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第 7 期 · 回应 Ⅳ·08「想法如何被讲清、被记住？」
How to Speak
节目发布 2019-12-20 · MIT OpenCourseWare章节 · 点击跳转视频
0:19
沟通公式：知识、练习与微小的天赋
4:11
如何开场：赋能承诺而非笑话
5:17
四个启发式：循环、篱笆、标点、提问
9:43
时间与地点：光线、踩点与上座率
13:38
黑板的三大优势与手的去处
16:49
道具：易卜生的火炉与帕普特的车轮
22:24
共情式镜像：为何多粉笔少PPT
24:20
幻灯片的罪状：字太多、激光笔、太满
36:10
教学与激励：热情与讲故事的动物
41:24
口试与求职演讲：五分钟内展示愿景与成果
48:01
温斯顿之星：让工作被记住的五个S
52:39
如何结束：贡献页与不说谢谢
本期讲者
帕特里克·温斯顿 (Patrick Winston)MIT 计算机科学教授（1943–2019），1972–1997 年任 MIT 人工智能实验室主任，马文·明斯基的学生。以拱门学习（one-shot learning、near miss）博士论文和教材《Artificial Intelligence》闻名，晚年提出「强故事假说」；本讲座《How to Speak》在 MIT 开设逾 40 年。
01沟通公式：知识、练习与微小的天赋
0:19
PATRICK WINSTON: The Uniform Code of Military Justice specifies court martial for any officer who sends a soldier into battle without a weapon. There ought to be a similar protection for students because students shouldn't go out into life without the ability to communicate, and that's because your success in life will be determined largely by your ability to speak, your ability to write, and the quality of your ideas, in that order. I know that I can be successful in this because the quality of communication, your speaking, your writing, is largely determined by this formula.
帕特里克·温斯顿：《美国军事司法统一法典》规定，任何军官若让士兵不带武器上战场，都要被送上军事法庭。让士兵不带武器上战场。学生也应该受到类似的保护，因为学生不该在没有沟通能力的情况下走进社会，这是因为你人生的成就，很大程度上取决于你说话的能力、你写作的能力，以及你想法的质量——重要性就是这个顺序。我知道我能把这件事讲好，因为沟通的质量，也就是你的表达和写作水平，基本上是由这个公式决定的。
1:01
It's a matter of how much knowledge you have, how much you practice with that knowledge, and your inherent talent, and notice that the T is very small. What really matters is what you know. This point came to me suddenly a few decades ago when I was skiing at Sun Valley. I had heard that it was Celebrity Weekend, and one of the celebrities was Mary Lou Retton, famous Olympic gymnast, perfect 10s in the vault. And I heard that she was a novice at skiing, so when the opportune moment arrived, I looked over on the novice slope and saw this young woman who, when she became unbalanced, went like that.
它取决于你拥有多少知识、你用这些知识练习了多少，以及你的天赋，注意这个 T（天赋）非常小。真正重要的是你懂多少。几十年前我在太阳谷滑雪时，突然想通了这一点。我听说那个周末是名人周末，其中一位名人是玛丽·卢·雷顿，著名的奥运体操运动员，跳马拿过满分十分。我听说她刚开始学滑雪，所以时机一到，我朝新手道那边看过去，看到一位年轻女子，她一失去平衡的时候，就会做出那样的动作。
1:48
And I said that's got to be her. That must be the gymnast. But then, it occurred to me, I'm a much better skier than she is, and she's an Olympic athlete-- not only an ordinary Olympic athlete, an outstanding one. And I was a better skier because I had the K, and I had the P, and all she had was the T. So you can get a lot better than people who may have inherent talents if you have the right amount of knowledge. So that's what my objective is today, and here's my promise. Today, you will see some examples of what you can put in your armamentarium of speaking techniques, and it will be the case that some one of those examples, some heuristic, some technique, maybe only one, will make-- will be the one that gets you the job.
我心想，那肯定是她。那一定就是那位体操运动员。但接着我意识到，我滑得比她好多了，而她可是奥运选手——还不是普通的奥运选手，是顶尖的那种。我滑得更好，是因为我有 K（知识），也有 P（练习），而她只有 T（天赋）。所以只要你有足够的知识，你完全可以超过那些天赋异禀的人。这就是我今天的目标，下面是我的承诺。今天你们会看到一些例子，可以纳入你们的演讲技巧武器库，而且一定会有其中某一个例子、某条经验法则、某项技巧，也许只有一个，会成为让你拿到那份工作的关键。
2:43
And so this is a very non-linear process. You never know when it's going to happen, but that is my promise. By the end of the next 60 minutes, you'll have been exposed to a lot of ideas, some of which you'll incorporate into your own repertoire, and they will ensure that you get the maximum opportunity to have your ideas valued and accepted by the people you speak with. Now, in order to do that, we have to have a rule of engagement, and that is no laptops, no cell phones. So if you could close those, I'll start up as soon as you're done.
所以这是一个非常非线性的过程。你永远不知道它什么时候会发生，但这就是我的承诺。在接下来的 60 分钟结束时，你们会接触到很多想法，其中一些你会吸收进自己的技巧储备，它们会确保你获得最大的机会，让你的想法被你交谈的对象重视和接受。那么，为了做到这一点，我们得先定一条规矩，那就是：不许用笔记本电脑，不许用手机。所以如果你能把它合上，等你弄完我就开始。
3:27
Some people ask why that is a rule of engagement, and the answer is, we humans only have one language processor. And if your language processor is enga-- could you shut the laptop, please? If your language processor is engaged browsing the web or reading your email, you're distracted. And worse yet, you distract all of the people around you. Studies have shown that. And worse yet, if I see a open laptop somewhere back there or up here, it drives me nuts, and I do a worse job. And so that ensures that all of your friends who are paying attention don't get the performance that they came to have.
有人问为什么这是一条参与规则，答案是，我们人类只有一个语言处理器。如果你的语言处理器正忙着——能麻烦你把笔记本电脑合上吗？如果你的语言处理器正忙着上网或看邮件，你就分心了。更糟糕的是，你还会让周围所有人分心。已经有研究证明了这一点。更糟的是，如果我看到后面某处或者前面这儿有一台开着的笔记本电脑，我会心烦意乱，然后讲得更糟。这样一来，那些认真听讲的同学就享受不到他们本该得到的讲演水准了。
02如何开场：赋能承诺而非笑话
4:11
So that's it for preamble. Let's get started. First thing we talk about, of course, is how to start.
开场白就到这里。我们开始吧。我们首先要谈的当然是如何开场。
4:25
Some people think the right thing to do is to start a talk with a joke.
有些人认为正确的做法是用一个笑话开场。
4:39
I don't recommend it, and the reason is that, in the beginning of a talk, people are still putting their laptops away. They're becoming adjusted to your speaking parameters, to your vocal parameters, and they're not ready for a joke. So it doesn't work very well. They usually fall flat. What you want to do instead is start with empowerment promise. You want to tell people what they're going to know at the end of the hour that they didn't know at the beginning of the hour. It's an empowerment promise.
我不推荐这么做，原因在于，在一场演讲的开头，大家还在收拾自己的笔记本电脑。他们还在适应你的讲话方式、你的嗓音特点，还没准备好听笑话。所以效果并不好。笑话通常都会冷场。你应该做的是从「赋能承诺」开始。你要告诉大家，这一小时结束时他们将会知道些什么，而这些是他们在开始时并不知道的。这就是赋能承诺。
03四个启发式：循环、篱笆、标点、提问
5:17
It's the reason for being here. What would be an example? Oh, I see. At the end of this 60 minutes, you will know things about speaking you don't know now, and something among those things you know will make a difference in your life. Yeah, that's an empowerment promise, so that's the best way to start. So now that I've talked a little bit about how to start, what I want to do is give you some samples of heuristics that are always on my mind when I give a talk, and first of these heuristics is that it's a good idea to cycle on the subject.
这是他们来这儿的理由。举个例子？哦，我明白了。在这60分钟结束时，你们会学到一些关于演讲的、现在还不知道的东西，而在这些你们学到的东西里，总有一样会改变你们的人生。没错，这就是赋能承诺，所以这是最好的开场方式。现在我讲了一点如何开场，接下来我想给你们举几个启发式方法的例子，这些是我每次演讲时都会记在心上的。其中第一个启发式方法是：围绕主题反复循环是个好主意。
5:56
Go around it. Go round it again. Go round it again. Some people say, tell him what you want to tell him. Tell him again, and then tell him a third time, as if people weren't intelligent. But the point is-- the reason is-- well, there are many reasons, one of which is, at any given moment, about 20% of you will be fogged out no matter what the lecture is. So if you want to ensure that the probability that everybody gets it is high, you need to say it three times. So cycling is one of the things that I always think about when I give a talk.
绕着它讲一遍。再绕一遍。再绕一遍。有人说，先告诉他们你要讲什么。再讲一遍，然后第三次再讲一遍，好像听众都不聪明似的。但重点是——原因在于——嗯，原因有很多，其中之一是，在任何一个时刻，大概有20%的人会走神，不管这堂课讲的是什么。所以如果你想确保每个人都听懂的概率足够高，你就得说三遍。所以循环是我每次演讲时都会考虑的一件事。
6:33
Another thing I think about is, in explaining my idea, I want to build a fence around it so that it's not confused with somebody else's idea. So if you were from Mars, and I was teaching you about what an arch is, I might say to you, well, that's an arch. And that's not to be confused with some other things that other people might think is-- this is not an arch. That's not an arch. I'm building a fence around my idea so that it can be distinguished from somebody else's idea. So in a more technical sense, I might say, well, my algorithm might similar-- might seem similar to Jones's algorithm, except his is exponential, and mine's linear.
我会考虑的另一件事是，在阐述我的想法时，我想给它围一道篱笆，这样它就不会被跟别人的想法混淆。比方说你是从火星来的，而我要教你什么是拱门，我可能会对你说，嗯，这就是拱门。而它不该跟另外一些东西混淆，别人可能会以为——这个不是拱门。那个也不是拱门。我在给我的想法围一道篱笆，好让它能和别人的想法区分开来。从更技术性的角度讲，我可能会说，嗯，我的算法可能类似——可能看起来类似于Jones的算法，只不过他的是指数级的，我的是线性的。
7:18
That's putting a fence around your idea so that people can not be confused about how it might relate to something else. The third thing on this list of samples is the idea of verbal punctuation.
这就是给你的想法围上篱笆，这样大家就不会搞混它和其他东西的关系。这个例子清单上的第三项，是「言语标点」的概念。
7:44
And the idea here is that, because people will occasionally fog out and need to get back on the bus, you need to provide some landmark places where you're announcing that it's a good time to get back on. So I might, in this talk, say something about this being my outline. The first thing we're going to do is talk about how to start. Then we're going to deal with these four samples, and among these four samples, I've talked about the first idea-- that's cycling. The second idea, building-- and now, the third idea is verbal punctuation.
这里的想法是，因为人们偶尔会走神，需要重新跟上节奏，你得提供一些路标性的位置，宣告现在是重新跟上的好时机。所以在这场演讲中，我可能会说点什么，比如这是我的提纲。我们要做的第一件事是谈如何开场。然后我们要讲这四个例子，而在这四个例子中，我已经讲了第一个想法——那就是循环。第二个想法，围篱笆——现在，第三个想法是言语标点。
8:22
So I'm enumerating and providing numbers. I'm giving you a sense that there's a seam in the talk, and you can get back on.
所以我在做枚举，在给出编号。我在让你们感觉到演讲中有一个接缝，你可以在这儿重新跟上。
8:33
So now, we're on a roll, and since we're on a roll, can you guess what fourth idea might be here-- an idea that helps people get back on the bus?
现在我们讲得顺了，既然讲顺了，你们能猜到第四个想法可能是什么吗——一个能帮人重新跟上节奏的想法？
8:48
AUDIENCE: Ask a question. PATRICK WINSTON: Yes? AUDIENCE: Ask a question. [INAUDIBLE] PATRICK WINSTON: Ask a question, yes. Thank you. So ask a question.
