The Future Belongs to Those With Something to Say

嘿，大家好。

Hey, everyone.

我是托德·亨利。

This is Todd Henry.

领导有创造力的人很有成就感，但有时也会让人感到孤立。

Leading creative people is rewarding, but it can also feel isolating.

所以我创建了“创意领袖圆桌会议”，这是一个私密社区，像你这样的领导者每月聚在一起，获得实用的见解、诚实的反馈和真正的鼓励。

That's why I've created CreativeLeader Roundtable, a private community where leaders like you connect monthly to get practical insights, honest feedback, and real encouragement.

每次圆桌会议结束后，你都会带着新的视角和可以立即应用的实用想法离开。

You'll leave every roundtable with fresh perspective and tactical ideas you can apply right away.

所以，如果你领导着一个才华横溢的团队，就去creativeleader.net看看吧，因为创意工作需要勇敢的领导。

So if you lead a team of talented people, go check us out at creativeleader.net because creative work deserves brave leadership.

嘿，大家好。

Hey, everyone.

欢迎来到每日创意。

Welcome to DailyCreative.

我是托德·亨利。

My name is Todd Henry.

1972年，意大利流行歌手阿德里亚诺·切伦塔诺发布了一首音乐史上最奇怪的流行歌曲之一。

So in 1972, an Italian pop singer named Adriano Celentano released one of the strangest hit songs in music history.

这首歌叫《Prisencolinensinainciusol》。

It was called.

如果你在不了解背景的情况下听到它，你可能会以为是一位美国歌手在用英语演唱。

And if you hear it without knowing anything about it, you might assume you're listening to an American singer performing in English.

语言的节奏听起来像英语。

The rhythm of the language sounds like English.

语调听起来很像英语。

The cadence sounds a lot like English.

断句听起来也很像英语。

The phrasing sounds a lot like English.

它有一种独特的感觉，就像有人在唱你听不太懂但总觉得应该听懂的歌词。

It has the unmistakable quality of someone singing words that you don't quite understand but somehow feel like you should.

但这里有个问题。

There was just one problem.

那并不是英语。

It wasn't English.

实际上，那根本不是任何一种语言。

In fact, it wasn't any language at all.

切伦塔诺故意编造了一串无意义的音节，用来模仿美式英语的声音。

Celentano had deliberately invented a series of nonsense syllables designed to mimic the sound of American English.

他很好奇英语在不懂英语的意大利人听来是什么感觉，想创作一首歌，来捕捉那种听到一种语言却听不懂的体验。

He was fascinated by the way that English sounded to Italians who didn't speak it, and he wanted to create a song that captured the experience of hearing a language without actually understanding it.

而且，出乎意料的是，他的实验竟然成功了。

And somehow, against all odds, his experiment worked.

这首歌大受欢迎，在意大利登上了排行榜榜首。

The song became a massive hit, reached number one in Italy.

一首实际上什么都没说的歌，却因为听起来像是在说什么而变得非常流行。

A song that didn't actually say anything became incredibly popular because it sounded like it was saying something.

我在想，很多创意专业人士，我们这些搞创作的人，是不是也在接近自己的那个版本。

I wonder if many creative pros, many of us who are making things are approaching our own version of.

让我解释一下。

Let me explain.

首先，流畅并不等于有意义。

First of all, fluency is not meaning.

这就是我所说的“姿态陷阱”。

This is what I call the posturing trap.

我们正经历一个非凡的时代，我们的设备几乎能生成我们要求的任何东西。

We're living through an extraordinary moment in which our devices can produce almost anything we ask.

如果你输入一个提示，任何大语言模型都能回复邮件，快速生成一个策略、演示文稿或营销活动。

If you type a prompt, any LLM can respond to an email, spit out a strategy or presentation or marketing campaign.

它还能写演讲稿、生成图像，或者在你喝完第一杯咖啡之前就抛出十几个点子。

It can develop a speech or image or crank out a dozen ideas before you've finished your first cup of coffee.

