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Kids vocabulary compilation – Words Theme collection|English educational video for kids

Translator: Ingrid Lezar Reviewer: Christo Crafford Good morning. How are you? (Laughter) That's fantastic so far, right? The whole thing stunned me. Actually, I'm on my way. (Laughter) There have been three themes so far, through the conference, which relates to my talk. One is the incredible evidence of human creativity in all the offers and in all the people here. Just the sheer variety and scope of it. Secondly, we are in a place where we have no idea what's going to happen, with respect to the future. No idea how things might go. I have an interest in education. In fact, we all have an interest in education. Do not you? It's very interesting. If you're at a dinner party, and you say you work in education – actually, in fact, you are not regular at meals. (Laughter) If you work in education, you are not invited. (Laughter) And you're never invited back, funny enough. It's strange to me. But if you are, and someone asks: "What do you do for a living?" and you say you work in education, you see how they fade. They're like, "Aggenee, why me?" (Laughter) "My one night out this whole week." (Laughter) But when you ask someone about their upbringing, they push you into a corner. Because it's one of those things that people care about, am I right? Like faith, and money and other things. I have a great interest in education and I think we all have – a great personal interest – partly because this is education what we must take in this incomprehensible future. Just think, kids starting school this year retires in 2065. Nobody has an idea – despite all the knowledge displayed here over the last four days – what the world is going to look like in five years. And yet we must educate them for it. So the unpredictability is incredible. And the third part is that we all agreed nonetheless about the truly extraordinary capacities that children have – their capacities for innovation. Sirena last night was incredible. Just to see what she can do. And she's exceptional, but I do not think she's not exceptional in the whole of being a child. She is an extraordinarily dedicated person who found a talent. I argue that all children have tremendous talents. And we waste it, quite relentlessly. So I want to talk about education and I want to talk about creativity. Creativity is now just as important as literacy in education and we must grant it the same status. (Applause) Thank you. (Applause) That was it, by the way. Thank you very much. (Laughter) So, another 15 minutes. (Laughter) Well, I was born … no. (Laughter) I recently heard a story – I like to tell it – of a little girl in a drawing class. She was six, at the back of the class, drawing, and the teacher said that child almost never paid attention, but in that drawing class she has. The teacher was fascinated. She went to ask her, "What are you drawing?" The child then said, "I am drawing a picture of God." And the teacher said, "But no one knows what God looks like." And the little girl said, "They will." (Laughter) When my son was four in England – in fact, he was honestly four everywhere. (Laughter) Strictly speaking, wherever he went, he was four that year. He was in the Christmas game. Do you remember the story? (Laughter) It was a big one. Mel Gibson did the follow-up. (Laughter) "Christmas Game II." James was Joseph; we were in our prime. One of the main roles! We had agents with T-shirts: "James Robinson IS Joseph!" (Laughter) He did not have to say anything, but you know, when the three wise men come in? They bring gold, frankincense and myrrh. It really happened. I think they just went out of their way, because we later asked the boy: "Were you OK with that?" And he said, "Yes. Was that wrong then?" They did not exchange. The three boys come in – four-year-olds with barrel cloths around their heads – and they put down the boxes, and the first one says, "I bring you gold." The second one says, "I bring you myrrh." And the third one says, "Frank sends this." (Laughter) (Laughter) All this to say: kids will take a chance. If they do not know, they will try. Not true? They're not afraid to be wrong. I do not mean that being wrong and being creative are the same thing. But if you are not willing to be wrong, will you never invent something original – if you are not willing to be wrong. By the time they grow up, most children have lost that capacity. They become afraid of being wrong. And we run our companies that way. We stigmatize mistakes. And now we operate national education systems where mistakes are the worst thing one can do. And the result is that educate our people from their creative capacities. Picasso said all children are born artists. The problem is to stay one as we grow up. I firmly believe: We do not grow in creativity, we grow out of it. Or we are educated from it. So why is this so? I lived on Stratford-upon-Avon until five years ago. We moved from Stratford to Los Angeles. So you can imagine what a soapy transition it was. (Laughter) Actually, we lived in Snitterfield, just outside Stratford, and that's where Shakespeare's father was born. Are you struck by a new thought? I am. One does