of a boy, or two men, or by two men who are friends, or by a man and his son, or two men who raise a little girl.
Until -- as many of you think of -- this year, when they finally got out the movie "Merida" -- the highlight of the highlight.
I'm going to recommend it to all of you. It's called off the Internet.
Remember what the critic said when they said, "Merida."
"Oh, I can't believe Pixar did a princess movie."
It's very good. Don't let it stop.
But no one of these films had the Bechdel test.
I don't know if you've heard about it.
He hasn't really won it properly and changed it, but maybe we're going to start a movement today.
Alison Bechdel is a comic book writer, and in the middle of the '80s, I recorded this conversation that she did with a friend of the letters they had seen.
It's very simple. There are only three questions that you need to ask: Is there more than a character in the movie that is female and saying something?
Try to fulfill that premise.
And these women speak to each other at some point of the movie?
And it's about their conversation about something else but about the guy they like both?
Did you? Thank you.
Thank you.
Two women who exist and talk to each other about anything.
This is what happens. I saw it, and yet I rarely see it in the movies that we know and love.
In fact, I went to the cinema this week to look at me a very good movie, "Argo."
Remember? A lot of hype on the Oscars, great players, a general match on what a good Hollywood movie is.
He's going to fall with the open-source corridors through the Bechdel test.
I don't think he should, because a lot of the movie -- I don't know if you saw it -- but a lot of the movie plays in a message where men and women hide during the geasure.
There are some good scenes in which men in this hiding hide, they have a deep conversation, and the great moment that a actor has is to look through a door and say, "Come to bed, honey?"
So some of you are looking at Hollywood.
So let's take a look at the numbers.
In 2011, under the 100 most popular movies, what do you think many of them actually have women's leaders?
Elf. That's not a bad thing.
It's not as many ratings as the number of women we've just chosen in Congress, so that's good.
But there's a number that's bigger than that, and that's going to feed that space.
Last year, the New York Times published a study that the government did.
They say that.
One out of five women in the United States is that they've already been sexually sexually committed to their lives.
I don't think that's the fault of general entertainment.
I don't think that children's movies have anything to do with it.
I don't even believe that music videos and pornography are about it, but something is going on, and when I hear this statistic is one of the things I think that are a lot of sexual happiness.
Who are these guys? What do they learn?
What can't they learn?
Take the story in itself that it's the job of a male hero to defeat the razors with violence, and then raise the reward, which is a woman who doesn't have friends and doesn't talk?
So, is this story taking place?
You know, as a parent who has the privilege to raise a daughter big, just like those of you who do the same thing, we find this world and these statistics are very alarming, and we want to prepare them.
We have the means of resources like "girlutes," and we hope that that will help, but I also wonder if girls will protect them, if at the same time, actively, or passively, teach our sons to keep their business.
The Netflix search process is a means that we can do something very important, and I'm talking specifically to the fathers.
I think we just need to show our sons a new definition of manhood.
The definition of manhood is already changing.
They read the way the New Economy transforms the roles of the housewinning and the need-hitcher.
They get mixed up.
Our sons will have to find a way to adapt to that, to engage a new relationship, and I think we really need to show them that a true man is someone who is trusting and respecting their sisters, and to stand on their side and confront themselves against the really bad guys who are men who want to abuse.
I think we should look for the Netflix wall movies that are made by the Bechle test, if we can find them, and look for the hero who are there, the real courage that people bring together and bring our sons to identify with these heroes, and say, "I want to stand on your side because they're going to be on the site.
When I asked my daughter, who was their favorite character in "Star Wars," you know what she said there?
Whether it'si-Wan.
Obi-Wan Kenobi and Glinda.
What do they have in common?
Maybe it's not just the glowing dress.
I think these two figures are experts.
These are the two characters in the movie who know more than everyone else and their knowledge love to share with other people to help them take their potential and take their potential.
And they're leaders, moreover.
I like this kind of job for my daughter, and I like this kind of job for my son.
I want more tasks like this.
I want less tasks that my son is going to say, "Take and sit alone," and more tasks that he's supposed to join with, maybe a team that is led by a woman to help others become better people, and to be better people, like the wizard of Oz.
Thank you.
I want to talk to you about the history of a small city kid.
I don't know his name, but I don't know his story.
