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So for me, choreography is very much a process of physical thinking.
對我來說，編舞是一個用肢體思考的過程。
It's very much in mind, as well as in body, and it's a collaborative process.
不光存在于我們的思維中，也存在于我們的身體里，它是一個互相協作的過程。
It's something that I have to do with other people.
這是需要與他人合作才能完成的。
You know, it's a distributed cognitive process in a way.
從某種意義上說，這是一個分散的認知過程。
I work often with designers and visual artists, obviously dancers and other choreographers,
我經常與設計師和視覺藝術家合作，當然還有舞者和其他的編舞，
but also, more and more, with economists, anthropologists, neuroscientists, cognitive scientists,
但越來越多的，我會與經濟學家、人類學家、核物理學家、認知科學家搭檔，
people really who come from very different domains of expertise, where they bring their intelligence to bear on a different kind of creative process.
大家的專業領域各不相同，他們為個人專業之外的創作過程貢獻才華。
What I thought we would do today a little bit is explore this idea of physical thinking, and we're all experts in physical thinking.
我覺得今天要讓大家稍稍發掘一下肢體思考的理念，我們全都是肢體思考的專家。
Yeah, you all have a body, right?
大家都長了一個身體，不是嗎？
And we all know what that body is like in the real world, so one of the aspects of physical thinking that we think about a lot is this notion of proprioception,
我們都知道現實世界中的人體是什么樣子的，所以肢體思考的一個方面就是我們一直要提到“本體感受”這個概念，
the sense of my own body in the space in the real world.
在真實空間中對自己身體的意識。
So, we all understand what it feels like to know where the ends of your fingers are when you hold out your arms, yeah?
比如說，我們都知道自己的手指尖在哪里，當你雙臂平舉的時候，對不對？
You absolutely know that when you're going to grab a cup, or that cup moves and you have to renavigate it.
你完全知道當你去拿一個杯子的時候或者杯子動了一下，你需要重新調整方向。
So we're experts in physical thinking already.
所以我們已經是肢體思考的專家了。
We just don't think about our bodies very much.
我們只是不太關注自己的身體。
We only think about them when they go wrong, so, when there's a broken arm,
我們只有在身體出問題時才關注它，比如手臂骨折了，
or when you have a heart attack, then you become really very aware of your bodies.
比如心臟病發了，這時候你才會密切關注自己的身體。
But how is it that we can start to think about using choreographic thinking, kinesthetic intelligence, to arm the ways in which we think about things more generally?
但是我們怎樣才能開始用舞蹈藝術的思維，運動知覺的智慧去武裝我們的思維呢？
