Exploring the Secrets of Human Creativity
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<context>探索人类创造力的秘密 创造力在我们生活的方方面面都扮演着角色，从儿童教育到日常问题解决，再到我们欣赏的艺术作品和塑造我们未来的创新。我们探讨了人类创造力是什么，它是如何运作的，以及它以一些意想不到的方式重塑我们世界的部分内容。</context> <raw_text>0 《脉搏》节目的主要资金由萨瑟兰家族的领导力捐赠提供。萨瑟兰家族支持WHYY及其致力于制作改善我们生活质量的节目的承诺。这是《脉搏》，关于健康和科学核心人物和地方的故事。我是梅肯·斯科特。

萨姆·贝克是一位成功的民谣音乐家，曾在世界各地演出。但那份事业差点就夭折了。1986年，他在秘鲁的一列火车上，和一群朋友一起愉快地探索世界。我们都很年轻，我们想，嘿，我们年轻。我们有美国护照。我们是无敌的。

他正在和其他的乘客交谈，这时一枚恐怖分子的炸弹在他头顶的行李架上爆炸了。七名乘客丧生，萨姆受了重伤。我的动脉被割伤了，

并且真的进入了整个死亡过程。他差点流血而死。他遭受了脑损伤。他无法动他的左手。一旦他度过了最糟糕的时期，他就进行了多次手术来修复他多处受伤的地方。你知道，我无法思考。我的手不听使唤。我无法行走。他一直疼痛难忍。他的耳朵嗡嗡作响，头部受伤。他感到愤怒和绝望。

他认为如果他能写下发生在他身上的事情，这将有助于他处理这一切。“你知道，当炸弹爆炸时，你知道，它压扁了我的肺。我想，好吧，我该如何描述它呢？然后我疯狂地写了起来。一页又一页，一页又一页。”

大部分都是同样的东西一遍又一遍地重复。这并没有什么帮助。相反，一首旋律不断在他脑海中浮现。“我一直把它推开。我会想，那旋律不是我需要的。旋律不是我想要的。旋律帮不了我。我认为回想起来，这是我试图控制一些不可控的东西。如果我能定义它，如果我能给它起个名字，

如果我能以某种方式在我的脑海中理解它，那么它就不会再回来了。那么你和我，当我们坐在这里的时候，玻璃就不会全部碎裂，把每个人都撕成碎片。所以旋律一直……旋律一直出现，我会像这样随着这旋律……啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦啦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创造力在我们生活的方方面面都扮演着重要的角色，从儿童教育到日常问题解决，再到我们欣赏的艺术作品和塑造我们未来的创新。我们探讨了人类创造力是什么，它是如何运作的，以及它以一些意想不到的方式重塑我们世界的部分内容。</context> <raw_text>0 他举了书中一个例子，一个关于法国哲学家和数学家勒内·笛卡尔的例子。他发明了笛卡尔坐标系，你知道的，我们在图上绘制点时使用的x-y轴。显然，他习惯于睡到很晚才起床，他躺在床上思考，看着他的天花板，天花板恰好是用方形瓷砖标记的。

他看到一只苍蝇以一种相当随机的方式在天花板上爬行。作为勒内·笛卡尔，他在自己心中提出了一个问题：我该如何描述这只苍蝇的路径？然后他注意到，这些是正方形。我们可以把它看作水平线和垂直线。

经过适当的抽象，这就变成了x、y坐标。然后，作为勒内·笛卡尔，他又超越了他所看到的，他想象着这些线向各个方向延伸到无限远。因此，我们可以定义一个原点，然后围绕它定义正数和负数。这给了他x、y坐标和笛卡尔几何的基本思想，最终

几何与代数之间的相互关系，这一切都源于他日常生活中的一种简单的观察。注意力的重要性有多大？因为除非你真的停下来看，否则你不会看到这些东西。

哦，这是一个很好的观点。这真的很重要。你知道，有一句名言：机会总是青睐有准备的头脑。当你沉迷于你为自己设定的某个难题时，

这种人很可能会注意到某些与之相关性并非直接表达的东西，其他人可能只是错过了它。它与他们正在从事的工作没有任何联系。但要关注生活中的所有事情，关注你自己的想法、记忆、发生的事件，并准备好触发可能的有效联系。

这正是创造性思维的标志。那么，类比的能力如何让我们获得优势呢？它能够让我们摆脱我们工作和问题出现的精确领域。

有时，你知道，你努力解决一个难题，你会感到被困住了，因为没有解决方案奏效，你不知道该怎么办。类比使你能够跳到另一个完全不同的领域，并可能找到一些东西来打破你遇到的障碍。就大脑的工作方式而言，我们有……

多个大脑系统。一个涉及额叶和顶叶网络，当你努力思考、推理时，它会努力工作，这当然与弄清楚类比的含义非常相关。但我们还有一个大脑区域网络，称为默认网络，因为它在你没有努力思考时就会启动，这与我们认为的思想游荡有关，你的思想只是从一件事漂移到另一件事。似乎