听众：提问。PATRICK WINSTON：什么？听众：提问。[听不清] PATRICK WINSTON：提个问题，好，请讲。谢谢。所以，要提问。
9:05
And so I will ask a question-- how much dead air can there be? How long can I pause? I counted seven seconds. It seemed like an eternity to me to wait and not say anything for seven seconds, but that's the standard amount of time you can wait for an answer. And of course, the question has to be carefully chosen. It can't be too obvious because then people will be embarrassed to say it, but the answers can't be too hard because then nobody will have anything to say. So here are some sample heuristics you can put in your armamentarium and build up your repertoire of ideas about presentation.
那么我就提个问题——冷场可以持续多久？我可以停顿多长时间？我数了一下，七秒。对我来说，等上七秒钟一句话不说简直像永恒那么长，但这就是标准的时长，你可以这样等一个答案。当然，问题必须精心挑选。它不能太显而易见，否则大家会不好意思说出来；但答案也不能太难，否则就没人有话可说了。所以这里有一些示例性的技巧，你可以把它们放进你的武器库，逐步积累起你自己关于演讲的想法储备。
04时间与地点：光线、踩点与上座率
9:43
And now, if this persuades you that there is something to know, that there is knowledge, then I've already succeeded because what I want to convince you of, is if you watch the speakers you admire and feel are effective, and ask yourselves why they're successful, then you can build up your own personal repertoire and develop your own personal style. And that's my fundamental objective, and the rest of this talk is about some of the things that are in my armamentarium that I think are effective. So next thing on our agenda, as we start to discuss these other things, is a discussion of time and place.
那么现在，如果这让你相信这里面确实有东西可学、确实存在某种知识，那我就已经成功了。因为我想让你们相信的是：如果你们去观察那些你欣赏、觉得很有效果的演讲者，并问问自己他们为什么成功，那么你们就能积累起属于自己的技巧储备，发展出自己的个人风格。这就是我最根本的目标。这次演讲余下的部分，讲的是我武器库里的一些东西，那些我认为行之有效的东西。那么，接下来议程上的下一项，在我们开始讨论其他这些内容时，是关于时间和地点的讨论。
10:25
So what do you think is a good time to have a lecture? 11 AM? Yeah.
那么你们觉得，什么时间适合开讲座？上午11点？是的。
10:38
And the reason is most people at MIT are awake by then, and hardly anyone has gone back to sleep. It's not right after a meal. People aren't fatigued from this or that. It's a great time to have a lecture. So that brings me, next, to the question of what about the place? And the most important thing about the place is that it be well lit.
原因是，到那个时候麻省理工大多数人都醒了，而且几乎没人又睡回去。那时候也不是刚吃完饭。人们不会因为这样那样的原因感到疲倦。那是开讲座的绝佳时间。这就把我带到了下一个问题：地点又该如何？关于地点，最重要的一点是光线要充足。
11:09
This room is well lit. Problem with other kinds of rooms is that we humans, whenever the lights go down, or whenever the room is dimly lighted, it signals that we should go to sleep. So whenever I go somewhere to give a talk, even today, the first thing I do when I speak to the audio-visual people is say, keep the lights full up. Oh, they might reply, people will see the slides better if we turn the lights off, and then I reply, it's extremely hard to see slides through closed eyelids.
这个房间光线就很充足。其他类型房间的问题在于，我们人类只要灯光一暗下来，或者只要房间光线昏暗，就等于是在提示我们该睡觉了。所以每次我去某个地方演讲，哪怕是今天，我跟音响灯光的工作人员说的第一件事就是：把灯全部打开。哦，他们可能会回答说，把灯关掉大家能把幻灯片看得更清楚，然后我就回答说，隔着闭上的眼皮看幻灯片，那可太难了。
11:50
What else can you say about the place? Well, the place should be cased, and I mean that in a colloquial sense, of like if you're robbing a bank, you would go to the bank some occasions before to see what it's like, so there are no surprises when you do your robbery. So whenever I go somewhere to speak, the first thing I ask my host to do is to take me to the place where I'll be speaking so that if there are any weirdnesses, I'll be able to deal with it. Sometimes, it might require some intervention.
关于场地还有什么可说的呢？嗯，场地应该事先踩点，我说的是那种口语意义上的踩点，就像你要抢银行，你会提前几次去那家银行看看它是什么样子，这样等你真动手的时候就不会有意外。所以每次我去某地演讲，我请东道主做的第一件事就是带我去我要演讲的地方，这样如果有什么古怪的情况，我就能应付得了。有时候，这可能需要做点调整。
12:29
Sometimes, it just might require me to understand what the challenges are. So when I came here this morning, I did what I typically do. I imagined that all the seats were filled with disinterested farm animals, and that way, I knew that, no matter how bad it was, it wouldn't be as bad as that. So finally, it should be reasonably-- it should be reasonably populated.
有时候，可能只需要我了解一下有哪些难点。所以今天早上我来到这里的时候，我做了我通常会做的事。我想象所有的座位上都坐满了毫无兴趣的农场动物，这样一来，我就知道，不管情况多糟，也不会比那更糟了。最后，场地应该相当——应该有相当多的人。
13:03
It should be the case that-- if there were 10 people in this hall, everyone would be wondering, what's going on that's so much more interesting that nobody's here. So you want to get a right sized place that's-- doesn't have to be packed, but it has to be more than half full. So those are some thoughts about a time and place. Next thing I want to talk about is a subject of boards and props and slides.
情况应该是这样——如果这个大厅里只有10个人，每个人都会纳闷，到底有什么别的事更有意思，怎么没人来啊。所以你要找一个大小合适的场地——不一定要挤得满满当当，但至少得坐满一半以上。以上就是关于时间和地点的一些想法。接下来我想谈的是黑板、道具和幻灯片的问题。
05黑板的三大优势与手的去处
13:38
Well, these are the tools of the trade. I believe that this is the right tool for speaking when your purpose is informing. The slides are good when your purpose is exposing, but this is what I use when I'm informing, teaching, lecturing, and there's several reasons why I use it. For one thing, when you use the board, you have a graphic quality.
嗯，这些都是这一行的工具。我认为，当你的目的是传授信息时，这（黑板）才是演讲的正确工具。当你的目的是展示时，幻灯片是好东西，但当我要传授信息、教学、讲课时，我用的是这个，我用它有几个原因。首先，当你用黑板时，你就有了图形化的表现力。
14:10
It's the case that, when you have a board, then you can easily exploit the fact that you can use graphics in your presentation. So that's the graphic quality that I like, and the next thing I like is the speed property.
事实是，当你有一块黑板时，你就能轻松地利用这一点：在讲解中使用图形。这就是我喜欢的图形表现力，接下来我喜欢的是它的速度特性。
14:30
The speed with which you write on the blackboard is approximately the speed at which people can absorb ideas. If you go flipping through a bunch of slides, nobody can go that fast.
你在黑板上书写的速度，大致就是人们能吸收想法的速度。如果你一张接一张地翻幻灯片，没人能跟得上那个速度。
14:44
Finally, one great property of a board is that it can be a target.
最后，黑板还有一个很棒的特性，就是它可以充当一个指向目标。
14:53
Many people who are novices at speaking find themselves suddenly aware of their hands. It's as if their hands were private parts that shouldn't be exposed in public, so right away, they go into the pockets, and this is considered insulting in some parts of the world. Or alternatively, maybe the hands will go in back like this. I was once in a convent in Serbia, and my host-- as soon as we entered, a nun came up to us and offered us a refreshment. And I was about to say, no, thank you, and he said, eat that stuff or die.
很多演讲新手会突然意识到自己的手该往哪儿放。就好像手是不该在公共场合露出来的私密部位一样，于是他们立刻把手插进口袋，而这在世界上有些地方被认为是失礼的。或者，也许他们会像这样把手背到身后。我有一次在塞尔维亚的一所修道院里，我的东道主——我们刚一进门，一位修女就走过来给我们端上点心。我正要说，不用了，谢谢，他就说，把那东西吃了，不然你就死定了。
15:38
It's a question of local custom and politeness. But then before anything happened there, the nun pulled my hands out like this because it was extraordinarily insulting in that culture to have your hands behind your back. So why is that? Well, it's usually supposed that that's that it has to do with whether you're concealing a weapon. So if your hands are in your pockets or behind your back, then it looks like you might have a weapon, and that's what I mean by the virtue-- one of these virtues of the board.
这是当地风俗和礼节的问题。但还没等那边有什么动静，那位修女就把我的手像这样拉了出来，因为在那种文化里，把手背在身后是极其失礼的。那么这是为什么呢？嗯，通常认为这和你是不是藏着武器有关。所以如果你的手插在口袋里或者背在身后，看起来你就可能藏着武器，这就是我说的黑板的好处之一。
16:13
Now, you have something to do with your hands. You can point out the stuff. I was once watching Seymour Papert give a lecture, and I thought it was terrific. So I went a second time-- first time to absorb the content, second time to note style. And what I discovered is that Papert was constantly pointing at the board. And then I thought about it a little while, and I noted that none of the stuff he was pointing to had anything to do with what he was saying. Nevertheless, it was an effective technique.
这样一来，你的手就有事可做了。你可以指着上面的东西。我有一次去听 Seymour Papert 讲课，我觉得讲得非常棒。于是我又去听了第二次——第一次是吸收内容，第二次是留意风格。我发现的是，Papert 一直在指黑板。后来我想了一会儿，注意到他所指的那些内容，跟他当时讲的话毫无关系。尽管如此，这仍然是个有效的技巧。
06道具：易卜生的火炉与帕普特的车轮
16:49
So that's just a little bit about the virtue of blackboards. Now, I want to talk about props. The custodians of knowledge about props are the playwrights. Many decades ago, I saw a play by Henrik Ibsen. It was Hedda Gabler. I remember vaguely that it was about a woman in an unhappy marriage, and her husband was in competition for an academic job with somebody else. And he was going to lose partly because he was boring, and partly because the competitor had just written a magnificent book. By the way, this is back in the days before there were copying machines and computers.
以上就是关于黑板好处的一点内容。现在，我想聊聊道具。关于道具的知识，掌握得最好的是剧作家。几十年前，我看过一部易卜生（Henrik Ibsen）的戏。是《海达·高布乐》（Hedda Gabler）。我依稀记得它讲的是一个婚姻不幸的女人，她丈夫在和另一个人竞争一个学术职位。而他快要输了，一部分是因为他这个人很无趣，一部分是因为竞争对手刚写出了一本了不起的书。顺便说一句，那还是没有复印机和电脑的年代。
17:30
Anyhow, as the play opens, there's a potbellied stove, and in the beginning of the play, the potbelly stove, with its open door, just has some slightly glowing embers. But the potbellied stove is always there, and as tension mounts in the play, and you see this manuscript, this prop that Ibsen so artfully used, you just know that something's going to happen, because as the play goes on, the fire gets bigger and hotter and finally all consuming, and you just know that that manuscript is going to go into that fire.
不管怎样，戏一开场，台上有一个大肚火炉，在戏的开头，这个大肚火炉炉门敞开着，里面只有一点微微发红的余烬。但这个大肚火炉一直摆在那儿，随着剧中张力不断升高，你又看到那份手稿——易卜生如此巧妙运用的这个道具——你就知道肯定要出事了，因为随着剧情推进，炉火越烧越大、越烧越旺，最后吞噬一切，你就知道那份手稿一定会被扔进火里。
18:21
This memorable thing is what I remember about the play. So playwrights have got this all figured out, but on the other hand, they're not the only people who can use props. Here's an example of the use of a prop, also due to Seymour Papert. He was talking about how it's important to look at the problem in the right way, and here's an example that not only teaches that, but makes it possible for you to embarrass your friends in mechanical engineering. So here's what you do. Take a bicycle wheel, and you start it spinning.
