I'm going to be talking about designing humor, which is sort of an interesting thing, but it goes to some of the discussions about constraints, and how in certain contexts, humor is right, and in other contexts it's wrong.
Govoriću o dizajniranju humora što je interesantna stvar, ali zalazi u neke rasprave o ograničenjima i u to kako je humor u određenom kontekstu u redu, a u drugom kontekstu nije u redu.
Now, I'm from New York, so it's 100 percent satisfaction here. Actually, that's ridiculous, because when it comes to humor, 75 percent is really absolutely the best you can hope for. Nobody is ever satisfied 100 percent with humor except this woman.
Ja sam iz Njujorka tako da je ovde sto posto zagarantovano zadovoljenje. U stvari to je apsurdno jer kad se radi o humoru 75 posto je najbolje čemu se možete nadati. Niko nikad nije sto posto zadovoljan humorom osim ove žene.
(Video) Woman: (Laughs)
(Video) Žena: (Smeje se)
Bob Mankoff: That's my first wife. (Laughter) That part of the relationship went fine. (Laughter)
Bob Menkof: To je moja prva žena. (Smeh) Taj deo veze je bio dobar. (Smeh)
Now let's look at this cartoon. One of the things I'm pointing out is that cartoons appear within the context of The New Yorker magazine, that lovely Caslon type, and it seems like a fairly benign cartoon within this context. It's making a little bit fun of getting older, and, you know, people might like it.
Hajde da pogledamo ovaj strip. Jedna od stvari koju ističem je da se stripovi pojavljuju u kontekstu časopisa "Njujorker", ovim lepim Kaslon slovima i izgleda kao prilično bezazlen strip u ovom kontekstu. Malo ismeva starenje i ljudima će se možda svideti.
But like I said, you cannot satisfy everyone. You couldn't satisfy this guy.
Ali kao što sam rekao, ne možete zadovoljiti svakog. Ne možete zadovoljiti ovog tipa.
"Another joke on old white males. Ha ha. The wit. It's nice, I'm sure to be young and rude, but some day you'll be old, unless you drop dead as I wish."
"Još jedna šala na račun starih belih muškaraca. Ha, ha. Duhovitost. Lepo i istinito je biti mlad i nevaspitan, ali jednog dana ćete ostariti osim ako ne crknete kao što bih voleo."
(Laughter)
(Smeh)
The New Yorker is rather a sensitive environment, very easy for people to get their nose out of joint. And one of the things that you realize is it's an unusual environment. Here I'm one person talking to you. You're all collective. You all hear each other laugh and know each other laugh. In The New Yorker, it goes out to a wide audience, and when you actually look at that, and nobody knows what anybody else is laughing at, and when you look at that the subjectivity involved in humor is really interesting.
"Njujorker" je prilično osetljivo okruženje, vrlo lako možete da iznervirate ljude. I jedna od stvari koju shvatite je da je to neobično okruženje. Ovde sam ja jedna osoba koja vam se obraća. Vi ste svi kolektiv. Čujete i poznajete smeh onog drugog. U Njujorkeru to ide u široku publiku i kad posmatrate to, niko ne zna čemu se neko drugi smeje i kad posmatrate to, subjektivnost koja je uključena u humor je stvarno interesantna.
Let's look at this cartoon.
Pogledajmo ovaj strip.
"Discouraging data on the antidepressant."
"Obeshrabrujući podaci o antidepresivima."
(Laughter)
(Smeh)
Indeed, it is discouraging. Now, you would think, well, look, most of you laughed at that. Right? You thought it was funny. In general, that seems like a funny cartoon, but let's look what online survey I did. Generally, about 85 percent of the people liked it. A hundred and nine voted it a 10, the highest. Ten voted it one. But look at the individual responses.
Stvarno je obeshrabrujuće. Rekli biste da se većina vas smejala ovome. Je l' tako? Mislili ste da je smešno. Uopšteno izgleda kao komičan strip, ali pogledajmo onlajn anketu koju sam uradio. Oko 85 posto ljudi je odgovorilo da im se sviđa. 109 njih je dalo ocenu 10 - najvišu. Desetoro njih je dalo jedinicu. Ali pogledajte pojedinačne odgovore.