而且，这些输出不仅看起来专业，听起来也很专业。

And increasingly, the output doesn't just look competent, it actually sounds competent.

它有一种智慧的节奏感。

It has the cadence of intelligence.

智慧的节奏感。

The cadence of intelligence.

但能产出听起来有意义的东西，和真正有有意义的话要说，这两者之间是有区别的。

But there's a difference between producing something that sounds meaningful and actually having something meaningful to say.

一段写得很漂亮的文字可能没有任何原创思想，就像一场精心准备的演讲可能毫无真正的信念一样。

A beautifully written paragraph can contain no original thought, just like a polished presentation can communicate with no real conviction.

一个聪明的策略可能只是重新排列那些熟悉的想法，感觉上像是我们会选择的东西，但实际上只是在模仿那些流行且老套的建议。

A clever strategy can simply rearrange familiar ideas that feel vaguely like something we'd choose but is actually just mimicking popular and staid advice.

我们可以创作出具备所有外在质量信号的作品，同时悄悄移除让质量成为可能的那个核心——那就是一个真正与某个想法反复较量、从而形成自己观点的人。

We can create work that has all the external signals of quality while quietly removing the very thing that makes quality possible, which is a human being who has wrestled with an idea long enough to develop a perspective on it.

这才是让我担心的地方。

That's the part that concerns me.

我们正在移除错误的摩擦。

We are removing the wrong kinds of friction.

我们现在用的这些新工具，几乎肯定会让我们更高效。

These new tools that we're using will almost certainly make us more productive.

这点毫无疑问。

No question.

但危险在于，它们可能会让我们高效到不再去打磨和明确自己的立场和直觉。

But the danger is that they might make us so productive that we stop honing and defining our own positions and intuition.

我们去掉的是那些本身就是工作的摩擦，而不只是妨碍工作的摩擦。

We remove the friction that is the work, not just the friction that's in the way of the work.

这意味着我们能产出听起来很流畅、但实际上没什么实质内容的作品，就像那首胡说八道的歌一样。

This means we can produce work that sounds fluent without actually meaning anything of substance, just like the nonsense song.

所以这是第一点。

So that's the first thing.

流畅不等于有意义。

Fluency is not meaning.

这就是装腔作势的陷阱。

This is the posturing trap.

第二点是，挣扎本身赋予了意义。

The second is the struggle gives the meaning.

这就是我所说的平台期陷阱。

This is what I call the plateau trap.

创意工作有个奇怪的地方，就是那些我们最想消除的、让人不舒服的部分，往往正是让作品有价值的部分。

Now the strange thing about creative work is that the part that we most want to eliminate because it's uncomfortable is often the part that makes the work valuable.

空白的页面、糟糕的初稿、毫无进展的对话、在想到好点子之前扔掉的二十个烂主意、整个下午盯着问题却一无所获、会议上有人问了个让人不舒服的问题，逼着你重新审视自己坚持多年的假设。

The blank page, the terrible first draft, the conversation that goes nowhere, the 20 bad ideas that we toss out before we have a good one, the afternoon spent fruitlessly staring at a problem with nothing to show, the uncomfortable question someone asks in a meeting that forces you to reconsider an assumption that you've held for years.

这些事在当时看来都不怎么高效，但往往正是在这些时刻，我们最好的、最有洞察力的、最直觉性的思考才会出现。

None of those things feel particularly productive in the moment, but they are often where our best and most insightful and most intuitive thinking happens.

如果我们用技术把创作过程中的每一个摩擦点都消除掉，我们可能也会不小心把那些产生洞见的摩擦一并消除。

If we use technology to remove every moment of friction from the creative process, we may accidentally remove the very friction that produces insight.

听我说，我并不是主张我们应该拒绝所有这些新工具。

Now listen, I'm not arguing we should reject any of these new tools.

恰恰相反。

Quite the opposite.

我们应该在它们真正有帮助的地方积极使用它们。

We should use them aggressively where they genuinely help us.