这个令人难忘的场面，就是我对这部戏所记得的东西。所以剧作家们早就把这一套琢磨透了，但另一方面，会用道具的并不只有他们。这里有一个使用道具的例子，同样来自 Seymour Papert。他当时在讲，用正确的方式看待问题有多重要，而这个例子不仅能说明这一点，还能让你在机械工程专业的朋友面前让他们下不来台。下面是具体做法。拿一个自行车轮子，让它转起来。
18:58
And then you put some torque on the axle, or equivalently, you blow on the edge. And the issue is, does it go that way, or does it go that way? Now, the mechanical engineers will immediately say, oh, yes, I see-- right hand screw wheel. And they'll put their fingers in this position, but forget exactly how to align their fingers with the various aspects of the problem. And so it's usually the case that they get it right with about a 50% probability. So their very fancy education gets them up to the point where they're equivalent to flipping a coin.
然后你在轮轴上施加一个力矩，或者等价地，你朝轮缘吹一口气。问题是，它会往这边倒，还是往那边倒？这时候，机械工程师会立刻说，哦，对，我明白了——右手螺旋定则。然后他们会把手指摆成这个姿势，但会忘记到底该怎么把手指和问题中的各个量对应起来。所以通常的情况是，他们答对的概率大约是 50%。也就是说，他们受过的高深教育，最后把他们提升到了跟抛硬币差不多的水平。
19:43
But it doesn't have to be that way because you can think about the problem a little differently. So here's what you do. You take some duct tape, and you put it around the part of the wheel like that. And now, you start to think about, not the whole wheel, but just a little piece that's underneath the duct tape. So here, that piece comes rolling over the top, and at this point, you blow on it with a puff of air. Forgetting about the rest of the wheel, what happens to that little piece that's under the duct tape?
但其实不必如此，因为你可以换个角度想这个问题。做法是这样的。你拿一段胶带，像这样贴在轮子的某一段上。现在，你不去想整个轮子，只想胶带底下那一小块。那么，这一小块从顶上滚过来，就在这个时刻，你朝它吹一口气。先不管轮子的其余部分，胶带底下那一小块会发生什么？
20:13
It must want to go that way because you banged on it like that. It's already going down like that. And what about the next piece? Same thing. Next piece? Same thing. So the only thing that can happen is that the wheel goes over like that. And so now, you'll never wonder again because you're thinking about the problem in the right way, and it's demonstrated by the use of a prop. You can try this after we're done.
它一定会往那个方向走，因为你就是那样推了它一下。它已经在朝那个方向走了。那下一小块呢？一样。再下一块呢？一样。所以唯一可能发生的事，就是轮子这样倒过去。这样一来，你以后就再也不会犯迷糊了，因为你是在用正确的方式思考这个问题，而这一点是通过道具演示出来的。等我们讲完你们可以试试。
20:44
Another example I like to remember is one from when I was taking 8.01. Alan Lazarus was the instructor at the time, and he was talking about the conservation of energy, kinetic and potential. And there was a long wire in a ceiling in 26-100 attached to a much bigger steel ball, but one-- not one like this. And Lazarus took the ball up against the wall like this. He put his head flat against the wall to steady himself, and then he let go, and the pendulum takes many seconds to go over and back, and then gently kisses Lazarus's nose.
我喜欢回想的另一个例子，是我当年上 8.01 课的时候。当时的授课老师是 Alan Lazarus，他在讲能量守恒，动能和势能。26-100 教室的天花板上垂着一根很长的钢丝，下面挂着一个大得多的钢球，不是——不是像这个这么小的。Lazarus 把球像这样举到墙边。他把头紧贴着墙稳住自己，然后松手，钟摆要摆好几秒才荡过去再荡回来，然后轻轻地吻上 Lazarus 的鼻子。
21:31
And so you have many seconds to think, this guy really believes in the conservation of energy.
所以你有好几秒钟可以想：这家伙是真的相信能量守恒。
21:43
Do not try this at home. The problem is that, the first time you do this, you may not just let go. There's a natural human tendency to push.
别在家里尝试。问题在于，你第一次做这个的时候，可能没法只是松手。人有一种本能的冲动，想推一把。
22:01
So that's a little bit on a subject of props.
以上就是关于道具这个话题的一点内容。
07共情式镜像：为何多粉笔少PPT
22:24
It's interesting. Whenever surveys are taken, students always say more chalk, less PowerPoint. And why would that be? Props are also very effective. Why would that be? I'll give you my lunatic fringe view on this. It has to do with what I would call empathetic mirroring. When you're sitting up there watching me write on the board, all those little mirror neurons in your head, I believe, become actuated, and you can feel yourself writing on the blackboard. And even more so, when I talk about this steel ball going that way and this way, you can feel the ball as if you were me, and you can't do that with a slide.
这挺有意思的。每次做调查，学生们总是说：多用粉笔，少用 PowerPoint。为什么会这样呢？道具也非常有效。这又是为什么呢？我来说说我在这件事上的疯狂观点。这和我称之为「共情式镜像」的东西有关。当你坐在下面看着我在黑板上写字时，我相信，你脑子里那些镜像神经元被激活了，你能感觉到自己在黑板上写字。更是如此，当我讲这个钢球这样荡过去、又这样荡回来时，你能感受到那个球，就好像你就是我一样，而幻灯片做不到这一点。
23:26
You can't do it with a picture. You need to see it in the physical world. That's why I think that-- oh, yes, of course, it's-- there are speed questions involved, too, that have to be separated out. But I think the empathetic mirroring is why props and the use of a blackboard are so effective. Well, let's see-- oh, yes, there is one more thing by way of the tools, and that has to do with the use of slides. I repeat, I think they're for exposing ideas, not for teaching ideas, but that's what we do in a job talk or conference talk-- expose ideas.
靠一张图片也做不到。你需要在物理世界里亲眼看到它。这就是我认为——哦，当然，这里面也涉及速度的问题，那得另外拿出来说。但我认为，共情式镜像正是道具和黑板如此有效的原因。那么，我们看看——哦对了，关于工具还有一件事，那就是幻灯片的使用。我再说一遍，我认为幻灯片是用来展示想法的，不是用来教授想法的，但在求职演讲或会议演讲中，我们做的正是——展示想法。
24:12
We don't teach them. So let me tell you a little bit about my views on that.
我们不是在教。所以让我讲讲我在这方面的一些看法。
08幻灯片的罪状：字太多、激光笔、太满
24:20
I remember, once, I was in Terminal A at Logan Airport. I'd just come back from a really miserable conference, and the flight was really horrible. It was one of those that feels like an unbalanced washing machine. And for the only time in my life, I decided to stop on my way to my car and have a cup of coffee and relax a little bit. And as I was there for a few minutes, someone came up to me and said, are you Professor Winston? I think so, I said. I don't know. I guess I was trying to be funny. In any event, he said, I'm on my way to Europe to give a job talk.
我记得有一次，我在洛根机场的 A 航站楼。我刚参加完一个特别糟糕的会议回来，那趟航班也糟透了。就是那种感觉像坐在不平衡的洗衣机里的航班。这辈子仅有的一次，我决定在走向停车场的路上停下来，喝杯咖啡，稍微放松一下。我在那儿待了几分钟，有人走过来对我说，您是 Winston 教授吗？我说，我想是吧。我也不知道。我猜我是想开个玩笑。总之，他说，我正要去欧洲做一场求职演讲。
25:04
Would you mine critiquing my slides? Not at all, I said. You have too many, and they have too many words. How did you know, he said, thinking perhaps I had seen a talk of his before. I hadn't. My reply was, because it's always true. There are always too many slides, always too many words. So let me show you some extreme examples of how not to use slides.
您介意帮我点评一下我的幻灯片吗？一点也不介意，我说。你的片子太多了，而且每张上的字也太多了。他说，您怎么知道的？大概以为我以前听过他的演讲。我并没有。我的回答是，因为这话永远是对的。片子永远太多，字永远太多。那么让我给你们看几个极端的反面例子，看看幻灯片该怎么用。
25:34
Well, for this demonstration, I need to be way over here and when I get over here, then I can start to say things like, one of the things you shouldn't do is read your transparencies. People in your audience know how to read, and reading will just annoy them. Also, you should be sure that you have only a few words on each transparency, and that the words are easy to read. And I hope I'm driving you crazy because I'm committing all kinds of crimes, the first of which is that there are too many words on the slide.
好，为了这个演示，我需要站到很远的这边来，等我站到这儿了，我就可以开始说这样的话：你不该做的事情之一，就是照着投影片念。台下的观众都识字，念给他们听只会惹恼他们。另外，你要确保每张投影片上只有很少的几个字，而且这些字要容易看清。我希望我正把你们逼疯，因为我正在犯各种各样的错误，第一条就是这张片子上的字太多了。
26:12
Second of which is, I'm way over there, and the slide's way over there. So you get into this tennis match feeling of shifting back and forth between the slide and the speaker. You want the slides to be condiments to what you're saying, not the main event or the opposite way around. So how can we fix this? Step number one is to get rid of the background junk. That's always distraction. Step number two is to get rid of the words. When I reduced the words to these, then everything I read a previous time, I'm not licensed to say, because it's not on the slide.
第二条是，我在那么远的这边，而片子在那么远的那边。于是你们就陷入了那种看网球比赛的感觉，脑袋在幻灯片和演讲者之间来回摆动。你希望幻灯片是你所讲内容的配菜，而不是主角，反过来也不行。那我们怎么解决这个问题呢？第一步，去掉背景里那些杂七杂八的东西。那些永远都是干扰。第二步，把文字去掉。当我把文字精简成这样之后，之前我念过的那些内容，我就没资格再说了，因为幻灯片上没有。
26:53
I'm not reading my slides anymore, but I'm saying what was written on the slides in a previous example. So what else can we do to simplify this? Well, we can get rid of the logos. We don't need them. Simplification. What else can we do? Get rid of the title. Now, I want to talk to you about some rules for slide preparation. I'm telling you the title. It doesn't have to be up there. By reducing the number of words on the slide, I'm allowing you to pay more attention to me and less to what's written on the slide.
我不再是在念幻灯片了，但我说的还是前一个例子里幻灯片上写的东西。那我们还能怎么进一步简化呢？嗯，我们可以把logo去掉。我们不需要它们。简化。还能做什么？把标题去掉。现在，我想跟大家聊聊幻灯片制作的一些规则。标题我口头告诉你们就行了。不一定非要写在上面。通过减少幻灯片上的字数，我让你们能更多地关注我，而不是幻灯片上写的东西。
27:32
I mentioned it before-- we-- have only one language processor, and we can either use it to read stuff or to listen to the speaker. And so if we have too many words on the slide, it forces people in the audience to read this stuff and not listen. A student of mine did an experiment a few years ago. He taught some students some web-based programming ideas. Half the information was on slides, he said the other half, and then for a control group, he reversed it. And the question was, what did the subjects-- that is to say, freshmen at his fraternity-- what did the subjects remember best, what he said, or what they read on the slide?
我之前提过——我们只有一个语言处理器，我们要么用它来读东西，要么用它来听讲者说话。所以如果幻灯片上字太多，就会迫使听众去读这些东西，而不是听。我的一个学生几年前做过一个实验。他给一些学生讲了一些基于网络的编程概念。一半的信息放在幻灯片上，另一半由他口头讲，然后作为对照组，他把两者对调。问题是，这些被试——也就是他兄弟会里的大一新生——这些被试记得最牢的是什么，是他说的，还是他们在幻灯片上读到的？
28:21
And the answer is, what they read on the slide. When their slides have a lot of material on it, they don't pay attention to the speaker. In fact, in the after action report, one of the subjects said, I wish you hadn't talked so much. It was distracting.
答案是，他们在幻灯片上读到的。当幻灯片上内容很多时，他们就不会注意讲者了。事实上，在事后的复盘报告里，有个被试说，真希望你别说那么多话。太让人分心了。
28:41
Well, the last item is eliminate clutter. Here's some clutter. No reason even for those bullets. So the too many words problem is a consequence of a crime Microsoft has committed by allowing you to use fonts that are too small. So you should all have a sample slide like this that you can use to determine what the minimum font size is that's easily legible. [INAUDIBLE],, what do you think of those? AUDIENCE: Which size is right? PATRICK WINSTON: What's that? AUDIENCE: Did you ask me what size is right?