He lives in a small village in the south of Somalica.
His village is near Mogadishu.
The drought caused the poverty of this village and the warranty.
When there was nothing more that would have been there, he left his village and went to town, in this case, Mogadqueu, the capital of Somalia.
As he gets there, there is no way to do it, no work, no way.
At the end, it's going to be under a tent camp outside Mogadishu.
It might be a year, but nothing.
One day, he's approached by a man who's going to invite him to lunch, then he's going to dinner, after breakfast.
He meets this dynamic group of young people, and they give him a chance.
He gets a little bit of money to buy new clothes and send money home to his family.
He's presented to this young woman.
He finally married.
He begins a new life.
His life has meaning.
On a nice day in Mogadadyu, under the open-up sky, a car bomb goes into the air.
This little city kid with high city farms was the self-in-volving and bombs, and this dynamic group of young people was al-Shabaab, a terrorist organization with al <unk>aeda.
How could the story of a small city kid who just attempted to get into the city of the city to get himself to the air itself?
He was waiting.
He was waiting for a chance to go out of the future, to the future, and it was the first opportunity that he offered him.
It was the first thing that got him out of a state that we call "Waithood."
And his story repeats itself in the urban areas around the world.
It's the story of the under-lawing, unemployed urban youth, which causes in Johannesburg and London restoration and aspire to something other than "Waithood."
Young people promise from the city, from their cities, possibilities, work, wealth, but young people don't have a role in the prosperity of their cities.
It's often the youth that suffer from the high unemployment.
By 2030, three out of five people will be younger in cities than 18 years.
If we don't include young people in the growth of cities, if we don't give them any opportunity, then we'll call "Waithood," and we'll get into terrorism, into violence and gangs 2.0 cities.
My birth hall, Mogadadu, suffered 70 percent of the young people with unemployment.
70 percent have no work, don't go to school.
They don't really do anything at all.
Last month, I went back to Mogadadishu, and I went to Madina Hospital, the hospital where I was born.
I remember standing in front of this crushed hospital and wondering what if I had never gone from here?
What if I had been forced to be the same condition of "Waithood"?
Would I become a terrorist?
I'm not sure what to say.
The reason I've been working on this month in Mogadaddu was actually the movement of a gaunding for young leaders and entrepreneurs.
I teamed together with about 90 young Somali leaders.
We put together, and we made a brainstorming to solutions for the biggest challenges in their own city.
In the room, a young man, Aden.
He went to university in Mogadadadu, and he graduated there.
There was no work, there was no opportunity.
I remember, as he told me that he had been graduating for university, working and frustrated, the perfect goal was to be a member of al Shabaab and other terrorist organizations.
They were looking for people like him.
But this story takes another run.
In Mogadadyu, the biggest obstacles are to get from A to B, the streets.
Twenty years of civil war, the road system completely destroyed, so the motorcycle is the best driver of the rail.
As a result, the opportunity realized and she grabs it.
He opened a motorcycle business.
He started to rent motorbikes to Orts's water, which they could not afford otherwise.
With his family and friends, he bought 10 motorbikes, and he kept track of his business, at some point in the next three years, to plint it up to a few hundred years.
How does this story differ from the other?
What makes the difference?
I think it's his ability to see and use a new opportunity.
It's the entrepreneurial spirit, and I believe that entrepreneurs's most effective way to be against "Waithood."
It empowers young people to create the economic opportunity they're so desperate.
You can teach young people to be entrepreneurs.
I'd like to talk to you about a young man who was part of one of my meetings: Muhammad Mohamoud, a statue.
He helped me to train the entrepreneurial spirit of some young people who participate in the top, to show them how to innovate and develop entrepreneurship.
He's actually the first Florida, the Mogadish, who's been watching over 22 years, and until recently, even before Muhammad was there, they used artificial treasures that came from ship abroad if you wanted flowers on his wedding.
If you ask someone, "When did you see the last time fresh flowers?" the answer was many who grew up in the civil war, "No way."
So Mohamed saw an opportunity.
He founded a landscape gardening with flowershords.
He put a plant out of Mogadishus outside, and he started growing tulps and all the crap that he said could survive in the sheer air of climate.
He started working with flowers on popular, built private gardens and businesses around the city, and he's working on the design of the first public park in Mogadadu for 22 years.