not think of Shakespeare as someone with a father. Because one does not think of Shakespeare as a child. Shakespeare at seven? Never. He was on a spot seven after all. In someone's English class. (Laughter) How annoying should it not be? (Laughter) "Must try harder." (Laughter) Sent to bed by his father, "Climb into bed, now! "One puts down that pencil." (Laughter) "And stop talking like that." (Laughter) "It confuses everyone." (Laughter) Anyway, we're moving from Statford to Los Angeles, and I just want to say something about the transition. My son did not want to come. I have two children. He's now 21; my daughter is 16. He did not want to come to Los Angeles. He loved it, but he had a girlfriend in England. The love of his life, Sarah. He had known her for a month. (Laughter) But they celebrated all four anniversaries, because it's a long time at 16. He was upset on the run, he said, "I will never get a girl like Sarah again." We were quite made up about it, in fact – (Laughter) She was the main reason why we left the country. (Laughter) But something strikes you when you move to America and travel around the world: Every education system on earth has the same hierarchy of subjects. Every one. You would think it's different, but no. At the very top are math and languages, then philosophy, and at the very bottom are the arts. Everywhere on earth. And in more or less every system there is also a hierarchy within the arts Art and music usually get a higher status in schools as drama and dance. There is no education system who teaches dance to children every day as we teach them mathematics. Why? Why not? I think it's quite important. Math is important, but dance is too. Kids dance a lot when they can, we all do. We all have bodies, right? Did I miss a meeting? (Laughter) What really happened, as children grow up, we gradually begin to educate them from the waist upwards. And then we focus on their heads. And slightly to one side. If you were to visit education, as an alien, and says, "What is public education for?" should you have to deduce – if you look at the output, who achieves success through this, who does everything they have to, who gets all the "brownie points", who are the winners – would you have to conclude that the whole purpose of public education around the world is to produce university professors. Or how? They're the people who come out on top. And I was one, so take so. (Laughter) And I love them, but you know, we should not have them as the highlight of all performance. They're just a form of life, another form of life. But they're pretty weird, and I say that out of affection. There's something strange about them in my experience – not all, but typically, they live in their heads. They live up there, and slightly to one side. They've disembodied, you know, in a kind of literal way. They see their bodies as a means of transportation for their heads. (Laughter) Or how? It's a way to get their heads around meetings. (Laughter) If you are looking for true evidence of out-of-body experiences, attend a residential conference of senior academics, and make a turn at the sock on the last night. (Laughter) And there you will see it. Mature men and women writhing rhythmically. (Laughter) Awaiting the end to write an article about it at home. (Laughter) Our education system is based on the idea of ​​academic proficiency. And there's a reason for that. There were no public education systems around the world before the 19th century. They all had to meet the needs of industrialism. The hierarchy is rooted in two ideas. One, that the most useful subjects for work are at the very top. So at school you're probably kind of sent away things you liked, on the basis that you would never get a job through it. No? Not music, you will not become a musician; not art, you will not become an artist. Favorable advice – now, extremely wrong. The whole world was engulfed in a revolution. And the second is academic proficiency, which overshadows our idea of ​​intelligence, because the universities designed the system to their own image. The whole system around the world is a protracted process of university admission. And the result is that many extremely talented, brilliant, creative people think they are not, because that's what they were good at in school not appreciated, or even stigmatized. And we can not afford to continue like that. In the next 30 years, according to UNESCO, will graduate more people worldwide through education as since the beginning of history. And it's the combination of all our themes – technology and how it has transformed work, and demographics and the massive population explosion. Suddenly degrees are worth nothing. Not true? When I was a student, you had a job with a degree. If you did not have a job, you did not want one. And I did not want one, in fact. (Laughter) But these days, children with grades regularly on the way home to continue playing TV games, because you need an MA where a BA was previously sufficient, and a PhD for the next one. It's a process of academic inflation. The whole structure of education is moving among us. We need to review our view of intelligence. We know three things. One, it's diverse. We think about the world in all the ways we