I am a cultural omnivore, one whose daily commute is made possible by attachment to an iPod -- an iPod that contains Wagner and Mozart, pop diva Christina Aguilera, country singer Josh Turner, gangsta rap artist Kirk Franklin, concerti, symphonies and more and more. I'm a voracious reader, a reader who deals with Ian McEwan down to Stephanie Meyer. I have read the Twilight tetralogy. And one who lives for my home theater, a home theater where I devour DVDs, video on demand and a lot of television. For me, "Law & Order: SVU," Tina Fey and "30 Rock" and "Judge Judy" -- "The people are real, the cases are real, the rulings are final."
Ja sam kulturni svaštojed, čija je svakodnevna razmena sadržaja omogućena vezanošću za iPod, iPod na kome se nalaze Vagner i Mocart, pop diva Kristina Agilera, kantri pevač Džoš Tarner, gangsterski rep umetnik Kirk Frenklin, koncerti, simfonije i još mnogo, mnogo toga. Ja sam nezasit čitalac, čitalac koji čita sve od Iana Mek Evana do Stefani Mejer. Pročitao sam "Sumrak" tetralogiju. I onaj sam koji živi za svoj kućni bioskop, kućni bioskop u kome skupljam DVD-jeve, i video-po-zahtevu uz puno televizije. Za mene, "Red i zakon: SVU", Tina Fej i "30Rock" i "Sudija Džudi" - "Ljudi su stvarni, slučajevi su stvarni,
(Laughter)
presude su konačne".
Now, I'm convinced a lot of you probably share my passions, especially my passion for "Judge Judy," and you'd fight anybody who attempted to take her away from us, but I'm a little less convinced that you share the central passion of my life, a passion for the live professional performing arts, performing arts that represent the orchestral repertoire, yes, but jazz as well, modern dance, opera, theater and more and more and more.
E sad, ubeđen sam da mnogi od vas verovatno dele moju strast, naručito strast prema "Sudiji Džudi" i da biste se suprotstavili svakome ko bi pokušao da nam je oduzme, ali sam malo manje ubeđen da delite moju osnovnu životnu strast, strast za živom umetničkom izvedbom, umetničkom izbedbom koju predstavlja orkestarski repertoar, da, ali i džez, moderni ples, opera, pozorište i mnogo, mnogo toga.
Frankly, it's a sector that many of us who work in the field worry is being endangered and possibly dismantled by technology. While we initially heralded the Internet as the fantastic new marketing device that was going to solve all our problems, we now realize that the Internet is, if anything, too effective in that regard. Depending on who you read, an arts organization or an artist, who tries to attract the attention of a potential single ticket buyer, now competes with between three and 5,000 different marketing messages a typical citizen sees every single day. We now know, in fact, that technology is our biggest competitor for leisure time. Five years ago, Gen Xers spent 20.7 hours online and TV, the majority on TV. Gen Yers spent even more -- 23.8 hours, the majority online. And now, a typical university-entering student arrives at college already having spent 20,000 hours online and an additional 10,000 hours playing video games -- a stark reminder that we operate in a cultural context where video games now outsell music and movie recordings combined.
Znate, iskreno, to je sektor za koji, mnogi od nas koji tu rade, brinu da je ugrožen, i možda čak rasformiran dolaskom tehnologije. Iako smo automatski proglasili internet fanstastičnim novim marketinškim alatom koji će rešiti sve naše probleme, sada shvatamo da je internet, ako ništa drugo, suviše efektan u tom smislu. U zavisnosti od toga šta čitate, umetnička organizacija, ili umetnik, koji pokušavaju da privuku pažnju potencijalnog kupca jedne karte, sada se takmiči sa između tri do pet hiljada različitih marketinških poruka koje prosečan građanin vidi svakog dana. Zapravo, znamo da je ta tehnologija naš najveći konkurent u otimanju slobodnog vremena. Pre pet godina, mladi su provodili 20,7 sati na internetu i uz TV, ali većinom uz TV. Generacija novog milenijuma provodi čak i više - 23.8 sati, većinom na internetu. I sad, tipičan student koji kreće na univerzitet stiže na koledž sa već provedenih 20.000 sati na internetu i dodatnih 10.000 sati igrajući video igre, ovo je samo ozbiljan podsetnik kulturološkog konteksta društva u kome su video igre prodavanije od muzike i filmova zajedno.