有创造力的人会利用这种思想游荡。它并非真正随机，而是由他们当前的关注点、他们正在努力解决的问题松散地引导。但与此同时，它允许他们以不同的方式思考。

远远超出了问题所在的确切领域。这给了他们一个机会，可以提出一种看待问题的新方法，否则这种方法可能永远不会出现。基思和他的同事进行了一项研究，他们要求参与者解决所谓的辐射问题。它最初是由心理学家卡尔·邓克普及的。

假设一位病人患有需要用辐射治疗的恶性肿瘤。但辐射也会损伤健康组织。他们如何在不造成所有这些损害的情况下摧毁肿瘤？在基思要求研究参与者思考辐射问题之前，他会向他们展示一些其他的故事。其中一个故事是关于一位试图占领位于中心位置的堡垒的将军。

他不能使用他的全部军队，因为他无法将他的全部军队沿着单一路线调动。因此，他将军队分成小队，然后让他们在堡垒处集结，并共同设法占领了它。在那之后，基思要求人们提出解决辐射问题的方案。人们经常想起关于将军的故事

并提出了将较弱的光线汇聚在一起以解决汇聚问题的总体思路。所以你基本上是分散光线的能量，从不同的角度进行攻击。对。这是关键的见解，人们往往很难独自看到。但是一旦他们看到了解决方案，将军的故事，你就可以开发出与光线一起使用的平行解决方案。

粗略地说，大约三分之一的人会自发地认识到这种联系并使用它。如果你只是说：“好吧，回想一下之前的那个故事，看看是否有帮助”，那么可能另外三分之一的人会成功地使用这个类比。

你什么时候感觉最具创造力？啊，这是一个好问题。有时，会出现一些我从未想过的事情。

基思告诉我最近一个源于个人悲剧的创造性时刻。他位于洛杉矶的住宅在今年早些时候的加利福尼亚野火中被烧毁了。所以，当然，这对我们全家来说是可怕的、极其紧张和困难的，我们不得不搬家等等。

结果房子完全烧毁了，但我们有一尊小小的佛像花园雕塑放在其中一面墙上。最后，这基本上是唯一还站着的东西，现在它仿佛在观察我们生活的毁灭。

几周后，我开始思考，你知道，在象征层面上的含义，你拥有佛像及其与佛教东方哲学的联系。

例如，放弃物质的东西，具有讽刺意味的是，它仍然完好无损，而我们所有的物质东西都丢失了。但我对失去我所有的物质东西当然一点也不开心和放松。无论如何，我最终把它想成是火佛，并写了一首关于火、我的情绪反应以及它如何与东方哲学的线索相关的诗。

我想，除此之外，这让我感觉好多了，因为无论失去了什么，一首小诗都是由于我们这个悲惨事件的结果而产生的。你对随着年龄增长或在我们生命中的岁月里创造力有什么想法吗？我们在某些时候更具创造力吗？

很难说。有一些有趣的工作只是从传记的角度来看，看看实际的创造者以及他们在做各种事情时有多大年纪。不同学科之间存在巨大差异。所以，如果你想成为一个真正有创造力的前沿数学家……

你最好在十几岁或二十出头的时候就做到这一点。这是一种真正年轻人的强项，可能是因为它在很大程度上取决于所谓的“工作记忆”，而工作记忆是我们甚至在中年就开始失去的第一件事。

另一方面，托尔斯泰和其他伟大的小说家一直写到老年。因此，一个普遍的趋势是，随着年龄的增长，所谓的流体智力（即用你的工作记忆处理新事物）正在下降。但所谓的结晶智力（即你一生中所学的一切的总和）却在上升。

事实上，我们小组进行了一些实验工作，表明理解新颖隐喻的能力在健康的成年人（60多岁、70多岁）中实际上比20多岁和30多岁的人更好。所以，你知道，年龄也有一些好处。

但当然，在你是否很早就对生活感到厌倦并停止思考，或者你是否在你的整个生命周期中持续参与并对体验持开放态度方面，存在巨大的个体差异。你希望你的创造力如何在年老时支撑你？啊，好吧，我已经老了，我会这么说。我现在75岁了。哦，我不知道。

好吧，对。所以我拥有第一手的经验。我想我仍然尽我所能地坚持下去。随着年龄的增长，你做了很多事情，很容易感觉，好吧，事情不再新鲜了。我再也得不到那种兴奋感，遇到一些全新的东西的兴奋感，因为我已经做过了。

但世界上还有比我们任何一个人都会遇到的更多的东西。即使我们活到几百岁，你仍然可以继续广泛地观察世界，无论你多大年纪。我认为只要你继续这样做，你就有很好的机会继续保持创造力。

基思·霍利奥克是加州大学洛杉矶分校的一位诗人和杰出的心理学教授。他的最新著作名为《人类优势：类比与创造性智力的根源》。接下来，创造力在重新设计我们的医疗系统中扮演什么角色？在一个没有候诊室的医院里会是什么样子？如果我们提高医院的效率，你将永远不必在候诊室等待。