"I like animals!!!!!" Look how much they like them. (Laughter) "I don't want to hurt them. That doesn't seem very funny to me."
"Ja volim životinje!!!!" Pogledajte koliko ih oni vole. (Smeh) "Ne želim da ih povredim. To mi ne izgleda smešno."
This person rated it a two. "I don't like to see animals suffer -- even in cartoons."
Ova osoba je dala ocenu dva. "Ne volim da vidim da životinje pate - čak ni u stripovima."
To people like this, I point out we use anesthetic ink. Other people thought it was funny. That actually is the true nature of the distribution of humor when you don't have the contagion of humor.
Ovakvim ljudima kažem da koristimo anestetičko mastilo. Drugima je bilo smešno. To je u stvari prava priroda distribucije humora, kad nemate zarazu humorom.
Humor is a type of entertainment. All entertainment contains a little frisson of danger, something that might happen wrong, and yet we like it when there's protection. That's what a zoo is. It's danger. The tiger is there. The bars protect us. That's sort of fun, right? That's a bad zoo. (Laughter) It's a very politically correct zoo, but it's a bad zoo. But this is a worse one. (Laughter) So in dealing with humor in the context of The New Yorker, you have to see, where is that tiger going to be? Where is the danger going to exist? How are you going to manage it? My job is to look at 1,000 cartoons a week. But The New Yorker only can take 16 or 17 cartoons, and we have 1,000 cartoons. Of course, many, many cartoons must be rejected. Now, we could fit more cartoons in the magazine if we removed the articles. (Laughter) But I feel that would be a huge loss, one I could live with, but still huge.
Humor je vrsta zabave. Svaka zabava sadrži malo drhtanja pred opasnošću, pred nečim što može da krene po zlu, pa ipak nam se sviđa kad postoji zaštita. Takav je zoološki vrt. Opasnost. Tu je tigar. Rešetke nas štite. To je na neki način zabavno, zar ne? Ovo je loš zoološki vrt. (Smeh) Vrlo politički korektan zoološki vrt, ali loš. Ali ovaj je još gori. (Smeh) Kad se bavite humorom u kontekstu "Njujorkera" treba da vidite gde će biti taj tigar. Gde će biti opasnost? Kako ćete to da uklopite? Moj posao je da pogledam 1.000 stripova nedeljno. Ali "Njujorker" može da izabere samo 16 ili 17 stripova, a mi imamo 1.000. Naravno, mnogo stripova mora biti odbijeno. Mogli bismo da ubacimo više stripova u časopis ako bismo izbacili članke. (Smeh) Ali mislim da bi to bio veliki gubitak, koji bih mogao da prihvatim, ali bi i dalje bio veliki.
Cartoonists come in through the magazine every week. The average cartoonist who stays with the magazine does 10 or 15 ideas every week. But they mostly are going to be rejected. That's the nature of any creative activity. Many of them fade away. Some of them stay.
Strip crtači dolaze u časopis svake nedelje. Crtač koji ostane u časopisu uradi u proseku 10 do 15 ideja svake nedelje. Ali one će uglavnom biti odbačene. To je priroda svake kreativne aktivnosti. Mnoge od njih nestanu. Neke od njih ostanu.
Matt Diffee is one of them. Here's one of his cartoons. (Laughter)
Met Difi je jedan od njih. Evo jednog od njegovih stripova. (Smeh)
Drew Dernavich. "Accounting night at the improv." "Now is the part of the show when we ask the audience to shout out some random numbers."
Dru Dernavič. "Računovodstveno veče u 'Improv' klubu." "Sada je deo nastupa u kome molimo publiku da uzvikne nekoliko nasumičnih brojeva."