好，最后一项是消除杂乱。这就是一些杂乱。连那些项目符号都没必要。字太多这个问题，其实是微软犯下的一宗罪的后果——它允许你使用太小的字号。所以你们都应该有一张这样的样例幻灯片，用来确定什么是清晰易读的最小字号。[听不清]，你觉得这些字号怎么样？观众：哪个字号合适？帕特里克·温斯顿：你说什么？观众：你是在问我哪个字号合适吗？
29:19
PATRICK WINSTON: Yeah, minimum, maybe. AUDIENCE: 40 or 50. PATRICK WINSTON: Yeah, he says 40 or 50. I think that's about right. 35 is beginning to get too small, not necessarily because you can't read it, but because you're probably using it to get too many words on the slide. What other crimes do we have? Well, we have the laser pointer crime. And for that-- in the old days, when we didn't have laser pointers, we used wooden ones, and people would go waving these things around. And pretty soon it became almost like a baton twirling contest, so here's what I recommended in the old days for dealing with this kind of pointer.
帕特里克·温斯顿：对，最小的，大概是多少。观众：40或者50。帕特里克·温斯顿：对，他说40或者50。我觉得差不多是这样。35就开始偏小了，倒不一定是因为你看不清，而是因为你多半会用它在幻灯片上塞太多字。我们还有哪些罪状？嗯，还有激光笔这宗罪。说到这个——在过去，我们还没有激光笔的时候，我们用木头教鞭，然后人们就会挥来挥去。很快这就几乎变成了一场指挥棒花式表演比赛，所以在那个年代，我是这么建议对付这种教鞭的。
30:08
This is an example of use of a prop.
这就是使用道具的一个例子。
30:14
Jim Glass up there saw this talk about 20 years ago, and said, oh, yeah, I remember that talk. That's the one where you broke the pointer. It's amazing how props tend to be the things that are remembered. Well, now, we don't have physical pointers anymore. We've got laser pointers. It's a wonder more people aren't driven into epileptic fits over this sort of stuff. Well, here's what tends to happen. Look at that. It's a lovely recursive picture, and I can become part of it by putting that laser beam right on the back of my head up there.
上面那位吉姆·格拉斯大约二十年前听过这个讲座，他说，哦对，我记得那个讲座。就是你把教鞭掰断的那次。道具往往就是最容易被记住的东西，这很神奇。好了，现在我们没有实体教鞭了。我们有激光笔。真是奇怪，居然没有更多人被这种东西搞到癫痫发作。好，通常会发生的是这样。看那个。这是一张很漂亮的递归图片，而我可以把激光点打在我后脑勺上，从而成为它的一部分。
30:56
Then what do you see? You see the back of my head. I have no eye contact, no engagement, nothing. I was sitting with a student watching a talk one day, and she said, you know what, we could all leave, and he wouldn't know. So what happens when you use a laser pointer? You can't use a laser pointer without turning your head and pointing it at something, and when you do that, you lose contact with the audience. You don't want to do it. So what do you do if you need to identify something in your image, and you don't want to point at it with a laser?
然后你们看到的是什么？你们看到的是我的后脑勺。没有眼神交流，没有互动，什么都没有。有一天我和一个学生坐在一起听讲座，她说，你知道吗，我们全都可以走掉，他都不会发现。那么用激光笔的时候会发生什么？你没法在不转头、不指向某处的情况下用激光笔，而当你这么做的时候，你就失去了和听众的联系。你不该这么做。那么如果你需要在图里指出某个东西，又不想用激光去指，该怎么办？
31:35
This is what you do. Put a little arrow on there and say, now, look at that guy at the end of arrow number one. You don't need to have laser pointer to do that.
你该这么做。在上面放一个小箭头，然后说，现在看看一号箭头末端那个家伙。你不需要激光笔就能做到。
31:48
The too-heavy crime-- when people ask me to review a presentation, I ask them to print it out and lay it out on a table. When they do that, it's easy to see whether the talk is too heavy, too much text, not enough air, not enough white space, not enough imagery. This is a good example of such a talk-- way too heavy. The presenter has taken advantage of a small font sizes to get as much on the slide as he wanted. Lots of other crimes here, but the too-heavy-- the fact that it's too heavy is what I wanted to illustrate.
太满这宗罪——当有人请我审阅一份演讲稿时，我会让他们把它打印出来，摊在桌上。这么一摆，就很容易看出这个讲座是不是太满了：文字太多，不够透气，留白不够，图像不够。这就是一个很好的例子——太满了。演讲者利用小字号，把他想放的内容全塞进了幻灯片。这里还有很多别的罪状，但太满——它太满这一点，才是我想说明的。
32:33
So here, by contrast, another talk-- one I gave a few years ago. It's not-- it wasn't a deeply technical talk, but I show it to you because there's air in it. It's mostly pictures of things. There are three or four slides that have text on them, but when I come to those, I give the audience time to read them. And they're there because they might have some historical significance. The first slide with a lot of text on it is an extraction from the 1957-- from the proposal for the 1957 AI conference at Dartmouth.
那么作为对比，这是另一个讲座——几年前我做的一个。它不是——它不是一个技术性很深的讲座，但我拿给你们看，是因为它里面有留白。它主要是各种图片。有三四张幻灯片上有文字，但当我讲到那几张时，我会给听众时间去读。它们之所以在那儿，是因为它们可能有某种历史意义。第一张有大量文字的幻灯片，摘自1957年——摘自1957年达特茅斯人工智能会议的提案。
33:10
Extraordinarily interesting event, and that historical extraction from the proposal helps drive that point home. What else have we got here? Oh, yeah, your vocabulary word for the day. This is an hapax legomenon. What that means is, this is the kind of slide you can get away with exactly once in your presentation. This is a slide that got some currency some years ago because it shows the complexity of governing in Afghanistan by showing how impossibly complex it is. It's something you in the audience can't understand, and that's the point, but you can't have many of these.
那是一场极其有意思的活动，从提案里摘出的那段历史文字，有助于把那个观点讲透。这里还有什么？哦对，今天的词汇课。这叫 hapax legomenon（孤例词）。意思是，这种幻灯片在你的整场演讲里只能用一次。这张幻灯片几年前有点流行，因为它通过展示治理阿富汗有多么复杂到不可思议，来呈现其复杂性。这是台下的你们理解不了的东西，而这正是重点所在，但你不能有很多张这样的。
33:55
You can have one per work, one per presentation, one per paper, one per book. That's what hapax legomenon is, and this is an example of it. Well, I've shown you some crimes. So you might be asking, do these crimes actually occur? So they do. [LAUGHTER] There's the hands in the pockets crime. There's a crime and time and place selection here. This is how you get to the Bartos Theater. First thing you do is you get on these steps over at the Media Lab, then you cross this large open space, then you turn right down this corridor.
一部作品里可以有一张，一场演讲一张，一篇论文一张，一本书一张。这就是 hapax legomenon 的意思，而这就是一个例子。好，我给你们展示了一些罪状。那你可能会问，这些罪状真的会发生吗？确实会。[笑声] 这是双手插兜这宗罪。这里还有时间和地点选择上的一宗罪。这是你去巴托斯剧场的路。第一步，你走上媒体实验室这边的这些台阶，然后你穿过这一大片开阔场地，接着你右转进入这条走廊。
34:45
[LAUGHTER] At this point, whenever I go in there, I wonder if there are torture implements around the corner. [LAUGHTER] And then when you get in there, you get into this dark, gloomy place. So it's well named when they call it the Bartos Theater because it's a place where you can watch a movie, but it's not a place where you can give a talk. Now, on a subject of does it happen, here's a talk I attended a while back in Stata. Notice that the speaker is far away from the slides. Speaker's using a laser pointer.
[笑声] 每次我走到这儿，我都在想拐角后面是不是摆着刑具。[笑声] 然后你进去之后，就进到了这个又暗又阴沉的地方。所以他们把它叫做巴托斯剧场，这名字起得挺贴切，因为那是个可以看电影的地方，但不是个可以做演讲的地方。现在，关于这种事到底会不会发生，这是我前段时间在斯塔塔中心听的一个讲座。注意讲者离幻灯片很远。讲者在用激光笔。
35:22
And you say to me, well, what's happening here? It's, by the way, the 80th - 80th! slide of the presentation. Notice that it extends with the words, this is the first of 10 conclusions slides. [LAUGHTER] So what's the audience reaction? That's the sponsor of the meeting. [LAUGHTER] He's reading his email. This is the co-sponsor of the meeting. He's examining the lunch menu. [LAUGHTER] What about this person? This person looks like he's paying attention, but just because it's a still picture. If you were to see a video, what you would see is something like this [YAWNS].
然后你会问我，这儿发生了什么？顺便说一句，这是整场演讲的第80张——第80张！幻灯片。注意它上面还写着，这是十张结论幻灯片中的第一张。[笑声] 那么听众的反应如何？那位是这场会议的赞助人。[笑声] 他在看邮件。这位是会议的联合赞助人。他在研究午餐菜单。[笑声] 那这位呢？这位看起来像是在认真听，但那只是因为这是张静态照片。如果你看的是视频，你会看到的是这样的画面 [打哈欠]。
09教学与激励：热情与讲故事的动物
36:10
[LAUGHTER] So yeah, it does happen. Well, now, that's a quick review of tools. Now, I want to talk about some special cases. We could talk a little bit about the informing or to say another way, doing what I'm doing now. But I'll just say a few words about that. In that kind of presentation, you want to start with a promise like I did for this hour that we're going through now. And then it comes to the question of how do you inspire people? I've given this talk for a long time, and a few years ago, our department chairman said, would you please give this talk to a new faculty, and be sure to emphasize what it takes to inspire students.
37:06
And strangely, I hadn't thought about that question before. So I started a survey. I'd talked to some of my incoming freshmen advisees, and I talked to senior faculty and everything in between about how they've been inspired. What I found from the incoming freshmen is that they were inspired by some high school teacher who told them they could do it. What I found in the senior faculty, they were inspired by someone who helped them see a problem in a new way. And what I saw from everyone is that they were inspired when someone exhibited passion about what they were doing, exhibited passion about what they were doing.
37:52
So that's one way to be inspiring. It's easy for me because I do artificial intelligence. And how can you not be interested in artificial intelligence? [LAUGHTER] I mean, if you're not interested in artificial intelligence, you're probably not interested in interesting things. So when I'm lecturing in my AI class, it's natural for me to talk about what I think is cool and how exciting some new idea is. So that's the kind of expression of passion that makes a difference while informing with respect to this question of inspiring.
38:39
Oh, yeah and of course, during this promise phase, you can also express how cool stuff is. Let me give you an example of a lecture that starts this way. I'm talking about resource allocation. It's the same sort of stuff you would think of when your-- it's the same sort of ideas you would need if you're allocating aircraft to a flight schedule or trying to schedule a factory or something like that. But the example is putting colors on the states in the United States without any bordering states having the same color.
39:11
So here it goes. This is what I show at the beginning of the class. This is a way of doing that coloring. And you might say, well, why don't we wait till it finishes? Would you like to do that? No? Well, we're not going to wait till it finishes because the sun will have exploded and consumed the earth before this program finishes. [LAUGHTER] But with a slight adjustment to how the program works, which I tell my students you will understand in the next 50 minutes, this is what you get.
39:49
Isn't that cool? You got to be amazed by stuff that takes a computation from longer than the lifetime of the solar system into a few seconds. So that's what I mean by providing a promise upfront and expressing some passion about what you're talking about. Well, the last item in this little block here is it has to do with what people think that they do it at MIT. You ask faculty what the most important purpose is, and they'll say, well, the most important thing I do is teach people how to think. And then you say oh, that's great.
40:29
How do you teach people how to think? Blank stare. No one can quite respond to that part, that natural next question. So how do you teach people how to think? Well, I believe that we are storytelling animals. And that we start developing our story, understanding and manipulating skills with fairy tales in childhood and continue on through professional schools like law, business, medicine, everything. And we continue doing that throughout life. So if that is what thinking is all about. And we want to teach people how to think, you provide them with the stories they need to know, the questions they need to ask about those stories, mechanisms for analyzing those stories, ways of putting stories together, ways of evaluating how reliable a story is.