让它们处理那些妨碍工作的琐碎麻烦，而不是那些本身就是工作核心的麻烦。

Let them handle the tedious friction that's in the way of the work, but not the friction that is the work.

我们要小心，不要把那些本应改变我们的过程外包出去。

We should be careful about outsourcing the parts of the process that are supposed to change us.

创造性工作的目标不仅仅是得到一个答案。

The goal of creative work isn't merely to arrive at an answer.

而是要成长为那种能看到以前不明显的东西的人，磨练我们的直觉和判断力，在工作的过程中成为不同的人。

It's to grow into the kind of person who can see something that wasn't obvious before, to hone our intuition and our judgment, to become someone different as we do the work.

在创造性工作中，过程本身就是产品。

The process is the product in creative work.

所以这是第二点。

So that's the second thing.

奋斗赋予了意义。

The struggle gives the meaning.

这就是平台期陷阱。

This is the plateau trap.

我们遇到了瓶颈。

We hit a plateau.

我们停止了进化。

We stop evolving.

我们停止了成长。

We stop growing.

第三点，站在作品旁边不等于在创作。

The third is that standing next to the work is not doing it.

这就是我所说的“接近陷阱”。

This is what I call the proximity trap.

这就是为什么我认为，在未来几年，由人类主导的直觉性工作会变得更加有价值。

This is why I think human led intuitive work will become even more valuable in the years ahead.

我相信，真正属于人类的工作会越来越突出，因为它包含了观点、视角、富有成效的热情，以及一种真实的投入感，对吧？

I believe that genuinely human work will begin to stand out more and more because it will contain a point of view, a perspective, a productive passion, an authenticity showing skin in the game, right?

信念、品味、判断力、独特的经历，还有一些伤疤。

Conviction, taste, judgment, unique experience, and some scars.

这会让人觉得，真的有人认真思考过这件事。

It will feel like somebody actually thought about this.

这就是塞伦塔诺那首奇怪小歌的讽刺之处。

And that's the irony of Celentano's strange little song.

歌词毫无意义，但歌曲背后的想法其实很有意义。

The words were meaningless, but the idea behind the song was actually meaningful.

那些胡言乱语其实在传达真实的东西——听到一种你不懂的语言是什么感觉。

The nonsense was actually communicating something real, what it feels like to hear a language you don't understand.

这里面有真正的意义。

There's real meaning in that.

它确实打动了人们，因为它是人创作的。

It actually impacted people because it was created by a human.

这对我们所有人来说都是一个重要的教训。

And that's an important lesson for all of us.

我们拥有的工具比以往任何时候都多，能做出听起来很有意义的东西。

We have more tools than ever for making things that sound like they mean something.

所以我们的责任是确保它们确实有意义。

So our responsibility is to make sure that they actually do.

用这些工具，但别让它们替你做思考。

Use the tools, just don't let them do your thinking for you.

未来不属于那些能产出最多的人。

The future won't belong to people who can produce the most.

它属于那些仍然有话要说，并且已经思考清楚怎么说的人。

It will belong to the people who still have something worth saying and to those who have done the thinking necessary to say it.

嘿。

Hey.

非常感谢你加入我们。

Thanks so much for joining us.

如果你喜欢我们所有的采访，我们有很多完整的采访，你可以在dailycreativeplus.com上获取。

If you like all of our interviews, which we have a ton of interviews in full, you can get them at dailycreativeplus.com.

直接去那里，输入你的名字和邮箱地址，我们会给你发送一个私人订阅源，你可以在那里收听所有的内容。

Just go there, enter your name and email address, and we'll send you a private feed where you can listen to all of them.

我是托德·亨利。

My name is Todd Henry.

如果你想了解我的书籍、演讲活动或者更多这些节目，只需访问toddhenry.com，我们下次再见。

If you'd like information about my books or my speaking events or more of these episodes, just go to toddhenry.com until next time.

愿你勇敢、专注、出色。

May you be brave, focused, brilliant.

我们到时候见。

We'll see you then.