Moreover, we're afraid that technology has altered our very assumptions of cultural consumption. Thanks to the Internet, we believe we can get anything we want whenever we want it, delivered to our own doorstep. We can shop at three in the morning or eight at night, ordering jeans tailor-made for our unique body types. Expectations of personalization and customization that the live performing arts -- which have set curtain times, set venues, attendant inconveniences of travel, parking and the like -- simply cannot meet. And we're all acutely aware: what's it going to mean in the future when we ask someone to pay a hundred dollars for a symphony, opera or ballet ticket, when that cultural consumer is used to downloading on the internet 24 hours a day for 99 cents a song or for free? These are enormous questions for those of us that work in this terrain. But as particular as they feel to us, we know we're not alone.
Šta više, bojim se da je tehnologija izmenila samu pretpostavku kulturne potrošnje. Zahvaljujući internetu, verujemo da možemo dobiti sve što želimo, kad god to poželimo, isporučeno na naš kućni prag. Možemo kupovati u tri ujutu ili u osam uveče, naručujući farmerke napravljene po kroju za našu jedinstvenu telesnu građu. Očekivanja personalizacije i prilagođavanja koje živo izvođene umetnosti - koje imaju određeno vreme i određeno mesto, gde se posetilac sreće sa neugodnošću putovanja, parkiranja i slično - jednostavno ne mogu da ispune. I svi smo izuzetno svesni sledećeg: šta će u budućnosti značiti kad zatražimo od nekog da plati sto dolara za simfonijski koncert, operu ili kartu za balet, od kulturnog potrošača koji je navikao da to skida sa interneta 24 sata dnevno za 99 centi po pesmi, ili besplatno? Ovo su velika pitanja za one koji rade na tom terenu. Ali posebno za one koji to osećaju, znamo da nismo sami.
All of us are engaged in a seismic, fundamental realignment of culture and communications, a realignment that is shaking and decimating the newspaper industry, the magazine industry, the book and publishing industry and more. Saddled in the performing arts as we are, by antiquated union agreements that inhibit and often prohibit mechanical reproduction and streaming, locked into large facilities that were designed to ossify the ideal relationship between artist and audience most appropriate to the 19th century and locked into a business model dependent on high ticket revenues, where we charge exorbitant prices. Many of us shudder in the wake of the collapse of Tower Records and ask ourselves, "Are we next?" Everyone I talk to in performing arts resonates to the words of Adrienne Rich, who, in "Dreams of a Common Language," wrote, "We are out in a country that has no language, no laws. Whatever we do together is pure invention. The maps they gave us are out of date by years." And for those of you who love the arts, aren't you glad you invited me here to brighten your day?
Svi mi smo angažovani u seizmičkom, osnovnom prestrojavanju kulture i komunikacije, prestrojavanju koje drma i desetkuje industriju novina i magazina, knjišku i izdavačku industriju, i dalje. Smešteni u izvođačke umetnosti kako jesmo, antičkim koalicionim sporazumima koji dozvoljavaju i često zabranjuju mehančku reprodukciju i protok, zaključani u velike ustanove koje su dizajnirane da okoštaju idealnu vezu umetnika i publike koja odgovara devetnaestom veku i zaključani u modelu poslovanja koji zavisi od visokih prihoda od karata, gde naplaćujemo astronomske cene, mnoge od nas je uhvatila jeza u osvit raspada "Taur rekordsa" uz pitanje "Da li smo mi sledeći?". Svi umetnički izvođači sa kojima sam pričao odzvanjaju rečima Adrijane Rič, koja je, u "Snovima o zajedničkom jeziku" napisala, "Mi se nalazimo u zemlji koja nema jezik, nema zakone. Šta god uradimo zajedno predstavlja čist izum. Mape koje su nam dali su zastarele već godinama." I za one koji vole umetnost, zar vam nije drago što ste me pozvali da vam ulepšam dan?
(Laughter)
(Smeh)
(Applause)
(Aplauz)
Now, rather than saying that we're on the brink of our own annihilation, I prefer to believe that we are engaged in a fundamental reformation, a reformation like the religious Reformation of the 16th century. The arts reformation, like the religious Reformation, is spurred in part by technology, with indeed, the printing press really leading the charge on the religious Reformation. Both reformations were predicated on fractious discussion, internal self-doubt and massive realignment of antiquated business models. And at heart, both reformations, I think, were asking the questions: who's entitled to practice? How are they entitled to practice? And indeed, do we need anyone to intermediate for us in order to have an experience with a spiritual divine?