Paul Noth. "He's all right. I just wish he were a little more pro-Israel." (Laughter)
Pol Nout. "On je u redu. Samo bih voleo da je malo više pro-izraelski nastrojen." (Smeh)
Now I know all about rejection, because when I quit -- actually, I was booted out of -- psychology school and decided to become a cartoonist, a natural segue, from 1974 to 1977 I submitted 2,000 cartoons to The New Yorker, and got 2,000 cartoons rejected by The New Yorker. At a certain point, this rejection slip, in 1977 -- [We regret that we are unable to use the enclosed material. Thank you for giving us the opportunity to consider it.] — magically changed to this. [Hey! You sold one. No shit! You really sold a cartoon to the fucking New Yorker magazine.] (Laughter) Now of course that's not what happened, but that's the emotional truth. And of course, that is not New Yorker humor.
Sad znam sve o odbijanju jer kad sam dao otkaz - u stvari bio sam otpušten - u školi za psihologiju i odlučio da postanem strip crtač, prirodan nastavak, od 1974. do 1977. predao sam 2.000 stripova Njujorkeru i 2.000 stripova su mi odbili u Njujorkeru. U jedom momentu 1977., ova omaška u odbijanju - [Žao nam je što nismo u mogućnosti da iskoristimo priloženi materijal. Hvala vam što ste nam pružili priliku da ga razmotrimo.] - magično se promenila u ovo: [Hej! Prodao si jedan. Ne seri! Stvarno si prodao strip jebenom časopisu Njujorker.] (Smeh) Naravno to nije ono što se stvarno desilo, ali to je emocionalna istina. I naravno to nije humor Njujorkera.
What is New Yorker humor? Well, after 1977, I broke into The New Yorker and started selling cartoons. Finally, in 1980, I received the revered New Yorker contract, which I blurred out parts because it's none of your business.
Šta je humor Njujorkera? Posle 1977. ušao sam u Njujorker i počeo da prodajem stripove. Konačno 1980. dobio sam cenjeni ugovor Njujorkera, čije sam neke delove zamutio jer vas se to ne tiče.
From 1980. "Dear Mr. Mankoff, confirming the agreement there of -- " blah blah blah blah -- blur -- "for any idea drawings."
Iz 1980. "Dragi g. Menkof, pottvrđujemo dogovor za... bla, bla, bla, bla - zamućeno - za bilo koje crtanje ideja."
With respect to idea drawings, nowhere in the contract is the word "cartoon" mentioned. The word "idea drawings," and that's the sine qua non of New Yorker cartoons. So what is an idea drawing? An idea drawing is something that requires you to think. Now that's not a cartoon. It requires thinking on the part of the cartoonist and thinking on your part to make it into a cartoon. (Laughter)
Uz dužno poštovanje "crtanju ideja", nigde u ugovoru nije pomenuta reč "strip". Izraz "crtanje ideja" je uslov bez koga se ne može u stripovima Njujorkera. Šta je crtanje ideja? Crtanje ideja je nešto što zahteva da mislite. To nije strip. To zahteva razmišljanje strip crtača i vaše razmišljanje da bi postao strip. (Smeh)
Here are some, generally you get my cast of cartoon mind.
Evo kako izgleda moje stripsko razmišljanje.
"There is no justice in the world. There is some justice in the world. The world is just."
"Nema pravde na svetu. Ima neke pravde na svetu. Svet je pravedan."
This is What Lemmings Believe.
Ovo je ono u šta leminzi veruju.
(Laughter)
(Smeh)
The New Yorker and I, when we made comments, the cartoon carries a certain ambiguity about what it actually is. What is it, the cartoon? Is it really about lemmings? No. It's about us. You know, it's my view basically about religion, that the real conflict and all the fights between religion is who has the best imaginary friend. (Laughter)
Kada smo Njujorker i ja komentarisali, strip nosi određenu nejasnoću u vezi sa sobom. Šta je to strip? Je l' on u vezi sa leminzima? Ne. U vezi s nama je. Moj pogled na religiju je u stvari taj da su pravi sukobi i borbe između religija u vezi s tim ko ima najboljeg zamišljenog prijatelja. (Smeh)
And this is my most well-known cartoon. "No, Thursday's out. How about never — is never good for you?" It's been reprinted thousands of times, totally ripped off. It's even on thongs, but compressed to "How about never — is never good for you?"
