The Value of Nothing: Out of Nothing Comes Something. That was an essay I wrote when I was 11 years old and I got a B+. What I'm going to talk about: nothing out of something, and how we create. And I'm gonna try and do that within the 18-minute time span that we were told to stay within, and to follow the TED commandments: that is, actually, something that creates a near-death experience, but near-death is good for creativity. OK. So, I also want to explain, because Dave Eggers said he was going to heckle me if I said anything that was a lie, or not true to universal creativity. And I've done it this way for half the audience, who is scientific. When I say we, I don't mean you, necessarily; I mean me, and my right brain, my left brain and the one that's in between that is the censor and tells me what I'm saying is wrong. And I'm going do that also by looking at what I think is part of my creative process, which includes a number of things that happened, actually -- the nothing started even earlier than the moment in which I'm creating something new. And that includes nature, and nurture, and what I refer to as nightmares. 无的价值：无中生有的可能。 这是一篇我在十一岁时写的作文，当时我拿了个乙等。 今天我要谈的是创作和无中生有的艺术。 我不但要试着在大会给我的18分钟时限中完成，并且遵守TED的严格戒律： 我必须说，这些戒律的确让我有一种濒临死亡的感觉，但濒临死亡是有益于创作的。好。 我还想顺便提到，如果我说谎，大卫·艾格说他将会严厉地质问我。 或是说的东西不能普世通用。这个图是为了听众中的科学家画的。 当我使用“我们”的时候，我不一定是指你，而是说我和我的右脑， 我的左脑，还有在它们中间那负责审查的东西，如果我说错了什么，它将会提醒我。 我也将会谈论我个人的创作过程， 那包含了一些不同的事件， 无在更早之前发生，在我开始创作之前就发生了。 那包括了天份，滋养，还有我叫做梦魇的东西。