10口试与求职演讲：五分钟内展示愿景与成果
41:24
And that's what I think you need to do when you teach people how to think. But that's all about education. And many of you here are not necessarily for that, but rather for this part, for persuading, which breaks down into several categories, oral exams, not shown, shop talks, getting famous. I won't say much about oral exams other than the fact that they used to be a lot scarier than they are today. In the old days, reading the literature in a foreign language was a part of that. And there was a high failure rate.
42:04
And when you look back on those failures, the most usual reason for people failing an oral exam is failure to situate and a failure to practice. By situate, I mean, it's important to talk about your research in context. This is a problem that's being pursued all over the world. There hasn't been any progress before me in the past 30 years. Everyone is looking for a solution because it will have impact on so many other things, such situating and time and place and feel. And then as far as practice is concerned, yes, practice is important.
42:43
But that doesn't mean showing your slides to the people you share an with. The problem with that is that if people know what you're doing, they will hallucinate that there's material in your presentation that isn't there if it isn't there. A variation on the scene, by the way, is your faculty supervisor is not a very good person to help you debug a talk because they, in fact, know what you're doing. And they will, in fact, hallucinate there's material in your presentation that isn't there. So you need to get together with some friends who don't know what you're doing and have them-- well, you start the practice session by saying, if you can't make me cry, I won't value as a friend anymore.
43:27
[LAUGHTER] And then when you get to the faculty on a oral exam, it will be easy. You see, difficulty-- the amount of flak you'll get from somebody is proportional to age. The older somebody is, the more they understand where they are in the world. But the young people are trying to show the old people how smart they are, so it's subtly vicious. So whenever you have an opportunity to have an examining committee that's full of people with gray hair, that's what you want. Well, that's just a word or two about something I haven't listed here.
44:02
Let's get into the subject of job talks. So I was sitting in a bar many years ago in San Diego. I was a member of the Navy Science Board, and I was sitting with a couple of my colleagues on the board Delores Etter from the University of Colorado. She made me so jealous I could spit because she'd written 21 books, and I'd only written 17. And then the other one was Bill Weldon from the University of Texas. He was an electromagnetism guy, and he knew how to use rail guns to drive steel rods through tank armor.
44:45
These were interesting people. So I said, what do you look for in a faculty candidate? And within one microsecond, Delores said, they have to show us they've got some kind of vision, quickly followed by Bill who said, they have to show us that they've done something.
45:15
Oh, that sounds good, I said. And then I said to them, how long does a candidate have to establish these two things? What do you think? Well, compare your answer to theirs.
45:33
Five minutes. So if you haven't expressed your vision, if you haven't told people that you've done something in five minutes, you've already lost. So you have to be able to do that. And let me just mention a couple of things in that connection. Here, the vision is in part, a problem that somebody cares about and something new in your approach.
46:06
So the problem is understanding the nature of human intelligence. And the approach is asking questions about what makes us different from chimpanzees and Neanderthals. Is it merely a matter of quantity, or we're just a little bit smarter in some continuous way? Or do we have something that's fundamentally different that chimpanzees don't have and Neanderthals either? And the answer is yes, we do have something different. We are symbolic creatures. And because we're symbolic creatures, we can build symbolic descriptions of relations and events.
46:46
We can string them together and make stories. And because we can make stories, that's what makes us different. So that's my stump speech. That's how I start most of my talks on my own personal research. How do you express the notion that you've done something? By listing the steps that need to be taken in order to achieve the solution to that problem. You don't have to have done all of those steps. But you can say here's what needs to be done. An example, here's what needs to be done. We need to specify some behavior.
我们需要明确规定某种行为。
47:23
We need to enumerate the constraints that make it possible to deal with that behavior. We have to implement a system because we're engineers, and we don't think that we've understood something unless we can build it. And we've built such a system, and we're about to demonstrate it to you today. That would be an example of enumerating a series of steps needed to realize the vision. So then blah, blah, blah, blah, blah, blah, blah, blah. And then you conclude by-- you conclude by enumerating your contributions.
我们需要列举出使处理这种行为成为可能的各种约束条件。我们必须实现一个系统，因为我们是工程师，而如果不能把它造出来，我们就不认为自己真正理解了它。我们已经постро建好了这样一个系统，今天就要给大家演示。这就是列举实现愿景所需一系列步骤的一个例子。然后就是这样那样、如此这般地讲下去。最后你要以列举你的贡献来收尾。
11温斯顿之星：让工作被记住的五个S
48:01
It's kind of mirror of these steps. And it helps to establish that you've done something. So that's a kind of general purpose framework for doing a technical talk. Now, only a few more things left to do today. Getting famous is the next item on our agenda because once you've got the job, you need to think a little bit about how you're going to be recognized for what you do. So oh, first of all, why should you care about getting famous? I thought about this in connection with a fundraising event I attended once, a fundraising event for raising money to save Venice from going under water and having all of its art destroyed.
这跟前面那些步骤是一种镜像关系。这有助于确立你确实做成了某件事。这就是做技术演讲的一个通用框架。��，今天只剩下几件事要讲了。接下来议程上的一项是如何成名，因为一旦你拿到了工作，你就得稍微考虑一下怎样让自己的工作得到认可。那么，首先，你为什么要在意成名这件事？我是在参加一次募捐活动时想到这个问题的，那是一次为筹款而办的活动，目的是拯救威尼斯，别让它沉入水下、让所有艺术品毁于一旦。
48:53
Anyway, I was sitting here, and JC was sitting here. That was Julia, the late Julia Child.
总之，我坐在这边，JC 坐在那边。那就是茱莉亚，已故的茱莉亚·查尔德。
49:08
And as the evening wore on, more and more people would come up and ask Julia to autograph something or express a feeling that she had changed their life. And it just happened over and over again. So eventually, I turned to Julia, and I said, Ms. Child, is it fun to be famous? And she thought about it for a second. And she said, you get used to it. [LAUGHTER] But you know what occured to me? You never get used to being ignored. So it's-- here's a way to think about it. Your ideas are like your children.
随着夜色渐深，越来越多的人走上前来请茱莉亚签名，或者表达她改变了自己人生的感受。这样的事一次又一次地发生。所以最后我转向茱莉亚，说：查尔德女士，出名有意思吗？她想了一秒钟。然后她说，你会习惯的。（笑声）但你知道我当时想到了什么吗？你永远不会习惯被忽视。所以——可以这样来看这件事。你的想法就像你的孩子。
49:47
And you don't want them to go into the world in rags. So what you want to do is to be sure that you have these techniques, these mechanisms, these thoughts about how to present ideas that you have so that they're recognized for the value that is in them. So that's why it's a legitimate thing to concern yourself with packaging. Now, how do you get remembered? Well, there's something I like to call Winston's star. And every one of the items I'm about to articulate starts with an S. So if you want your presentation ideas to be remembered, one of the things you need to do is to make sure that you have some kind of symbol associated with your work.
你不希望他们衣衫褴褛地走进这个世界。所以你要做的，就是确保自己掌握这些技巧、这些方法、这些关于如何呈现自己想法的思考，好让它们内在的价值能被人认可。所以关注“包装”是一件完全正当的事。那么，你怎样才能被人记住呢？嗯，有个东西我喜欢称之为“温斯顿之星”。我接下来要讲的每一项都以字母 S 开头。所以如果你想让自己演讲中的想法被记住，你需要做的一件事就是确保有某种符号与你的工作相关联。
50:34
So this arch example is actually from my PhD thesis many, many years ago. And in the course of my work at that time, this work on arch learning became mildly famous, and I didn't know why. It was only many years later that I realized that that work accidentally had all of the elements on this star. So the first element is that there was a kind of symbol. It's the arch itself.
这个“拱门”的例子其实出自我很多很多年前的博士论文。在我当时的研究过程中，这项关于拱门学习的工作稍稍出了点名，而我并不知道原因。直到很多年以后我才意识到，那项工作碰巧具备了这颗星上的所有要素。第一个要素是有一种符号。那就是拱门本身。
51:05
Next thing you need is some kind of slogan, a kind of phrase that provides a handle on the work. And in this case, the phrase was one shot learning. And it was one shot because the program I wrote learned something definite from every example that was presented to us. So in going from a model based on this configuration to something that isn't an arch base on that configuration, the program learned that it has to be on top, one shot learning. So that's a symbol, slogan. And now we need a surprise.
接下来你需要的是某种口号，一个能让人抓住这项工作的短语。在这个例子里，这个短语就是“一次性学习”（one shot learning）。之所以叫“一次性”，是因为我写的那个程序从呈现给我们的每一个例子中都学到了某种确定的东西。所以从基于这个构型的模型，到基于那个构型的“不是拱门”的例子，程序学到了那块必须放在顶上——这就是一次性学习。所以，这是符号和口号。现在我们需要一个惊喜。
51:51
Yeah, the surprise is you don't need a million examples of something to learn. You can do it with one example if you're smart enough to make use of that example appropriately. So that was the surprise. You can learn something definite from each example. Next item was a salient idea.
是的，惊喜就是：你并不需要一百万个例子才能学会某样东西。如果你足够聪明、能恰当地利用那个例子，一个例子就够了。这就是那个惊喜。你可以从每一个例子中学到某种确定的东西。下一项是一个突出的想法。
52:13
Now, when I say salient idea, I don't mean important. What I mean is an idea that sticks out. Some theses, funnily enough, have too many good ideas, and you don't know what it's all about because which one is it? So you need an idea that sticks out. And the idea that stuck out here was the notion of a near miss.
我说“突出的想法”时，指的不是“重要”。我的意思是一个能凸显出来的想法。有些论文，说来好笑，好想法太多了，你反而搞不清它到底讲的是什么，因为究竟是哪一个呢？所以你需要一个凸显出来的想法。这里凸显出来的想法，就是“差一点的反例”（near miss）这个概念。
12如何结束：贡献页与不说谢谢
52:39
You see, this is not an arch, but it doesn't miss by much. So it's a near miss. And finally, you need to tell the story of how you did it, how it works, why it's important. So that's a bit on how to not so much get famous, but how to ensure that your work is recognized. Well, we're almost finished because now we're down to this last item, which is how to stop. And when we come to that, there's a question of all right, well, what is the final slide?
你看，这不是拱门，但它差得并不远。所以它是一个“差一点的反例”。最后，你需要讲一个故事：你是怎么做出来的、它是怎么运作的、它为什么重要。这就是关于如何——与其说是成名，不如说是如何确保你的工作被认可——的一点心得。好，我们快讲完了，因为现在只剩最后一项：如何结束。讲到这里就有个问题：好吧，最后一张幻灯片该是什么？
53:22
And what are the final words?
最后要说的话又是什么？
53:30
So for the final slide, let me give you some examples of possibilities. How about this one?
关于最后一张幻灯片，我给大家举几种可能的例子。这一张怎么样？
53:42
Well, you might see that slide and think to yourself, there are 1,000 faculty at MIT. Nice piece of work, but not so much, but it's only a tiny piece of work if you divide by 1,000. So when you show a whole gigantic list of collaborators at the end of a talk, it's a kind of let down because it suggests that nobody knows. Well, did you do anything significant? Now, you've got to recognize your collaborators, right? So where do you do that? Not on the last slide, on the first slide. All this was on the first slide.
嗯，你可能看到那张幻灯片会心想：MIT 有一千个教员呢。干得不错，但也就那样，除以一千之后，这只是很小的一份工作。所以当你在演讲结尾放上一整张巨大的合作者名单时，那是一种扫兴，因为它暗示着没人知道——嗯，你到底做出了什么重要的东西？当然，你必须承认你的合作者，对吧？那你在哪儿做这件事呢？不是在最后一张幻灯片，而是在第一张。这些全都放在第一张幻灯片上。
54:21
These are the collaborators, so you don't want to put them at the end. You don't want a slide like this. How about this one? This is the worst possible way to end a talk. [LAUGHTER] Because this slide can be up there for 20 minutes. I've seen it happen. It squanders real estate. It squanders an opportunity to tell people who you are. It's just--
这些是合作者，所以你不该把他们放在结尾。你不会想要这样一张幻灯片。那这张呢？这是结束演讲最糟糕的方式。（笑声）因为这张幻灯片可能会在上面挂二十分钟。我亲眼见过这种事。它浪费了屏幕空间。它浪费了一个告诉别人你是谁的机会。这简直就是——
54:51
What about this one?