Ovo je moj najpoznatiji strip. "Ne. Četvrtak mi je pun. Šta kažeš na nikad - je l' ti odgovara nikad?" Ponovo je štampan stotinama puta, totalno je izrabljen. Ostao je go, ali sažet u: "Šta kažeš na nikad - je l' ti odgovara nikad?"
Now these look like very different forms of humor but actually they bear a great similarity. In each instance, our expectations are defied. In each instance, the narrative gets switched. There's an incongruity and a contrast. In "No, Thursday's out. How about never — is never good for you?" what you have is the syntax of politeness and the message of being rude. That really is how humor works. It's a cognitive synergy where we mash up these two things which don't go together and temporarily in our minds exist. He is both being polite and rude. In here, you have the propriety of The New Yorker and the vulgarity of the language. Basically, that's the way humor works.
Ove forme humora izgledaju vrlo različite, ali u stvari imaju veliku sličnost. U svakom slučaju naša očekivanja se izneveravaju. U svakom slučaju priča se preokreće. Ima nepodudaranja i kontrasta. U rečenici: "Ne. Četvrtak mi je pun. Šta kažeš na nikad - je l' ti odgovara nikad?" imate sintaksu učtivosti i grubu poruku. To je ono kako humor u stvari funkcioniše. To je saznajna sinergija u kojoj mešamo te dve stvari koje ne idu zajedno, a privremeno u našem umu postoje. On je u isto vreme i učtiv i neučtiv. U ovome imate uljudnost Njujorkera i vulgarnost jezika. U osnovi tako humor funkcioniše.
So I'm a humor analyst, you would say. Now E.B. White said, analyzing humor is like dissecting a frog. Nobody is much interested, and the frog dies. Well, I'm going to kill a few, but there won't be any genocide. But really, it makes me — Let's look at this picture. This is an interesting picture, The Laughing Audience. There are the people, fops up there, but everybody is laughing, everybody is laughing except one guy. This guy. Who is he? He's the critic. He's the critic of humor, and really I'm forced to be in that position, when I'm at The New Yorker, and that's the danger that I will become this guy.
Rekli biste da sam analitičar humora. E. B. Vajt je rekao da je analiziranje humora kao seciranje žabe. Niko nije mnogo zainteresovan i žaba umire. Ja ću ubiti nekoliko komada, ali neće biti genocida. Ali stvarno, to mi je... Pogledajmo ovu sliku. Ovo je interesantna slika, "Publika koja se smeje". Tu su ljudi, kicoši tamo gore, ali svi se smeju osim jednog tipa. Ovog tipa. Ko je on? Kritičar. On je kritičar humora i ja sam prisiljen da budem u toj poziciji kad sam u Njujorkeru i postoji opasnost da postanem ovaj tip.
Now here's a little video made by Matt Diffee, sort of how they imagine if we really exaggerated that.
Evo malog videa koji je snimio Met Difi o tome kako oni to zamišljaju, u preuveličanoj formi.
(Video) Bob Mankoff: "Oooh, no. Ehhh. Oooh. Hmm. Too funny. Normally I would but I'm in a pissy mood. I'll enjoy it on my own. Perhaps. No. Nah. No. Overdrawn. Underdrawn. Drawn just right, still not funny enough. No. No. For God's sake no, a thousand times no.
(Video) Bob Menkof: "Hmm, ne. Hmm. Uuu. Hmm. Suviše smešno. Obično bih, ali sam loše raspoložen. Uživaću sam u tome. Možda. Ne. Ne. Previše crteža. Premalo crteža. Prava mera, ali nedovoljno smešno. Ne. Ne. Zaboga ne, hiljadu puta ne.
(Music)
(Muzika)
No. No. No. No. No. [Four hours later] Hey, that's good, yeah, whatcha got there?
Ne. Ne. Ne. Ne. Ne. [Četiri sata kasnije] Hej, to je dobro, šta imaš?
Office worker: Got a ham and swiss on rye?BM: No.
Službenik: Imam šunku i švajcarski sir sa ražanim hlebom? BM: Ne.
Office worker: Okay. Pastrami on sourdough?BM: No.
