Now when we think of our senses, we don't usually think of the reasons why they probably evolved, from a biological perspective. We don't really think of the evolutionary need to be protected by our senses, but that's probably why our senses really evolved -- to keep us safe, to allow us to live. Really when we think of our senses, or when we think of the loss of the sense, we really think about something more like this: the ability to touch something luxurious, to taste something delicious, to smell something fragrant, to see something beautiful. This is what we want out of our senses. We want beauty; we don't just want function. And when it comes to sensory restoration, we're still very far away from being able to provide beauty. And that's what I'd like to talk to you a little bit about today.
Kada razmišljamo o našim osjetilima, obično ne razmišljamo o razlogu zbog kojeg su se vjerojatno razvila, sa biološke strane. Zapravo ne razmišljamo o evolucijskoj potrebi da budemo zaštićeni svojim osjetilima, ali to je vjerojatno razlog što su se naša osjetila stvarno razvila – da nas zaštite, da nam dopuste da živimo. Zapravo kad razmišljamo o svojim osjetilima ili kad razmišljamo o njihovom gubitku, zapravo razmišljamo o nečemu sličnijem ovome: sposobnost da dotaknemo nešto luksuzno, okusimo nešto ukusno, pomirišimo nešto mirišljavo, vidimo nešto predivno. To je ono što mi želimo od naših osjetila. Želimo ljepotu, ne želimo samo funkciju. I kad se radi o oporavku osjetila, još uvijek smo vrlo daleko od toga da možemo pružiti ljepotu. I to je ono o čemu bih vam htio malo pričati danas.
Likewise for hearing. When we think about why we hear, we don't often think about the ability to hear an alarm or a siren, although clearly that's an important thing. Really what we want to hear is music.
Isto vrijedi i za sluh. Kad razmislimo o tome zašto čujemo, ne pomislimo često na mogućnost da čujemo alarm ili sirenu, iako je to očito bitna stvar. Ono što stvarno želimo čuti je glazba.
(Music)
(Glazba)
So many of you know that that's Beethoven's Seventh Symphony. Many of you know that he was deaf, or near profoundly deaf, when he wrote that. Now I'd like to impress upon you how unusual it is that we can hear music. Music is just one of the strangest things that there is. It's acoustic vibrations in the air, little waves of energy in the air that tickle our eardrum. Somehow in tickling our eardrum that transmits energy down our hearing bones, which get converted to a fluid impulse inside the cochlea and then somehow converted into an electrical signal in our auditory nerves that somehow wind up in our brains as a perception of a song or a beautiful piece of music. That process is entirely abstract and very, very unusual. And we could discuss that topic alone for days to really try to figure out, how is it that we hear something that's emotional from something that starts out as a vibration in the air?
Mnogi od vas znaju da je to Beethovenova Sedma simfonija. Mnogi od vas znaju da je on bio gluh, ili gotovo gluh kada je to napisao. Sada bih vas htio impresionirati time koliko je neobično to što možemo čuti glazbu. Glazba je jedna od najčudnijih stvari što postoje. To su akustične vibracije u zraku, mali valovi energije u zraku koje škakljaju naš bubnjić. Nekako tijekom škakljanja tog bubnjića prenosi se energija do naših slušnih koščica, što se pretvara u tečan impuls unutar pužnice i onda se nekako pretvara u električni signal u našim slušnim živcima koji nekako završe u našem mozgu kao percepcija pjesme ili prekrasnog glazbenog djela. Taj proces je potpuno apstraktan i vrlo, vrlo neobičan. I mogli bismo pričati samo o toj temi danima da bismo pokušali shvatiti kako to da nešto što je počelo kao vibracija u zraku čujemo kao emocionalno?
Turns out that if you have hearing loss, most people that lose their hearing lose it at what's called the cochlea, the inner ear. And it's at the hair cell level that they do this. Now if you had to pick a sense to lose, I have to be very honest with you and say, we're better at restoring hearing than we are at restoring any sense that there is. In fact, nothing even actually comes close to our ability to restore hearing. And as a physician and a surgeon, I can confidently tell my patients that if you had to pick a sense to lose, we are the furthest along medically and surgically with hearing. As a musician, I can tell you that if I had to have a cochlear implant, I'd be heartbroken. I'd just be plainly heartbroken, because I know that music would never sound the same to me.
Čini se da ako imate gubitak sluha, većina ljudi koji izgube svoj sluh, izgube ga u onome što se zove pužnica, unutrašnje uho. I to na razini stanica sa dlačicama. Kad biste morali izabrati koji ćete osjet izgubiti, moram biti iskren i reći da smo bolji u obnavljanju sluha nego u obnavljanju bilo kojeg drugog osjeta koji postoji. Zapravo, ništa nije ni blizu našoj sposobnost da vratimo sluh. Kao doktor i kirurg mogu pouzdano reći svojim pacijentima da, kada bi morali birati koji osjet će izgubiti, da smo medicinski i kirurški najdalje stigli sa sluhom. Kao glazbenik, mogu vam reći da, kada bih morao imati umjetnu pužnicu, to bi mi slomilo srce. Jednostavno bi mi slomilo srce, jer znam da mi glazba nikada ne bi isto zvučala.