那这张呢？
54:56
I often see it. I never see anybody write it down. Also, it wastes opportunity. Oh my God, even worse.
我经常见到这种。但我从没见谁把它抄下来。同样，它也浪费了机会。天哪，这个更糟。
55:14
All of these lines do nothing for you. They waste an opportunity for you to tell people-- to leave people with what you-- with who you are. Well, what about this? Is this a good one? It might seem so at first, but here's the problem.
这些字对你毫无帮助。它们浪费了一个机会——一个让你告诉别人、让别人最后记住你是谁的机会。那这个呢？这算好的吗？乍一看好像不错，但问题在这里。
55:38
If you say these are my conclusions, these are perfectly legitimate conclusions that nobody cares about. What they care about is what you have done. And that's why your final slide should have this label, contributions. It's a mirror of what I said over there about how job talks ought to be like a sandwich. And the final slide, the one that's up there while people are asking questions and filing out, it ought to be the one that has your contributions on it. Here's an example from my own stump speech.
如果你说“这些是我的结论”，这些结论完全站得住脚，可没人在乎。大家在乎的是你做了什么。所以你的最后一张幻灯片应该用这个标题：贡献。这跟我刚才在那边说的——求职演讲应该像个三明治——是相互呼应的。而最后那张幻灯片，就是在大家提问、陆续离场时一直留在屏幕上的那张，它应该是写着你的贡献的那一张。这里有个例子，出自我自己的常用演讲。
56:09
Yeah, this is what I talk about a lot. Yes, here are the things that I typically demonstrate.
是的，这是我经常讲的内容。是的，这些是我通常会演示的东西。
56:21
And I wait for people to read it. And the final element there is this is what we get out of it, so that's an example of a contribution slide. All right, now, what about the other part? You got your final slide up there. It's a contribution slide. Somehow you have to tell people you're finished. So let's see it, check out a few possibilities. One thing you could do in the final words is you could tell a joke.
然后我会等着大家把它读完。而最后一项是：这是我们从中得到的收获，这就是一张贡献幻灯片的例子。好，那么另一部分呢？你已经把最后一张幻灯片放上去了。那是一张贡献幻灯片。可你总得用某种方式告诉大家你讲完了。那我们就来看看几种可能的做法。收尾时你可以做的一件事，就是讲个笑话。
56:59
It's OK. By the time you're done, people have adjusted themselves to your voice parameters. They're ready for a joke. I was sitting in another bar, this time in Austin, Texas with a colleague of mine named Doug Lenat. And Doug's a fantastic speaker. And so I said to Doug, Doug, you're a fantastic speaker, what's your secret? And he said, oh, I always finish with a joke, and that way, people think they've had fun the whole time. [LAUGHTER] So yeah, a joke will work down there. How about this one?
这没问题。等你讲到最后，大家已经适应了你的音调和语速。他们准备好听笑话了。有一次我又坐在一间酒吧里，这回是在德州奥斯汀，和我的一位同事道格·勒纳特（Doug Lenat）在一起。道格是个极出色的演讲者。于是我对道格说：道格，你是个极出色的演讲者，你的秘诀是什么？他说：哦，我总是用一个笑话收尾，这样大家就会觉得自己全程都很开心。（笑声）所以是的，在结尾讲个笑话是管用的。这个怎么样？
57:50
Thank you. I don't recommend it. It's a weak move. You will not go to hell if you conclude your talk by saying thank you, but it's a weak move, and here's why. When you say thank you, even worse, thank you for listening, it suggests that everybody has stayed that long out of politeness and that they had a profound desire to be somewhere else. But they're so polite, they stuck it out. And that's what you're thanking them for. So once wild applause has started, you can mouth a thank you, and there's nothing wrong with that.
谢谢。我不推荐这么做。这是个软弱的收尾。如果你用「谢谢」来结束演讲，你不会下地狱，但这是个软弱的收尾，原因如下。当你说「谢谢」，更糟的是说「谢谢大家听我讲」，这暗示大家留到最后都是出于礼貌，暗示他们其实心里巴不得去别的地方。但他们太有礼貌了，所以硬撑着听完了。而你正是在为这个感谢他们。所以，一旦热烈的掌声响起来了，你可以用口型说声谢谢，这没什么不妥。
58:25
But the last thing you do should not be saying thank you. Now, you say to me, well, doesn't everybody say thank you? Well, what everybody does is not necessarily the right thing. And I like to illustrate how some talks can end without saying thank you. I like to draw from political speeches, but the ones that I've heard recently aren't so good, so-- [LAUGHTER] So I'm going to have to go go back a little bit. So here is Governor Christie. He gave the Republican keynote address one year. This is the end of his talk.
但你最后做的那件事，不应该是说谢谢。这时你会问我，可是不是每个人都说谢谢吗？嗯，大家都做的事，未必就是对的事。我想举几个例子，说明有些演讲可以不用「谢谢」来收尾。我喜欢从政治演说里取材，但我最近听到的那些都不怎么样，所以——（笑声）所以我得往回追溯一点。这位是克里斯蒂州长。有一年他做了共和党大会的主旨演讲。这是他演讲的结尾。
59:05
Let's see what he does. [APPLAUSE] CHRIS CHRISTIE: And together, everybody, together. We will stand up once again for American greatness for our children and grandchildren. God bless you, and God bless America. [APPLAUSE] PATRICK WINSTON: So that's a classic benediction ending. God bless you, God bless America. Now, I don't want to be partisan about this. So I think I'd better switch to the keynote address in the Democratic Convention. It was delivered that year by Bill Clinton, who knows something about how to speak.
我们来看看他是怎么做的。（掌声）克里斯·克里斯蒂：让我们团结一致，各位，团结一致。我们将再一次为美国的伟大挺身而出，为了我们的子孙后代。上帝保佑你们，上帝保佑美国。（掌声）帕特里克·温斯顿：这就是经典的祝祷式结尾。上帝保佑你们，上帝保佑美国。当然，我不想在这件事上偏袒某一党派。所以我想我最好换成民主党大会上的主旨演讲。那一年是由比尔·克林顿发表的，他对怎么演讲还是很有一套的。
59:45
[APPLAUSE] BILL CLINTON: If that is what you want, if that is what you believe, you must vote, and you must re-elect President Barack Obama. God bless you, and God bless America. [APPLAUSE] [LAUGHTER]
（掌声）比尔·克林顿：如果这就是你们想要的，如果这就是你们所相信的，你们就必须去投票，你们就必须让巴拉克·奥巴马总统连任。上帝保佑你们，上帝保佑美国。（掌声）（笑声）
60:09
PATRICK WINSTON: Now, watch this. Let's go back a little bit and redo it. What I want you to see is that at one point, he seems to be almost pressing his lips together, forcing himself not to say thank you. Then there's another place where he does a little salute. So watch for those this time around. [APPLAUSE] BILL CLINTON: If that is what you want, if that is what you believe, you must vote, and you must re-elect President Barack Obama. God bless you., and God bless America. [APPLAUSE] PATRICK WINSTON: That's where he's pursing his lips.
帕特里克·温斯顿：现在，看好了。我们往回倒一点，再放一遍。我想让你们注意的是，有那么一瞬间，他好像在抿紧嘴唇，强忍着不说出「谢谢」。然后另有一处，他做了个小小的致意动作。所以这一遍留意这两点。（掌声）比尔·克林顿：如果这就是你们想要的，如果这就是你们所相信的，你们就必须去投票，你们就必须让巴拉克·奥巴马总统连任。上帝保佑你们，上帝保佑美国。（掌声）帕特里克·温斯顿：就是这儿，他在抿嘴唇。
60:42
[LAUGHTER] There's the salute. [LAUGHTER] Yeah, I think that's pretty good. Now, what are we gonna take away from this? Well, I suppose I could conclude this talk by saying God bless you, and God bless the Massachusetts Institute of Technology, but it might not work so well. But what you can get out of this is you don't have to say thank you. There are other things you can do. And it's interesting that over time, people figure this out, and there's some stock ways of ending things. So in the Catholic church, and the good old Latin mass, it ended with ite missa est, which translates approximately to OK, the mass is over, you can go home now.
（笑声）这就是那个致意动作。（笑声）是啊，我觉得这挺不错的。那么，我们能从中学到什么呢？嗯，我想我也可以这样结束今天这场演讲：上帝保佑你们，上帝保佑麻省理工学院——但这效果恐怕不会太好。不过你们能从中得到的启发是：你不非得说「谢谢」不可。还有别的办法可用。有意思的是，随着时间推移，人们都琢磨出了这一点，于是就有了一些固定的收尾方式。比如在天主教会，在那个古老的拉丁弥撒里，结尾是「ite missa est」，大致可以翻译成：好了，弥撒结束了，你们可以回家了。
61:32
[LAUGHTER] And of course, at musical concerts, you know that it's time to clap not at the end of the song, but rather when the conductor goes over and shakes hands with the concert master. Those are conventions that tell you that the event is over. So those are all possibilities for here. But one more possibility, and that is that you can salute the audience. And by that, I mean, you can say something about how much you value your time at a place. So I could say, well, it's been great fun being here.
（笑声）当然，在音乐会上，你知道该鼓掌的时机不是一曲终了的时候，而是指挥走过去和首席小提琴握手的时候。这些都是约定俗成的信号，告诉你活动结束了。所以这些在这里也都是可选项。但还有一种可能，那就是你可以向听众致敬。我的意思是，你可以说说自己有多珍视在这个地方度过的时光。比如我可以说，来这儿真的非常愉快。
62:20
It's been fascinating to see what you folks are doing here at MIT. I've been much stimulated and provoked by the kinds of questions you've been asking, it's been really great. And I look forward to coming back on many occasions in the future. So that salutes the audience. You can do that. Well, there it is. You know what? I'm glad you're here. And the reason is by being here, I think you have demonstrated an understanding that how you present and how you package your ideas is an important thing. And I salute you for that.