Službenik: Okej. Goveđi biftek u testu? BM: Ne.
Office worker: Smoked turkey with bacon?BM: No.
Službenik: Dimljenu ćuretinu sa slaninom? BM: Ne.
Office worker: Falafel?BM: Let me look at it. Eh, no. Office worker: Grilled cheese?BM: No. Office worker: BLT?BM: No.
Službenik: Falafel? BM: Da pogledam. Ne. Službenik: Grilovan sir? Službenik: Sendvič sa slaninom? BM: Ne.
Office worker: Black forest ham and mozzarella with apple mustard?BM: No.
Službenik: Dimljenu šunku i mocarelu sa senfom od jabuke? BM: Ne.
Office worker: Green bean salad?BM: No.
Službenik: Salatu od boranije? BM: Ne.
(Music)
(Muzika)
No. No. Definitely no. [Several hours after lunch]
Ne. Ne. Definitivno ne. [Nekoliko sati posle ručka]
(Siren)
(Sirena)
No. Get out of here.
Ne. Beži odavde.
(Laughter)
(Smeh)
That's sort of an exaggeration of what I do.
Ovo je otprilike ono što radim, samo preuveličano.
Now, we do reject, many, many, many cartoons, so many that there are many books called "The Rejection Collection." "The Rejection Collection" is not quite New Yorker kind of humor. And you might notice the bum on the sidewalk here who is boozing and his ventriloquist dummy is puking. See, that's probably not going to be New Yorker humor. It's actually put together by Matt Diffee, one of our cartoonists.
Mi odbijamo mnogo, mnogo stripova, toliko mnogo da ima puno knjiga zvanih "Zbirka odbijenih". "Zbirka odbijenih" je ono što nije baš tip humora Njujorkera. Ovde možete da vidite pijanca trbuhozborca na trotoaru koji loče i njegovu lutku koja povraća. To verovatno neće biti humor Njujorkera. Sastavio ju je u stvari Met Difi, jedan od naših crtača.
So I'll give you some examples of rejection collection humor.
Daću vam neke primere iz zbirke odbijenog humora.
"I'm thinking about having a child."
"Razmišljam o tome da imam dete."
(Laughter)
(Smeh)
There you have an interesting -- the guilty laugh, the laugh against your better judgment.
Ovde imate interesantan - smeh krivice, smejanje protivno zdravom razumu.
(Laughter)
(Smeh)
"Ass-head. Please help."
"Dupeglavac. Molim pomozite."
(Laughter)
(Smeh)
Now, in fact, within a context of this book, which says, "Cartoons you never saw and never will see in The New Yorker," this humor is perfect. I'm going to explain why. There's a concept about humor about it being a benign violation. In other words, for something to be funny, we've got to think it's both wrong and also okay at the same time. If we think it's completely wrong, we say, "That's not funny." And if it's completely okay, what's the joke? Okay? And so, this benign, that's true of "No, Thursday's out. How about never — is never good for you?" It's rude. The world really shouldn't be that way. Within that context, we feel it's okay. So within this context, "Asshead. Please help" is a benign violation.
U stvari, u kontekstu ove knjige koja kaže: "Stripovi koje nikad niste i nikada nećete videti u Njujorkeru", ovaj humor je savršen. Objasniću zašto. Postoji koncept humora kao dobroćudnog nasilja. Drugim rečima, da bi nešto bilo smešno moramo da mislimo da je i pogrešno i ispravno istovremeno. Ako mislimo da je potpuno pogrešno, kažemo: "To nije smešno." A ako je potpuno u redu, u čemu je vic? Ovaj dobroćudni: "Ne, četvrtak mi je pun. Šta kažeš na nikad - je l' ti odgovara nikad?" Nepristojno je. Svet ne bi trebalo da funkcioniše tako. U tom kontekstu izgleda nam u redu. U ovom kontekstu: "Dupeglavac. Molim pomozite." je dobroćudno nasilje.