Sad, umesto da kažem da smo na ivici sopstvenog uništenja, radije verujem da smo angažovani u fundamentalnoj reformaciji, reformaciji kao što je bila Reformacija religije u šesnaestom veku. Reformacija umetnosti, kao i Reformacija religije je delimično podstaknuta tehnologijom, gde je, uistinu, štamparska presa bila osnovno punjenje religijske Reformacije. Obe reforme su utemeljene na svađama i diskusijama, internoj sumnji u sebe i masovnom prestrojavanju antičkog poslovnog modela. I duboko verujem da su obe reforme postavile pitanja: ko ima pravo da se ovim bavi? Kako su stekli pravo da se bave time? I zapravo, da li nam je potreban neko da posreduje za nas da bismo imali iskustvo sa duhovnim uzvišenjem?
Chris Anderson, someone I trust you all know, editor in chief of Wired magazine and author of The Long Tail, really was the first, for me, to nail a lot of this. He wrote a long time ago, you know, thanks to the invention of the Internet, web technology, minicams and more, the means of artistic production have been democratized for the first time in all of human history. In the 1930s, if any of you wanted to make a movie, you had to work for Warner Brothers or RKO, because who could afford a movie set and lighting equipment and editing equipment and scoring, and more? And now who in this room doesn't know a 14 year-old hard at work on her second, third, or fourth movie?
Kris Anderson, neko za koga mislim da je svima poznat, urednik i šef "Čudnog magazina" i autor "Dugog repa" bio je prvi, bar po meni, koji je obuhvatio mnoštvo pomenutog. On je pre dosta vremena napisao, znate, da su zahvaljujući izumu interneta, web tehnologije, mini kamera, i mnogo toga, sredstva umetničke proizvodnje demokratizovana prvi put u ljudskoj istoriji. Devetsto tridesetih, ukoliko je bilo ko od vas hteo da napravi film, morao je da radi za "Warner Bros" ili "RKO" jer ko je mogao sebi da priušti filmski set opremu za osvetljavanje, i opremu za montažu i pozadinsku muziku i više od toga? A danas, ko u ovoj sobi ne zna četrnaestogodišnjaka koji radi na svom drugom, trećem ili četvrtom filmu?
(Laughter)
(Smeh)
Similarly, the means of artistic distribution have been democratized for the first time in human history. Again, in the '30s, Warner Brothers, RKO did that for you. Now, go to YouTube, Facebook; you have worldwide distribution without leaving the privacy of your own bedroom.
Slično tome, sredstva umetničke distribucije su demokratizovana po prvi put u ljudskoj istoriji. Ponovo, devetsto tridesetih "Warner Bros." i "RKO" su radili to za vas. Sad, idite na "Jutjub", "Fejsbuk"; imate globalnu distribuciju bez napuštanja privatnosti vaše spavaće sobe.
This double impact is occasioning a massive redefinition of the cultural market, a time when anyone is a potential author. Frankly, what we're seeing now in this environment is a massive time, when the entire world is changing as we move from a time when audience numbers are plummeting. But the number of arts participants, people who write poetry, who sing songs, who perform in church choirs, is exploding beyond our wildest imaginations. This group, others have called the pro-ams, amateur artists doing work at a professional level. You see them on YouTube, in dance competitions, film festivals and more. They are radically expanding our notions of the potential of an aesthetic vocabulary, while they are challenging and undermining the cultural autonomy of our traditional institutions. Ultimately, we now live in a world defined not by consumption, but by participation.
Dupli udar je zadesio masovno redefinisanje kulturnog tržišta, vreme u kome je svako potencijalni autor. Iskreno, ono što sad vidimo u ovom okruženju je ogroman trenutak, kada se ceo svet menja, kada napuštamo vreme u kome se publika pecala. Ali broj učesnika u umetnosti, ljudi koji pišu poeziju, koji pevaju pesme, ili nastupaju u crkvenom horu, napreduje izvan granica naših najluđih zamisli. Ovu grupu neki nazivaju "pro ams", amateri umetnici koji daju izvedbe profesionalnog nivoa. Vidite ih na "Jutjubu", na plesnim takmičenjima, na filmskim festivalima, i dalje. Oni radikalno šire naše shvatanje potencijala estetskog rečnika, dok izazivaju i podrivaju kulturnu autonomiju naših tradicionalnih institucija. Na kraju, živimo u svetu definisanom, ne upotrebom, već učešćem.
But I want to be clear, just as the religious Reformation did not spell the end to the formal Church or to the priesthood; I believe that our artistic institutions will continue to have importance. They currently are the best opportunities for artists to have lives of economic dignity -- not opulence, of dignity. And they are the places where artists who deserve and want to work at a certain scale of resources will find a home. But to view them as synonymous with the entirety of the arts community is, by far, too shortsighted. And indeed, while we've tended to polarize the amateur from the professional, the single most exciting development in the last five to 10 years has been the rise of the professional hybrid artist, the professional artist who works, not primarily in the concert hall or on the stage; but most frequently around women's rights, or human rights, or on global warming issues or AIDS relief for more -- not out of economic necessity, but out of a deep, organic conviction that the work that she or he is called to do cannot be accomplished in the traditional hermetic arts environment.