看到你们在麻省理工做的这些事，真是让人着迷。你们提的那些问题让我深受启发、深受触动，这真的太棒了。我期待今后能有很多机会再回到这里。这就是在向听众致敬。你可以这么做。好了，就是这样。你们知道吗？我很高兴你们来了。原因在于，你们来到这里，就说明你们已经明白了一件事：你如何表达、如何包装自己的想法，是一件很重要的事。为此我向你们致敬。
62:58
[LAUGHTER] And I suggest that you come back again and bring your friends. [APPLAUSE]
（笑声）我建议你们下次再来，还把朋友一起带来。（掌声）
视频总结 · 一句话概括与核心要点
一句话概括
MIT 教授 Patrick Winston 提出"成功 = 说 > 写 > 想法质量"，并论证演讲能力主要靠知识和练习（天赋权重极小），随后系统给出从开场、工具、职位报告到收尾的一整套可操作启发式技巧。
核心要点
- 沟通能力由公式 K·P·T 决定，天赋 T 权重极小：Winston 以在 Sun Valley 滑雪胜过奥运体操冠军 Mary Lou Retton 为例——他有知识（K）和练习（P），她只有天赋（T）。因此学会一套技巧即可超越"有天赋"的人，本讲的承诺是其中至少一条会"帮你拿到工作"。
- 开场不要讲笑话，要给"赋能承诺"：开头听众还在收电脑、适应你的语速，笑话会冷场；应告诉他们"60 分钟后你将知道什么现在不知道的东西"。相反，笑话适合放在结尾——Doug Lenat 的秘诀是"以笑话收尾，人们会觉得全程都很有趣"。
- 禁用笔记本电脑的理由是人只有一个语言处理器：读邮件与听讲互斥，且会分散周围人的注意力，还会干扰讲者发挥。同一原理也解释了幻灯片字太多的危害：一名学生的实验（对象为其兄弟会的新生）表明，字多时受试者记住的是幻灯片上的内容而非讲者说的，甚至有人反馈"希望你少说点话，太分散注意力"。
- 四条常驻启发式：循环、筑篱、口头标点、提问：任一时刻约 20% 的听众处于走神状态，所以核心观点要讲三遍；用"我的算法与 Jones 的相似，但他的是指数级、我的是线性"这类对比给自己的想法筑篱；用列举编号制造"接缝"让走神者重新上车；提问后可等待最多 7 秒（他实测的标准停顿时长），问题难度需适中。
- 时间与场地：上午 11 点、灯光全开、提前踩点、上座率过半：11 点大家已醒且未再入睡、非饭后；灯暗会触发人的睡眠信号，"隔着闭上的眼皮很难看清幻灯片"；像抢银行一样提前"踩点"场地；他到场后先想象座位坐满"漠不关心的农场动物"以降低心理预期；空荡的大厅会让人怀疑"外面发生了什么更有意思的事"。
- 教学用黑板和道具，展示用幻灯片；解释机制是"共情镜像"：黑板具备图形性、书写速度≈听众吸收速度、以及可作为"手的目标"（手插兜或背在身后在某些文化中是冒犯，源于疑似藏武器）。Papert 不停指黑板虽与内容无关仍有效。道具案例：Ibsen《海达·高布乐》里的火炉与手稿、用胶带聚焦自行车轮局部来直观解出进动方向（机械工程师用右手螺旋法则只有约 50% 正确率）、Lazarus 的钢球摆锤"亲吻鼻子"演示能量守恒。学生调查一贯说"多用粉笔、少用 PPT"，Winston 认为原因是镜像神经元让听众"感觉自己在写、在推球"。
- 幻灯片的"罪行"清单：字太多、页数太多（"永远如此"）、背景杂物、logo、标题、项目符号、字号过小（建议 40–50 磅，35 已偏小，因为它诱使你塞太多字）、讲者离屏幕太远造成"网球赛"式视线切换、激光笔（转头指向屏幕即失去眼神接触，"我们全走了他也不知道"——改用页面上的箭头编号）、整体"太重"（打印平铺检查留白与图像比例）。"hapax legomenon"式复杂图（如阿富汗治理图）全篇只能用一次。他展示的真实反例：第 80 页幻灯片写着"这是 10 张结论页中的第一张"，赞助人在看邮件、联合赞助人在看午餐菜单。
- 激励学生的三要素与"教人思考"的答案：调查显示新生因高中老师说"你能行"而受激励，资深教授因有人帮他们"用新方式看问题"而受激励，所有人都因讲者展现出的热情而受激励。示例：地图着色问题从"太阳爆炸前都算不完"到微调后几秒解出。至于"如何教人思考"，Winston 主张人是讲故事的动物：提供需要知道的故事、该问的问题、分析与组合故事的机制、评估故事可靠性的方法。
- 口试与职位报告：5 分钟内必须展示"愿景"与"做过事"：口试失败最常见原因是未能"situate"（把研究放进世界语境）与未有效练习——不要找同办公室的人或导师试讲，他们会"幻觉出"你并未讲到的内容；应找不了解你工作的朋友，并说"把我说哭才算朋友"。评委越年长越温和，年轻人更"隐性狠"。海军科学委员会同事 Delores Etter 与 Bill Weldon 认为候选人需展示愿景（别人在乎的问题 + 新方法）和已有成果，且只有 5 分钟。结构为"三明治"：开头列愿景与实现步骤，结尾以"贡献"页镜像回应。
- 让工作被记住的"Winston 之星"：五个 S：Symbol（象征，如拱门）、Slogan（口号，如 one-shot learning）、Surprise（惊奇：一个例子就能学到确定的东西，不需百万样本）、Salient idea（凸出的单一想法，如 near miss；想法太多反而不知主题）、Story（讲清怎么做的、为何重要）。他的拱门学习论文正是无意间集齐五项才小有名气。动机来自 Julia Child 的话"你会习惯出名"——但"你永远不会习惯被忽视"，你的想法如同孩子，别让它们"衣衫褴褛地走向世界"。
结论与值得注意的细节
- 收尾的最后一页应是"贡献"而非"结论"、"谢谢"、"问题？"或长长的合作者名单：合作者放第一页；"结论"是"没人在乎的合法结论"，人们在乎的是你做了什么；贡献页会在提问和离场期间一直挂着，是最后的自我推介机会。
- 最后一句话别说"谢谢"：这暗示听众是出于礼貌硬撑到最后。可选做法：讲笑话；祝福式结尾（Christie、Clinton 的 "God bless America"——Clinton 甚至抿嘴克制不说 thank you，改用一个小敬礼）；沿用约定俗成的仪式（拉丁弥撒的 *ite missa est*、指挥与首席握手）；或"致敬听众"——表达来此的收获与期待再来。Winston 本人正是以致敬听众收尾："我很高兴你们在这里……带上朋友再来。"
- 口头承诺兑现：整场演讲本身就是示范——开场给出赋能承诺、中途用编号与提问让人"重新上车"、以道具（折断教鞭、钢球）制造记忆点，并以列出"贡献"与致敬收尾，与他所讲的原则一一对应。
核心句型 · 9
1. There ought to be a similar … for …, because …
“There ought to be a similar protection for students because students shouldn't go out into life without the ability to communicate”
用 ought to 提出「应当存在某种机制」的主张，再用 because 补理由。适合从一个类比（军法）引申到自己的论点，仿写时先给类比事实再过渡。
2. It's a matter of A, B, and C, and notice that … is very small.
“It's a matter of how much knowledge you have, how much you practice with that knowledge, and your inherent talent, and notice that the T is very small.”
「X 取决于 A、B、C」的公式化陈述，再用 notice that 引导读者关注其中一项的反差。适合讲解模型或配方时强调权重差异。
3. I don't recommend it, and the reason is that …
“I don't recommend it, and the reason is that, in the beginning of a talk, people are still putting their laptops away.”
先明确表态，再用 the reason is that 展开原因。语气坚定但不武断，适合给建议、反驳常见做法的场合。
4. It's extremely hard to V through/with …
“It's extremely hard to see slides through closed eyelids.”
用夸张的具体画面反驳对方理由，一句话完成幽默反击。仿写时选一个让对方论点显得荒谬的物理场景。
5. Not A, but B. / not so much A, but B
“Not on the last slide, on the first slide.”
先否定常见做法再给出正确做法，短句对比冲击力强。not so much … but … 用于修正措辞（不是「成名」，而是「被认可」）。
6. You will not go to hell if you …, but it's a weak move, and here's why.
“You will not go to hell if you conclude your talk by saying thank you, but it's a weak move, and here's why.”
先承认某做法无伤大雅，再降级评价并用 here's why 引出论证。适合温和批评惯例，避免显得绝对化。
7. By the time you're done, … They're ready for …
“By the time you're done, people have adjusted themselves to your voice parameters. They're ready for a joke.”
by the time + 完成时，描述某时刻已经发生的状态变化，再据此推出结论。用于解释时机为何合适。
8. What they care about is what you have done.
“What they care about is what you have done.”
双重 what 从句构成强调句，把焦点锁定在「做了什么」。仿写：What matters is what you can build.
9. It's amazing how … tend to be …
“It's amazing how props tend to be the things that are remembered.”
用 It's amazing how 引出一个规律性观察，tend to 表示倾向而非绝对。适合在讲完轶事后点出一般性结论。
生词精讲 · 116 · 按出现顺序
court martial
n.
0:19
军事法庭；军法审判
inherent
/ɪnˈhɪrənt/
adj.
1:01
固有的，与生俱来的
novice
/ˈnɑːvɪs/
n.
1:01
新手，初学者
opportune
/ˌɑːpərˈtuːn/
adj.
1:01
恰当的，时机合适的（opportune moment 良机）
armamentarium
/ˌɑːrməmenˈteriəm/
n.
1:48
（医生的）全套器械药物；引申为技能/资源库
heuristic
/hjʊˈrɪstɪk/
n.
1:48
启发式方法，经验法则
repertoire
/ˈrepərtwɑːr/
n.
2:43
全部技能/曲目；储备
rule of engagement
phr.
2:43
交战规则；引申为参与/互动的基本规矩
drives me nuts
phr.
3:27
让我抓狂
preamble
/ˈpriːæmbl/
n.
4:11
开场白，序言
fall flat
phr.
4:39
（笑话、计划）失败，没有效果，冷场
empowerment
/ɪmˈpaʊərmənt/
n.
4:39
赋能，赋权
fogged out
phr.
5:56
（口语）走神，脑子一片模糊
exponential
/ˌekspəˈnenʃl/
adj.
6:33
指数级的
get back on the bus
phr.
7:44
（比喻）重新跟上进度
landmark
/ˈlændmɑːrk/
n.
7:44
地标；标志性节点
enumerating
/ɪˈnuːməreɪtɪŋ/
v.
8:22
列举，逐一枚举
seam
/siːm/
n.
8:22
接缝；（比喻）分节处
on a roll
phr.
8:33
势头正好，连连顺利
dead air
n.
9:05
（广播/演讲中的）冷场，沉默空档
an eternity
/ɪˈtɜːrnəti/
n.
9:05
永恒；（夸张）漫长得难以忍受的时间
fatigued
/fəˈtiːɡd/
adj.
10:38
疲惫的
dimly lighted
phr.
11:09
光线昏暗的
eyelids
/ˈaɪlɪdz/
n.
11:09
眼皮，眼睑
cased
/keɪst/
v.
11:50
（俚语）踩点，事先勘察（case the joint）
colloquial
/kəˈloʊkwiəl/
adj.
11:50
口语的，通俗的
weirdnesses
/ˈwɪrdnəsɪz/
n.
11:50
古怪之处，异常情况
disinterested
/dɪsˈɪntrəstɪd/
adj.
12:29
此处指毫无兴趣的（规范用法为「无私的、公正的」）
packed
/pækt/
adj.
13:03
挤满的，爆满的
tools of the trade
phr.
13:38
行业工具，吃饭的家伙
exploit
/ɪkˈsplɔɪt/
v.
14:10
充分利用
flipping through
phr.
14:30
快速翻阅
convent
/ˈkɑːnvent/
n.
14:53
女修道院
refreshment
/rɪˈfreʃmənt/
n.
14:53
茶点，小吃饮料
concealing
/kənˈsiːlɪŋ/
v.
15:38
隐藏，隐瞒
virtue
/ˈvɜːrtʃuː/
n.
15:38
优点，长处
custodians
/kʌˈstoʊdiənz/
n.
16:49
看管人，守护者
playwrights
/ˈpleɪraɪts/
n.
16:49
剧作家
potbellied stove
n.
17:30
大肚火炉（老式铸铁取暖炉）
embers
/ˈembərz/
n.
17:30
余烬，未熄的炭火
artfully
/ˈɑːrtfəli/
adv.
17:30
巧妙地，精心地
all consuming
adj.
17:30
吞噬一切的
torque
/tɔːrk/
n.
18:58
力矩，扭矩
axle
/ˈæksl/
n.
18:58
轮轴
flipping a coin
phr.
18:58
抛硬币（比喻纯靠运气）
duct tape
n.
19:43
布基胶带，强力胶带
kinetic
/kɪˈnetɪk/
adj.
20:44
动能的，运动的
pendulum
/ˈpendʒələm/
n.
20:44
钟摆，摆锤
lunatic fringe
n.
22:24
极端边缘派；此处自嘲为「非主流疯狂观点」
empathetic mirroring
n.
22:24
共情式镜像（温斯顿自造术语）
mirror neurons
n.
22:24
镜像神经元
actuated
/ˈæktʃueɪtɪd/
v.
22:24
被激活，被驱动
miserable
/ˈmɪzərəbl/
adj.
24:20
糟糕透顶的，令人痛苦的
critiquing
/krɪˈtiːkɪŋ/
v.
25:04
评论，批评性点评
transparencies
/trænsˈpærənsiz/
n.