Within the context of The New Yorker magazine ... "T-Cell Army: Can the body's immune response help treat cancer?" Oh, goodness. You're reading about this smart stuff, this intelligent dissection of the immune system. You glance over at this, and it says, "Asshead. Please help"? God. So there the violation is malign. It doesn't work. There is no such thing as funny in and of itself. Everything will be within the context and our expectations.
U kontekstu časopisa Njujorker... "Armija T ćelija: Može li imunološki odgovor tela pomoći u lečenju raka?" O, bože. Čitate o ovim pametnim stvarima, o ovoj inteligentnoj analizi imunog sistema. Bacite pogled na ovo i to kaže: "Dupeglavac. Molim pomozite."? Bože. Tu je nasilje zloćudno. Ne funkcioniše. Ne postoji smešno samo po sebi. Sve će biti u zavisnosti od konteksta i naših očekivanja.
One way to look at it is this. It's sort of called a meta-motivational theory about how we look, a theory about motivation and the mood we're in and how the mood we're in determines the things we like or dislike. When we're in a playful mood, we want excitement. We want high arousal. We feel excited then. If we're in a purposeful mood, that makes us anxious. "The Rejection Collection" is absolutely in this field. You want to be stimulated. You want to be aroused. You want to be transgressed. It's like this, like an amusement park.
Jedan način da se to posmatra je ovaj. Zove se otprilike meta-motivaciona teorija o tome kako izgledamo, teorija o motivaciji i našem raspoloženju i kako naše raspoloženje određuje da li ćemo nešto da volimo ili ne. Kad smo u veselom raspoloženju, hoćemo uzbuđenje. Hoćemo veliki nadražaj. Onda osećamo uzbuđenje. Kad imamo potrebu za smislom, to nas čini nestrpljivim. "Zbirka odbijenih" je apsolutno u ovom polju. Hoćete da vas stimulišu. Hoćete da vas uzbude. Hoćete da pređete granicu. Ovako je, kao u zabavnom parku.
Voice: Here we go. (Screams)
Glas: Idemo. (Vrištanje)
He laughs. He is both in danger and safe, incredibly aroused. There's no joke. No joke needed. If you arouse people enough and get them stimulated enough, they will laugh at very, very little.
Smeje se. Istovremeno je i u opasnosti i siguran je, neverovatno uzbuđen. Tu nema šale. Šala nije potrebna. Ako ljude uzbudite dovoljno i stimulišete ih dovoljno oni će se smejati vrlo malo.
This is another cartoon from "The Rejection Collection." "Too snug?" That's a cartoon about terrorism. The New Yorker occupies a very different space. It's a space that is playful in its own way, and also purposeful, and in that space, the cartoons are different.
Ovo je još jedan strip iz "Kolekcije odbijenih". "Previše udobno?" Ovo je strip o terorizmu. Njujorker zauzima vrlo drugačiji prostor. To je prostor koji je zabavan na svoj način i takođe sa svrhom i u tom prostoru stripovi su drugačiji.
Now I'm going to show you cartoons The New Yorker did right after 9/11, a very, very sensitive area when humor could be used. How would The New Yorker attack it? It would not be with a guy with a bomb saying, "Too snug?" Or there was another cartoon I didn't show because actually I thought maybe people would be offended. The great Sam Gross cartoon, this happened after the Muhammad controversy where it's Muhammad in heaven, the suicide bomber is all in little pieces, and he's saying to the suicide bomber, "You'll get the virgins when we find your penis."
Sada ću vam pokazati stripove koje je Njujorker uradio odmah posle 11. septembra, vrlo osetljiva oblast za korišćenje humora. Kako bi to Njujorker uradio? To ne bi bio tip sa bombom koji pita: "Previše udobno?". Ili, postoji još jedan strip koji vam nisam pokazao jer sam pomislio da će se ljudi možda uvrediti. Strip velikog Sema Grosa, ovo se desilo posle kontroverze s Muhamedom, gde je Muhamed u raju, bombaš samoubica je sav u sitnim komadima i on kaže bombašu samoubici: "Dobićeš device kada nađemo tvoj penis."
(Laughter)
(Smeh)
Better left undrawn.
Bolje ostaviti nenacrtano.