Ali želim da podvučem, isto kao što religijska Reformacija nije objavila kraj formalnoj Crkvi ili svešteništvu, verujem da će naše umetničke institucije nastaviti da imaju važnost. Oni su trenutno najbolja prilika za umetnike da ostvare život ekonomskog dostojanstva, ne bogatstva, već dostojanstva. One su mesto gde umetnici koji zaslužuju i žele da rade sa izvesnim nivoom resursa mogu da nađu dom. Ali posmatrati ih kao sinonim za celovitost umetničke zajednice je, u najmanju ruku, kratkovido. I zaista, dok pokušavamo da razdvojimo amatere od profesionalaca, jedini najuzbudljiviji razvoj u proteklih pet do deset godina je bio uspon profesionalnih otmenih umetnika, profesionalnih umetnika, koji rade, ne primarno u koncertnim salama ili na pozornici, već najviše oko prava žena ili ljudskih prava, ili na globalnom zagrevanju ili pomoći za SIDA-u, ne zbog ekonomske potrebe, već zbog dubokog, organskog uverenja da rad koji su on ili ona pozvani da urade ne može biti urađen na tradicionalni način u zatvorenoj umetničkoj sredini.
Today's dance world is not defined solely by the Royal Winnipeg Ballet or the National Ballet of Canada, but by Liz Lerman's Dance Exchange -- a multi-generational, professional dance company, whose dancers range in age from 18 to 82, and who work with genomic scientists to embody the DNA strand and with nuclear physicists at CERN. Today's professional theater community is defined, not only the Shaw and Stratford Festivals, but by the Cornerstone Theater of Los Angeles -- a collective of artists that after 9/11, brought together 10 different religious communities -- the Baha'i, the Catholic, the Muslim, the Jewish, even the Native American and the gay and lesbian communities of faith, helping them create their own individual plays and one massive play, where they explored the differences in their faith and found commonality as an important first step toward cross-community healing. Today's performers, like Rhodessa Jones, work in women's prisons, helping women prisoners articulate the pain of incarceration, while today's playwrights and directors work with youth gangs to find alternate channels to violence and more and more and more. And indeed, I think, rather than being annihilated, the performing arts are poised on the brink of a time when we will be more important than we have ever been.
Današnji svet plesa nije definisan samo "Kraljevskim baletom" Vinipega, ili "Nacionalnim baletom" Kanade, već i Liz Dermaninom "Plesnom Razmenom", multigeneracijskom, profesionalnom plesnom grupom, čiji igrači imaju od osamnaest do osamdeset i dve godine, koji rade sa genetskim istraživačima na otelotvorenju DNK mreže i sa nuklearnim fizičarima sa CERN-a. Današnja profesionlna pozorišna zajednica nije definisana samo "Šo" ili "Stratford" festivalima već i "Temeljac teatrom" iz Los Anđelesa, kolektivom umetnika koji je, posle 11. septembra spojio 10 različitih religijskih zajednica - Bahie, Katolike, Muslimane, Jevreje, čak i Indijance i gej i lezbejske verske zajednice, pomažući im da naprave sopstvene individualne predstave i jednu veliku predstavu u kojoj su istražili razlike unutar svojih vera i našli istovetnost kao važan privi korak ka izlečenju društva raznolikih zajednica. Današnji izvođači, kao što je Rodesa Džons, rade u ženskim zatvorima, pomažući ženama da artikulišu bol zatočeništva, dok današnji tekstopisci i reditelji rade sa mladim bandama da bi pronašli alternativni kanal nasilju i mnogo, mnogo više. I stvarno, mislim da, umesto da budu uništene, izvođačke umetnosti su postavljene na ivicu vremena u kome ćemo biti važniji nego što smo ikad bili.
You know, we've said for a long time, we are critical to the health of the economic communities in your town. And absolutely -- I hope you know that every dollar spent on a performing arts ticket in a community generates five to seven additional dollars for the local economy, dollars spent in restaurants or on parking, at the fabric stores where we buy fabric for costumes, the piano tuner who tunes the instruments, and more. But the arts are going to be more important to economies as we go forward, especially in industries we can't even imagine yet, just as they have been central to the iPod and the computer game industries, which few, if any of us, could have foreseen 10 to 15 years ago. Business leadership will depend more and more on emotional intelligence, the ability to listen deeply, to have empathy, to articulate change, to motivate others -- the very capacities that the arts cultivate with every encounter.