experience it. We think visually, we think in sound, we think kinetically. We think in abstract terms, we think in motion. Second, intelligence is dynamic. Look at the interactions of a human brain: as we heard yesterday during quite a few presentations, intelligence is wonderfully interactive. The brain is not divided into compartments. In fact, creativity is – which I define as the process of having original ideas with value – usually something that happens through the interaction of different ways of seeing things. There is a nerve bundle that connects the two halves of the brain: the corpus callosum. It's thicker in women. To join Helen yesterday: That's probably why women are better at multi-tasking. Because you are, right? There's a lot of research, but I'm experiencing it personally. If my wife cooks something at home – not often, thank you. (Laughter) No, she has talents – but when she cooks, handles his phone calls, she talks to the children, she paints the ceiling. She's doing an open heart surgery here. When I cook, the door is closed, the children are out, the phone is on target, when she comes in I get irritated. I say, "Terry, please, I'm trying to bake an egg here." (Laughter) "Give me a chance." (Laughter) Do you know that old philosophical thing, if a tree falls in the forest and no one hears it, did it happen? Do you remember that old saying? I recently saw a good T-shirt: "If a man speaks in a forest, and no woman hears him, is he still wrong? " (Laughter) And the third thing about intelligence is, it's specific. I am currently writing a new book – "Epiphany" – based on a series of interviews with people about how they discovered their talent. It's fascinating how people got out there. It's spurred on by a conversation with a wonderful woman which many people do not know, Gillian Lynne. Already heard? Some have. She's a choreographer; everyone knows her work. She did "Cats" and "Phantom of the Opera". She's wonderful. I was previously a member of the Royal Ballet, as you can see. I asked her one day: "Gillian, how did you become a dancer?" It was interesting. When she was in school, she was really hopeless. And the school, in its 30s, wrote to her parents: "We think Gillian has a learning problem." She could not concentrate, she fidgeted. I think these days they would say she's AGHS. Wouldn't you too? But it was the 1930s, and attention-grabbing was not yet an available ailment. (Laughter) People were not aware they could suffer from it. (Laughter) Anyway, she's going to see a specialist then. So she's in an oak panel room with her mother and she sat down on the edge of a chair, on her hands for 20 minutes while the man talks to her mother about all the problems Gillian has at school. For she disrupts others; homework always late; etc. – small child of eight. In the end, the doctor sat down next to Gillian and said, "Gillian, I'm listening to everything your mother told me now, now I have to talk to her privately. "Wait here, we're back soon." And they left her there. But as they went out, he turned on the radio on his desk. And when they were out, he said to her mother, "Just watch her." And the moment they're out, she was on her feet, moving to the beat of the music. They looked for a few minutes and then he said to her mother: "Mrs. Lynne, Gillian is not sick; she's a dancer. "Take her to a dance school." I ask, "And then?" "She has. I can not tell you how wonderful it was. "We walked into a room and it was full of people like me. "People who could not sit still. "People who had to move to think." They did ballet, and tap, jazz and modern and contemporary dance. She auditioned for the Royal Ballet; become a soloist; had a wonderful career there. She graduated from the Royal Ballet School, founded the Gillian Lynne Dance Company, and Andrew Lloyd Weber. She's responsible for some of the most successful musical theater productions ever, she's already given millions of pleasures, and she's a multi-millionaire. Someone else may have put her on medication and told her to calm down. (Applause) What this means is: Al Gore spoke the other night on ecology and the revolution unleashed by Rachel Carson. I believe our only hope for the future is to adopt a new idea of ​​human ecology, one in which we begin our concept of human capacity's wealth review. Our education system has mined our brains as we harvest the earth: for a specific commodity. And for the future, it will not serve us. We need the fundamental principles reconsidering how we educate our children. Jonas Salk said: "If all the insects were to disappear from the earth, would all life on earth become extinct within 50 years. "If all the people were to disappear from the earth, all forms of life would flourish within 50 years. " And he's right. What TED celebrates is the treasure of the human imagination. We must be careful now that we use it wisely and that we avoid the scenarios we talked about. And the only way is to see our creative capacities for the wealth they are and to see our children for the hope that they are. Our mission is to educate their whole being, to be able to face this future. We may not see this future, but they will. And our duty is to help them make something of it. Thank you very much. (Applause)