There's no public parks in Mogadadishu.
He wants to create a place where families and young people come together and, as he says, can enjoy the beautiful things of life.
Just like this: don't grow a rose because they need too much water.
So the first step is to inspire young people, and in this room, Mohamed's presence had a huge impact on other young people in the room.
They had never really thought about creating a business.
They thought that they were going to work for an NGO or for the government, but this story, its innovation, had a strong impact on them.
He made her more responsible to look at her city as a place of opportunity.
He made a commitment to being entrepreneurs that they could make change.
At the end of the day, they had innovative solutions for some of the biggest challenges in their city.
They had entrepreneurial solutions for local problems.
The inspiration of young people and the creation of a business spirit is a really big step, but young people need capital to be able to implement their ideas.
They need sensations and supplement to set them up and start their business.
Get young people with the resources they need, connect them, give them the support they need to make ideas, and you're going to create catalystes for urban growth.
For me, entrepreneurship means more than just the founding of a business.
It's about creating social effects.
Mohamed doesn't just sell flowers.
I think he sells hope.
It's called "reucisfaction," when it's created, it's a way to change people's views on their town.
Ode's children have set up roads to help him and keep the motorbikes.
He gave them the chance to escape the wet state of the Waithood.
These young companies have tremendous impact on their cities.
So my suggestion is, do young people for entrepreneurs, stimulate and nurture their own innovation, and you will get more stories about flowers and women and women instead of getting cars and "Waithood."
Thank you.
As my childhood in Maine, it was one of my favorite exercises to look for sandtollars on the coast of Maine because my parents were arguing that would lead happiness.
But these clams are hard to find.
They're clogged by sand, barely seeing.
But after a while, I had developed a routine.
I started to see shapes, and patterns that helped me collect them.
And that became a passion to find things, to a love for the past and archaeology.
And when I finally started studying <unk>Scology, I realized that the vision with my blind eyes didn't bounce out.
Because suddenly, my little beach in Syria grew up in Egypt, in Egypt, up to a nice long distance, along the river, and my sandblowers grew up in size of cities.
And that led me to use satellite imagery.
I had to see differently to sign the past into a map.
I want to show you how we see differently, for example, when we use infrared.
This is a site that is in eastern Egyptian dune called Minger.
And the site is clearly brown. But we use infrared, and we work it with false paint, and that site suddenly becomes bright.
What you see here are the chemical changes in the landscape through tree materials and activities of the old Egyptian.
What I'd like to share with you today is how we've used satellite satellites to find an old Mayman city called The Itj-taui and the names for thousands of years.
The Sj-taui was the capital of the ancient Egypt, for over four hundred years, in an era called the Comler Empire, about 10,000 years ago.
The site is in the Egyptian Al-Fayyum, and it's very significant because in the Middle Reich, there was a great renaissance for old Katgyptian art, architecture and religion.
<unk>gyptologists have always known that the site of The Itj-taui was somewhere near the pyramids, built by the two kings, shown here with the red circles, but somewhere in this massive sword level.
This area is huge -- the area is four times three miles.
In the old days, the Nil took off to Thej-taui, and as his walking changed and went to the west, he covered the city.
So how do you find a moderate city in such a expanding landscape.
They'll happen to be able to find the equivalent of finding the needle in the haystack with their eyes and their baseball shoes.
So we used NASA's typographic novels to make a map of the landscape to see light changes.
Where the veil used to be.
But you can see, and this is very interesting, this light-level area, indicated with the circle that we are as a possible position for the city of Itj-taui.
So we worked with Egyptian scientists to do this, to make these land-in-enformance drilling, which you can see here.
This is like a hollowing-down in the ice, just instead of the layers of change that are indicating climate change, you're looking for layers of information that gives human support.
In a depth of five meters, under a thick layer of mud, we found a layer of clay.
This shows that in this possible position for Thej-taui, in five meters, we can find a life-layed layer, all the way back to the Middle Reich, the exact epoch that we think of the existence of Sjaui.
We also found workers -- Karneol, <unk>amz and Achat -- which shows that there was a jewelry that worked here.
It may not look like a lot, but if you look at the most common stones that were used by jewels in the Middle kingdom, you'll find these rocks.