The first week we did no cartoons. That was a black hole for humor, and correctly so. It's not always appropriate every time. But the next week, this was the first cartoon.
Prve nedelje nismo uopšte radili stripove. To je bila crna rupa za humor i to je bilo ispravno. Nije uvek primereno. Ali sledeće nedelje, ovo je bio prvi strip.
"I thought I'd never laugh again. Then I saw your jacket."
"Mislila sam da se nikad više neću smejati. Onda sam videla tvoju jaknu."
It basically was about, if we were alive, we were going to laugh. We were going to breathe. We were going to exist. Here's another one.
U osnovi se radi o tome da, ako smo živi, smejaćemo se. Disaćemo. Nastavićemo da postojimo. Evo još jednog.
"I figure if I don't have that third martini, then the terrorists win."
"Mislim da ako ne naručim taj treći martini, onda su teroristi pobedili."
These cartoons are not about them. They're about us. The humor reflects back on us. The easiest thing to do with humor, and it's perfectly legitimate, is a friend makes fun of an enemy. It's called dispositional humor. It's 95 percent of the humor. It's not our humor.
Ovi stripovi nisu o njima. Oni su o nama. Humor govori o nama. Najlakše što možete uraditi sa humorom i to je savršeno legitimno, je da prijatelj ismeva neprijatelja. Zove se dispozicioni humor. On čini 95 posto humora. To nije naš humor.
Here's another cartoon.
Evo još jednog stripa.
"I wouldn't mind living in a fundamentalist Islamic state."
"Ne bi mi smetalo da živim u fundamentalističkoj islamskoj državi."
(Laughter)
(Smeh)
Humor does need a target. But interestingly, in The New Yorker, the target is us. The target is the readership and the people who do it. The humor is self-reflective and makes us think about our assumptions. Look at this cartoon by Roz Chast, the guy reading the obituary.
Humoru treba meta. Ali interesantno, u Njujorkeru meta smo mi. Meta su čitaoci i ljudi koji ga prave. Humor je refleksivan i tera nas da razmislimo o svojim pretpostavkama. Pogledajte ovaj strip Roz Čest, tip čita čitulje.
"Two years younger than you, 12 years older than you, three years your junior, your age on the dot, exactly your age."
"Dve godine mlađi od tebe, 12 godina stariji od tebe, 3 godine mlađi, tu negde, tačno tvojih godina."
That is a deeply profound cartoon. And so The New Yorker is also trying to, in some way, make cartoons say something besides funny and something about us. Here's another one.
To je dubok strip. Njujorker takođe pokušava, na neki način, da pravi stripove koji nešto poručuju o nama, opored toga što su smešni. Evo još jednog.
"I started my vegetarianism for health reasons, Then it became a moral choice, and now it's just to annoy people."
"Postala sam vegetarijanac prvo zbog zdravlja, onda je to postao moralni izbor, a sad je samo zato da nerviram ljude."
(Laughter)
(Smeh)
"Excuse me — I think there's something wrong with this in a tiny way that no one other than me would ever be able to pinpoint."
"Izvinite - mislim da nešto nije u redu sa ovim, tako sitno, da niko drugi osim mene ne bi to uopšte mogao da primeti."
So it focuses on our obsessions, our narcissism, our foils and our foibles, really not someone else's.
Stavlja u fokus naše opsesije, naš narcizam, naše frustracije i naše slabosti, a ne nečije druge.
The New Yorker demands some cognitive work on your part, and what it demands is what Arthur Koestler, who wrote "The Act of Creation" about the relationship between humor, art and science, is what's called bisociation. You have to bring together ideas from different frames of reference, and you have to do it quickly to understand the cartoon. If the different frames of reference don't come together in about .5 seconds, it's not funny, but I think they will for you here. Different frames of reference.
Njujorker zahteva neku vašu spoznaju i to je ono što je Artur Kesler, koji je napisao "Čin kreacije" o odnosu između humora, umetnosti i nauke, nazvao bisocijacija. Treba da spojite ideje iz različitih referentnih sistema i treba da uradite to brzo da biste razumeli strip. Ako se različiti referentni sistemi ne spoje za otprilike 0.5 sekundi, onda nije smešno, ali mislim da ovde hoće. Različiti referentni sistemi.