Znate, davno smo rekli da smo važni za zdravlje ekonomskih zajednica u vašem gradu. I apsolutno. Nadam se da znate da svaki dolar potrošen na ulaznicu za umetničku izvedbu u zajednici generiše pet do sedam dolara za lokalnu ekonomiju, dolara potrošenih na restoran ili na parking, u prodavnicama materijala gde kupujemo tkaninu za kostime, štimača klavira koji namešta instrumente, i dalje. Ali umetnost će biti važnija za ekonomiju kako napredujemo, posebno u industrijama koje još uvek ne možemo da zamislimo, kao što je bila osnova za iPod ili industriju kompjuterskih igara, koju je malo ko, ako i bilo ko od nas predvideo pre deset ili petnaest godina. Poslovno vođstvo će zavisiti sve više i više od emocionalne inteligencije, sposobnosti da se sluša pažljivo, sa se saoseća, da se artikuliše promena, da se motivišu ostali - sam potencijal koji umetnosti stvaraju sa svakim susretom.
Especially now, as we all must confront the fallacy of a market-only orientation, uninformed by social conscience; we must seize and celebrate the power of the arts to shape our individual and national characters, and especially characters of the young people, who all too often are subjected to bombardment of sensation, rather than digested experience. Ultimately, especially now in this world, where we live in a context of regressive and onerous immigration laws, in reality TV that thrives on humiliation, and in a context of analysis, where the thing we hear most repeatedly, day in, day out in the United States, in every train station, every bus station, every plane station is, "Ladies and gentlemen, please report any suspicious behavior or suspicious individuals to the authorities nearest to you," when all of these ways we are encouraged to view our fellow human being with hostility and fear and contempt and suspicion.
Posebno sad, kada se moramo suočiti sa manjkavošću isključivo tržišne orijentisanosti, obučene u socijalnu svest, moramo ugrabiti i slaviti moć umetnosti da oblikuje naš individualni i nacionalni karakter a posebno karaktere mladih ljudi koji su, prečesto, subjekti bombardovanja senzacijama, pre nego svarljivim iskustvima. Kad podvučemo crtu, pogotovo sada, u ovom svetu, živimo u kontekstu regresivnih i tegobnih imigracionih zakona, "reality" televizije koja teži poniženju i u kontekstu analize, gde stvar koju čujemo najčešće, dan za danom u Ujedinjenim Državama, na svakoj železničkoj stanici, svakoj autobuskoj stanici, svakom aerodrumu jeste, "Dame i gospodo, molimo vas da prijavite svako sumnjivo ponašanje ili sumnjivog pojedinca najbližim vlastima", kada smo na sve načine ohrabrivani da vidimo priljateljsko ljudsko biće sa neprijateljstvom i strahom i prezirom i sumnjom.
The arts, whatever they do, whenever they call us together, invite us to look at our fellow human being with generosity and curiosity. God knows, if we ever needed that capacity in human history, we need it now. You know, we're bound together, not, I think by technology, entertainment and design, but by common cause. We work to promote healthy vibrant societies, to ameliorate human suffering, to promote a more thoughtful, substantive, empathic world order.
Umetnosti, šta god radile, kad god nas okupe, pozivaju nas da gledamo prijateljska ljudska bića sa velikodušnošću i interesovanjem. Bog sam zna, ako nam je ikad trebala ta sposobnost u ljudskoj istoriji, treba nam sad. Znate, mi smo povezani, ne mislim tehnologijom, zabavom i dizajnom, već zajedničkim ciljem. Mi radimo na promociji zdravih živahnih zajednica, na umanjenu ljudske patnje, na promociji jednog pažljivijeg, suštinski saosećajnog svetskog poretka.
I salute all of you as activists in that quest and urge you to embrace and hold dear the arts in your work, whatever your purpose may be. I promise you the hand of the Doris Duke Charitable Foundation is stretched out in friendship for now and years to come. And I thank you for your kindness and your patience in listening to me this afternoon.
Pozdravljam sve vas aktiviste u tom pohodu i pozivam vas da težite, zagrlite, i zavolite umetnost u svom radu, koji god da je vaš cilj. I obećavam vam da je ruka "Doris Djuk Humanitarne Fondacije" ispružena prema prijateljstvu sada i u dolazećim godinama. I hvala vam na dobroti i strpljenju da me slušate ovog popodneva. Hvala i blagosloveni bili.
Thank you, and Godspeed.