25:34
投影片（旧式投影仪用的透明胶片）
condiments
/ˈkɑːndɪmənts/
n.
26:12
调味品；（比喻）配菜、点缀
licensed
/ˈlaɪsnst/
adj.
26:12
被许可的；此处指「有资格说」
control group
n.
27:32
对照组
fraternity
/frəˈtɜːrnəti/
n.
27:32
（美国大学）兄弟会
after action report
n.
28:21
事后复盘报告（源于军事用语）
clutter
/ˈklʌtər/
n.
28:41
杂乱，凌乱的堆积物
legible
/ˈledʒəbl/
adj.
28:41
（字迹）清晰可读的
baton twirling
n.
29:19
指挥棒花式表演
epileptic fits
n.
30:14
癫痫发作
recursive
/rɪˈkɜːrsɪv/
adj.
30:14
递归的
white space
n.
31:48
留白，空白区域
imagery
/ˈɪmɪdʒəri/
n.
31:48
图像，意象
extraction
/ɪkˈstrækʃn/
n.
32:33
摘录，提取
drive that point home
phr.
33:10
把观点讲透，让人充分领会
hapax legomenon
/ˈhæpæks lɪˈɡɑːmənɑːn/
n.
33:10
孤例词（语料中仅出现一次的词）；此处指只能用一次的幻灯片
got some currency
phr.
33:10
流传开来，一度流行
corridor
/ˈkɔːrɪdɔːr/
n.
33:55
走廊
torture implements
n.
34:45
刑具
gloomy
/ˈɡluːmi/
adj.
34:45
阴暗的，阴沉的
informing
/ɪnˈfɔːrmɪŋ/
n.
36:10
传授信息，教学（与 exposing 展示相对）
advisees
/ədˌvaɪˈziːz/
n.
37:06
被指导的学生
resource allocation
n.
38:39
资源分配
bordering
/ˈbɔːrdərɪŋ/
adj.
38:39
接壤的，相邻的
blank stare
n.
39:49
茫然的目光
storytelling animals
n.
40:29
讲故事的动物（温斯顿对人类的定义）
situate
/ˈsɪtʃueɪt/
v.
42:04
置于情境中；交代背景脉络
hallucinate
/həˈluːsɪneɪt/
v.
42:43
产生幻觉；此处指脑补出不存在的内容
debug a talk
phr.
42:43
（借用编程术语）给演讲排错、改进
flak
/flæk/
n.
43:27
猛烈批评，责难（原指高射炮火）
subtly vicious
phr.
43:27
暗中凶狠的，不露声色地刻薄
examining committee
n.
43:27
（论文/口试）考核委员会
so jealous I could spit
phr.
44:02
嫉妒得要命（口语夸张）
rail guns
n.
44:02
电磁轨道炮
tank armor
n.
44:02
坦克装甲
stump speech
n.
46:46
（政客反复使用的）标准演讲；此处指常用开场演说
symbolic creatures
n.
46:46
符号性生物
constraints
/kənˈstreɪnts/
n.
47:23
约束条件
as the evening wore on
phr.
49:08
随着夜色渐深（wear on 缓慢流逝）
autograph
/ˈɔːtəɡræf/
v.
49:08
签名
in rags
phr.
49:47
衣衫褴褛
legitimate
/lɪˈdʒɪtɪmət/
adj.
49:47
正当的，合理的
articulate
/ɑːrˈtɪkjuleɪt/
v.
49:47
清晰表达，阐述
a handle on
phr.
51:05
抓手，把握某事的途径
salient
/ˈseɪliənt/
adj.
52:13
突出的，显著的
sticks out
phr.
52:13
凸显，引人注意
near miss
n.
52:39
差一点的反例；险些命中
let down
n.
53:42
失望，扫兴
squanders
/ˈskwɑːndərz/
v.
54:21
浪费，挥霍
real estate
n.
54:21
房地产；此处指屏幕空间
voice parameters
n.
56:59
嗓音特征（音调、语速等）
stuck it out
phr.
57:50
硬撑到底，坚持到最后
wild applause
n.
57:50
热烈的掌声
mouth
/maʊð/
v.
57:50
用口型无声地说
keynote address
n.
58:25
主旨演讲
benediction
/ˌbenɪˈdɪkʃn/
n.
59:05
祝祷，祝福（宗教仪式结尾）
partisan
/ˈpɑːrtəzn/
adj.
59:05
党派性的，偏袒一方的
pursing his lips
phr.
60:09
抿紧嘴唇
stock ways
n.
60:42
惯用的、套路化的方式
concert master
n.
61:32
乐团首席（第一小提琴手）
conventions
/kənˈvenʃnz/
n.
61:32
惯例，约定俗成的做法
provoked
/prəˈvoʊkt/
v.
62:20
激发（思考），触动
理解自测 · 11 题 · 是真懂了，还是以为自己懂
1. 温斯顿提出的沟通质量公式包含哪三个变量？他用什么例子说明其中权重差异？
公式是沟通质量取决于知识（K）、练习（P）和天赋（T），且 T 极小。温斯顿在讲座开头（第 1–2 段）讲了在太阳谷滑雪遇到奥运体操冠军玛丽·卢·雷顿的经历：她在新手道上频频失衡，而温斯顿这个普通人滑得比她好得多，因为他有 K 和 P，而她只有 T。由此他得出：拥有足够的知识可以超过天赋异禀者，这也是整场讲座「演讲可学」的前提。
2. 温斯顿为什么禁止听众在讲座中使用笔记本电脑和手机？
他给出三重理由（第 4 段）：第一，人类只有一个语言处理器，浏览网页或看邮件会占用它，导致听不进讲座；第二，研究表明开着电脑会干扰周围的人；第三，讲者看到开着的电脑会心烦，讲得更差，从而让认真听讲的人得不到应有的讲演水准。这个「单一语言处理器」模型后来（第 49 段）又被用来解释幻灯片文字过多的害处。
3. 「温斯顿之星」的五个要素分别是什么？他用自己哪项工作作为例子？
五个要素都以 S 开头：Symbol（符号）、Slogan（口号）、Surprise（惊喜）、Salient idea（突出想法）、Story（故事）。例子是他多年前博士论文中的拱门学习工作（第 84–89 段）：符号是拱门本身；口号是 one-shot learning；惊喜是不需要一百万个例子、一个例子就能学到确定的东西；突出想法是 near miss（差一点的反例）；最后还要讲清楚怎么做的、怎么运作、为什么重要。他坦言这项工作出名是碰巧具备了全部要素，多年后才反推出规律。
4. 关于幻灯片，温斯顿列举了哪些「罪状」？他分别给出什么修正办法？
他在第 46–57 段列举：字太多（照读、每页文字过多）、讲者离屏幕太远造成「网球赛效应」、背景杂物和 logo、字号太小（建议 40–50 磅，35 已偏小）、激光笔（迫使讲者背对听众失去眼神接触）、以及整体「太满」。修正办法包括：去背景、去文字、去 logo、去标题，让幻灯片成为讲话的配菜；用预置编号箭头替代激光笔；把所有幻灯片打印平铺在桌上检查文字密度和留白。
5. 温斯顿为什么主张黑板适合教学而幻灯片只适合展示？他的论证分几层？
论证分三层（第 24–30 段）加一个假说（第 41 段）。第一，图形性：黑板便于随手画图；第二，速度：手写速度大致等于听众吸收速度，而翻页速度超出吸收能力；第三，黑板是手的「指向目标」，解决新手不知手往哪放的问题，并避免插兜或背手在某些文化中的失礼。此外他提出「共情式镜像」假说：观众看讲者写字、摆弄道具时镜像神经元被激活，仿佛亲身参与，而幻灯片和图片做不到。他也承认这是「边缘观点」，速度因素需另行分离。
6. 求职演讲为什么必须在五分钟内完成两件事？这两件事具体如何表达？
依据是第 74–77 段海军科学委员会两位资深评委的即时回答：候选人必须展示「愿景」和「做成了事」，而给出的时间只有五分钟——超过五分钟仍未表达，就已经失败。愿景的表达方式是「一个有人在乎的问题 + 你方法中的新东西」，温斯顿以自己「人类是符号动物、能讲故事」的例行演说为例。「做成了事」的表达方式是列举解决问题所需的步骤（不必全部完成），结尾再以「贡献」列表与之镜像呼应，形成三明治结构。
7. 温斯顿为什么说导师和同实验室的人不适合帮你排练口试？这个理由说明了什么一般原理？
第 72 段指出：了解你工作的人会「幻觉」出演讲里并不存在的内容，因为他们用已有知识自动补全了缺口，所以发现不了真正的漏洞。这说明排练的目的是模拟不了解你的评委，因此应找不知道你研究的朋友，并要求他们毫不留情。一般原理是：反馈的价值取决于反馈者与目标受众的知识状态是否一致；知情者的反馈会系统性地偏乐观。这与他关于「合作者名单放开头」的建议一样，都在提醒讲者从听众而非自己的视角审视演讲。
8. 温斯顿关于「如何激励学生」的调查得出了什么结论？这与他对「教人思考」的理解有何关系？
第 63–65 段的调查发现：新生被「你能行」的高中老师激励，资深教授被「帮他换一种方式看问题」的人激励，而所有人都被讲者对所做之事的热情激励，因此热情是跨层级的共同因子。随后在第 68–69 段他回答「如何教人思考」：人是讲故事的动物，从童话到法学院、医学院都在训练故事的理解与操作，所以教思考就是提供故事、提问方法、分析机制与可靠性评估。两者的关系在于：激励解决动机问题，故事解决方法问题，热情本身也是通过讲者的故事传递的。
9. 温斯顿反对用「谢谢」结尾的推理是什么？他推荐的替代方案有哪些？
第 101 段的推理：说「谢谢」尤其是「谢谢大家听我讲」，暗示听众是出于礼貌才硬撑到最后、其实想去别的地方，等于讲者主动贬低了自己的演讲。替代方案包括：讲一个笑话（勒纳特的秘诀，让人觉得全程都开心）；祝祷式结尾（克里斯蒂和克林顿的 God bless America）；借鉴各领域的约定结束信号（拉丁弥撒的 ite missa est、音乐会指挥与首席握手）；以及向听众致敬，表达珍视在此的时光。掌声响起后用口型说谢谢无妨，但不该让它成为最后的话。
10. 如果有人反驳说「现代深度学习靠海量数据成功了，说明 one-shot learning 的惊喜早已过时」，温斯顿会如何回应？
从讲座立场推断，温斯顿会分两层回应。第一，在演讲技巧层面，「惊喜」的价值在于让工作被记住，与该方法是否成为主流无关——他明确说这颗星讲的是「如何确保工作被认可」而非方法正确性。第二，在研究立场上，他在第 78 段表明人类是符号动物，能从一个例子建立符号描述并串成故事，这正是人与黑猩猩的区别；海量数据的统计归纳没有解释这种能力，反而凸显了 one-shot 仍是未解决的核心问题。他可能会补充：越是与主流对照鲜明的惊喜，越符合「围篱笆」原则，越容易被记住。
11. 温斯顿的建议（黑板、道具、全亮灯、半满场地）放到线上视频会议或录播课的情境还成立吗？哪些原则可迁移、哪些需要修改？
底层原则可迁移，具体做法需改。可迁移的是：单一语言处理器（屏幕上文字与讲话仍在争夺注意力，所以幻灯片仍应少字）、速度匹配（讲解速度应等于吸收速度，可用手写板或逐步呈现模拟黑板节奏）、言语标点与循环（线上走神率更高，接缝和重复更必要）、开头赋能承诺与结尾贡献页。需要修改的是：共情式镜像依赖物理在场，线上只能部分通过摄像头展示实物道具来弥补；「手的去处」和眼神接触变成对着镜头的问题，激光笔的转身问题消失但被「看第二屏幕」取代；场地上座率、灯光的说法则要转化为画面明亮度与互动人数的经营。核心结论是：温斯顿的规则多数源自对注意力机制的观察，凡是基于注意力的原则在新媒介中依然成立。
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