接下来是《脉搏》。这是《脉搏》。我是梅肯·斯科特。我们正在谈论创造力。急诊室医生班·库希望我们扩展对创造力的定义。对我来说，创造力意味着能够发挥我的想象力。我讨厌这种创造力被隔离在像艺术家和音乐家这样的有创造力的人身上的神话。我相信这种技能是……

存在于任何个人身上，并且可以得到发展和磨练。创造力帮助我解决问题。它帮助我审视不同的学科，并看到它们之间的交叉性。- 班也是一名研究人员，他正在努力寻找方法，使医疗保健更容易获得，也更方便人们使用。

你如何将创造力带到你在医学和改善整体健康方面的工作中？首先，我……

探索医学以外的其他学科，看看我能从中学到什么，并将它们应用于医疗保健、照顾病人和我的研究。他与建筑师合作，并与厨师和设计师合作。有一次，他读了平面设计师艾伦·卢普顿关于以人为本设计的书。我想，这太好了。它就像，

针对设计受众。但我认为，我们需要将这些原则应用于医疗保健。他最终见到了艾伦，并告诉她他多么喜欢她的作品。他们一起写了一本书。它被称为《健康设计思维：为更好的健康创造产品和服务》。

他们的想法超越了这一点。我们所做的是在我们医学院启动了一个设计思维项目，让医学生训练他们像设计师一样思考，并将这与解决问题的科学方法结合起来。这导致了一个医疗设备课程，在那里我们……

我们研究了医疗保健领域的难题。你知道，其中之一是你在医院里使用的静脉输液架。而且，你知道，这些静脉输液架一百年来都没有重新设计过。因此，我们有一个项目，我们想，我们如何才能使静脉输液架更方便用户使用？像设计师一样思考有助于我们利用，或帮助我利用我的创造力，并帮助我更好地解决问题。我想，是的，

它使人们能够将他们自己的专业知识带到手头的局面中。因为如果你是一名医生，是的，你知道这个静脉输液架真的很糟糕，人们不得不拖着它到处跑，这并不理想。但随后想想，也许我可以帮助设计更好的东西，这对人们来说是一个很大的飞跃。是的，完全正确。并且能够与其他人共同设计，与我们的病人共同设计，与医生共同设计，

制造商，如果你是一位研究人员，将临床医生和科学家聚集在一起。并且这种来自不同学科的思想交叉融合具有力量。你如何确保你有时间进行创造性活动，或者你如何保持大脑的这一部分参与其中？这很无聊。我把它安排进日程表。好的。

我认为有一种说法认为你需要花一周时间去小屋才能有创造力，或者你需要休假一年才能有创造力。

我们中99%的人没有时间从工作或家庭中抽出整整一周的时间。因此，你可以像在15分钟或30分钟的时间段内一样有创造力。因此，我确保在我的日常日程安排中加入这段非结构化的时间，这样我就可以让我的想象力自由地流动。你如何看待更多创造力进入医学院的课程？

并且真正鼓励人们，你知道，你需要在这个工作中运用大脑的所有方面。我认为现在是时候这样做了，因为历史上我们培养医生的方式是，如果你是一个好的记忆者，并且你在你的医学预科学习中表现出色，你在你的入学考试中表现出色，大量的记忆工作发生了。

但是现在随着人工智能和大型语言模型的进步，我们并不一定需要像以前那样记住那么多，因为我们手中有一个超级计算机。因此，我认为创造力的技能将成为医生技能中越来越重要的一部分。所以——

我们可以教医生和学员如何创造性地解决问题。我们可以将设计原则引入课程，并说，嘿，我们如何改进服务交付，使其更方便我们的病人？我们如何在复杂的情况下改善结果？因为许多这些解决方案并非非黑即白。我们可以应用科学原理来

但要找到正确的解决方案，还需要更多的东西。并且要设想，我想，一些新的东西。因为很多时候我们都在做同样的事情，因为这就是我们所做的。然后真正地思考，我们不必这样做。这是一个巨大的飞跃。是的。并且在这个领域中，很难获得成为梦想家的许可，因为你

问题是真实的。它们是新出现的。它们是紧迫的。我是一名急诊室医生，我们需要处理手头的问题。但我相信，我们也需要花时间思考如何改变未来10年、15年、20年后的医疗保健，并打开我们的想象力。

例如，如果我们提高医院的效率，以至于你再也不用在候诊室等待，那么在一个没有候诊室的医院里会是什么样子？这似乎几乎令人难以置信，但我们应该考虑这些未来的状态，以便进行推测。否则，我们永远无法到达那里。班·库是费城托马斯·杰斐逊大学的教授。他是一位研究人员和急诊室医生。他们必须使用……

想象力充分的理由

这是我们本周的节目。《脉搏》是费城WHYY制作的节目，由我们的创始赞助商萨瑟兰家族和联邦基金会提供支持。你可以在你获取播客的任何地方关注我们。我们的健康和科学记者是艾伦·余和丽兹·唐。查理·凯尔是我们的工程师。本周，我们还得到了迪安娜·马丁内斯的额外工程支持。

我们的制作人是妮可·库里和林赛·拉扎尔斯基。我是梅肯·斯科特。感谢收听。