"You slept with her, didn't you?"
"Spavao si s njom, zar ne?"
(Laughter)
(Smeh)
"Lassie! Get help!!"
"Lesi! Potraži pomoć!"
(Laughter)
(Smeh)
It's called French Army Knife.
Ovo se zove francuski nož.
(Laughter)
(Smeh)
And this is Einstein in bed. "To you it was fast."
A ovo je Ajnštajn u krevetu. "Tebi je izgledalo brzo."
(Laughter)
(Smeh)
Now there are some cartoons that are puzzling. Like, this cartoon would puzzle many people. How many people know what this cartoon means? The dog is signaling he wants to go for a walk. This is the signal for a catcher to walk the dog. That's why we run a feature in the cartoon issue every year called "I Don't Get It: The New Yorker Cartoon I.Q. Test." (Laughter)
Ima nekih stripova koji su zbunjujući. Na primer ovaj strip bi zbunio mnoge ljude. Koliko ljudi zna šta ovaj strip znači? Pas signalizira da hoće da ide u šetnju. Ovo je signal za hvatača da prošeta psa. Zato pravimo feljton u strip izdanju svake godine pod nazivom: "Ne kapiram: Test inteligencije Njujorkera." (Smeh)
The other thing The New Yorker plays around with is incongruity, and incongruity, I've shown you, is sort of the basis of humor. Something that's completely normal or logical isn't going to be funny. But the way incongruity works is, observational humor is humor within the realm of reality.
Druga stvar sa kojom se Njujorker igra je nesklad. Pokazao sam vam da je nesklad na neki način osnova humora. Nešto što je potpuno normalno ili logično neće biti smešno. Ali nesklad funkcioniše tako, da je pronicljiv humor onaj koji je u domenu realnosti.
"My boss is always telling me what to do." Okay? That could happen. It's humor within the realm of reality.
"Moj šef mi uvek govori šta da radim." Okej? To može da se desi. Humor u domenu realnosti.
Here, cowboy to a cow: "Very impressive. I'd like to find 5,000 more like you."
Ovde, kauboj se obraća kravi: "Veoma impresivno. Voleo bih da nađem još 5.000 takvih kao ti."
We understand that. It's absurd. But we're putting the two together.
Mi razumemo to. Apsurdno je. Ali povezali smo.
Here, in the nonsense range:
Ovde, u oblasti besmislice:
"Damn it, Hopkins, didn't you get yesterday's memo?"
"Dođavola, Hopkinse, zar nisi dobio jučerašnji podsetnik?"
Now that's a little puzzling, right? It doesn't quite come together. In general, people who enjoy more nonsense, enjoy more abstract art, they tend to be liberal, less conservative, that type of stuff. But for us, and for me, helping design the humor, it doesn't make any sense to compare one to the other. It's sort of a smorgasbord that's made all interesting.
To je malo zbunjujuće, zar ne? Nije baš povezano. Generalno, ljudi koji više uživaju u besmislicama, uživaju više u apstraktnoj umetnosti, naginju ka liberalnom, manje konzervativnom, takve stvari. Ali za nas i za mene koji pomažem u dizajniranju humora nema nikakvog smisla da poredimo jedno s drugim. Neka vrsta miksa je ono što čini sve to interesantnim.
So I want to sum all this up with a caption to a cartoon, and I think this sums up the whole thing, really, about The New Yorker cartoons.
Želim da sumiram sve ovo jednim titlom za strip i mislim da to sumira celu stvar u vezi sa stripovima iz Njujorkera.
"It sort of makes you stop and think, doesn't it."
"Tera te da staneš i zamisliš se, zar ne"
(Laughter)
(Smeh)
And now, when you look at New Yorker cartoons, I'd like you to stop and think a little bit more about them.
Kad pogledate Njujorkerove stripove, voleo bih da stanete i razmislite još malo o njima.
Thank you.
Hvala vam.
(Applause) Thank you. (Applause)
(Aplauz) Hvala vam.