So we found a crucifix of the committee to this site that went back to the Middle Reich.
We also found evidence for a jewelry store for the local society, which is to show that this must have been a very important city.
There was no Sj-taui there, but we're soon going to go back to this site to draw a map.
What's more important is, we have access to young Egyptians who are trained in satellite technology to be the ones that can do so much to the same great discoveries.
So I wanted to close with my favorite quote from the Middle Empire -- it was probably written in the city of Thej-taui a thousand years ago.
"Kowledge to share is the greatest of all occupations.
There's nothing like this in the country."
TED was not founded in 1984 V.C.
But ideas started in 1984 BC, in a non-lored city, again, in a long-term lost city.
You can't compare that to the shelllights on the beach.
Thank you very much.
Thank you.
I grew up in Taiwan as a daughter of a kalligraphy. To my most beautiful memories, as my mother told me the beauty, the shape and the shape of the Chinese character.
I've been fascinated by this incredible language since then.
But for a foreign, it seems to be as unimperentous as the Great Wall of China.
I've been wondering in the last few years how to break this wall so that anyone who's interested in this complex language will understand and appreciate it.
I thought that a new fast way to learn Chinese would be useful.
Since the fifth year, I've learned to draw every single line for every sign sign in the right sequence.
Over the next 15 years, I've learned new signatures every day.
Because we have five minutes to be available, we would be very, very efficient and simpler to do this.
A Chinese scholar understands about 20,000 characters.
They only need 1,000 characters for a simple type of interpretation.
The most important 200 allow you to understand 40 percent of the standard literature -- enough to understand book cards, loggers and the basic, specific websites,
I'm going to start with eight characters today to show you how the method works.
Are you ready?
Open your mouth as much as possible until it's square.
That's what's going to be called a "mund."
This person walks out.
"Man."
If the new "fiss" sign shows a people with high-living arms, like he'd scream, "Let's work! -- the typeface is originally initiated from the form of flame, but I like this idea. Take the person you best.
This is a tree.
"Hoo."
This is a "beter."
The "sonne."
The Mond.
The sign for "Decess" looks like a salo reled from the western West.
These eight characters are radical.
They are the principal to create a variety of fonts.
A human being.
If someone is standing behind it, it means "reaction."
Is it more, then two means "talking" and three people.
If a human is racing out its arms, this person says, "It was such a big."
The man in the mouth, he's locked up like he's imprisoned.
He's a "eeford," as if Jonas did in the Wal.
A tree stands for a tree. Two trees are together for a "talk."
Three of them are for a "Wald."
You have a plank under the tree, and you have a "foract."
Put a mouth up on top, it means "idiotic."
Just to remind you, because a speaking tree is pretty stupid.
Remember the fire?
Two flames on top of each other mean "tuck."
Three fires together, many of them are coming up.
Put the fire under two trees, it means "burn."
For us, the sun is the source of wealth.
Two suns are all the way to "fat."
Three of them are "yards."
If the sun and the moon are shining together, it means "ality."
It can be in context for the next day.
The sun goes over the horizon: sunrise.
door. A board in the door is for the "left."
Put a mouth in the door, it means "wake."
You bet, you bet. Is there anybody there?
This person is streaming out the door. "Fiving," "go out."
On the left is the "womenu."
Two women are together for a "hover."
Be careful about three women: that's called "deep."
We've met 30 characters of characters now.
With this method, you can create the first eight-dimensional, 32 words.
The next group of eight characters, together, forms another 32 words.
With a little bit of effort, you can learn a few hundred characters, like an eight-year-old Chinese kid.
If we can get this type of sign, we're starting to put it together.
For example, mountain and fire puts together the fireberg, so a "ful tunnel."
We know Japan is the country on the ancient sun.
This is the sun with the great leap, because Japan is east of China.
A sun with the origin is called "Japan."
A human being behind Japan?
A "Japaner."
The sign on the left is two mountains tied in on each other.
In the classical Chinese, it means "Exil," because Chinese C-Puates sent to their political enemies in exile across the mountains.
Today, Wired has become "talk."
A mouth that says where it's going, is for the end.
This is the slide that reminds me of leaving the stage. Thank you.
BLEU = 23.88, 54.0/30.7/18.6/11.7 (BP=0.974, ration=0.974)