Now this is a video that I'm going to show you of a girl who's born deaf. She's in a very supportive environment. Her mother's doing everything she can. Okay, play that video please.
Ovo je video koji ću vam pokazati o curici koja je rođena gluha. Ona je u okruženju koje je jako podržava. Njena majka radi sve što može. U redu, pustite taj video molim.
(Video) Mother: That's an owl. Owl, yeah. Owl. Owl. Yeah. Baby. Baby. You want it? (Kiss)
(Video) Majka: To je sova. Sova, da. Sova. Sova. Da. Dijete. Dijete. Želiš ju? (Poljubac)
Charles Limb: Now despite everything going for this child in terms of family support and simple infused learning, there is a limitation to what a child who's deaf, an infant who was born deaf, has in this world in terms of social, educational, vocational opportunities. I'm not saying that they can't live a beautiful, wonderful life. I'm saying that they're going to face obstacles that most people who have normal hearing will not have to face.
Charles Limb: Unatoč svemu što ide u korist ovom djetetu u vidu obiteljske podrške i jednostavnog učenja postoji ograničenje prema onome što dijete koje je gluho, maleno dijete rođeno gluho, ima u ovom svijetu što se tiče društvenih, obrazovnih i glasovnih mogućnosti. Ne kažem da ne mogu imati prekrasan, predivan život. Kažem da će naići na prepreke s kojima se većina ljudi s normalnim sluhom ne mora suočiti.
Now hearing loss and the treatment for hearing loss has really evolved in the past 200 years. I mean literally, they used to do things like stick ear-shaped objects onto your ears and stick funnels in. And that was the best you could do for hearing loss. Back then you couldn't even look at the eardrum. So it's not too surprising that there were no good treatments for hearing loss.
Dakle, gubitak sluha i liječenje gubitka sluha se mnogo razvilo u zadnjih 200 godina. Mislim doslovno, nekada su ljudi znali zataknuti predmete nalik uhu na vaše uho i umetnuti lijevke u njih. I to je bilo najbolje što ste mogli napraviti za gubitak sluha. Tada niste mogli ni pogledati bubnjić. Stoga nije previše iznenađujuće što nije bilo nikakvog dobrog tretmana za gubitak sluha.
And now today we have the modern multi-channel cochlear implant, which is an outpatient procedure. It's surgically placed inside the inner ear. It takes about an hour and a half to two hours, depending on where it's done, under general anesthesia. And in the end, you achieve something like this where an electrode array is inserted inside the cochlea. Now actually, this is quite crude in comparison to our regular inner ear.
A danas ugrađujemo modernu višekanalnu umjetnu pužnicu, što je procedura koja ne zahtijeva noćenje u bolnici. Kirurški se stavlja unutar unutarnjeg uha. Traje otprilike sat i pol do dva sata, ovisno o tome gdje se obavlja, pod općom anestezijom. I na kraju, postignete nešto kao ovo ovdje gdje je niz elektroda umetnut unutar pužnice. No zapravo , ovo je vrlo banalno u usporedbi s našim normalnim unutarnjim uhom.
But here is that same girl who is implanted now. This is her 10 years later. And this is a video that was taken by my surgical mentor, Dr. John Niparko, who implanted her. If we could play this video please.
Ali ovdje je ona ista curica koja sada ima pužnicu. To je ona 10 godina kasnije. I ovo je video koji je snimio moj kirurški mentor, dr. John Niparko koji joj je usadio implant. Ako biste mogli pustiti ovaj video, molim.
(Video) John Niparko: So you've written two books?
(Video) John Niparko: Dakle napisala si dvije knjige?
Girl: I have written two books. (Mother: Was the other one a book or a journal entry?) Girl: No, the other one was a book. (Mother: Oh, okay.)
Djevojčica: Napisala sam dvije knjige. (Majka: Je li druga bila knjiga ili dnevnik?) Djevojčica: Ne, druga je bila knjiga. (Majka: O, dobro. )
JN: Well this book has seven chapters, and the last chapter is entitled "The Good Things About Being Deaf." Do you remember writing that chapter?
JN: Pa ova knjiga ima sedam poglavlja, i zadnje poglavlje je naslovljeno „Dobre stvari u gluhoći.“ Sjećaš li se da si napisala ovo poglavlje?
Girl: Yes I do. I remember writing every chapter.
Djevojčica: Da, sjećam se. Sjećam se pisanja svakog poglavlja.
JN: Yeah. Girl: Well sometimes my sister can be kind of annoying. So it comes in handy to not be annoyed by her.
JN: Da. Djevojčica: Pa ponekad moja sestra zna biti pomalo naporna. Pa bude korisno kad mi ona ne smeta.
JN: I see. And who is that?
JN: Vidim. A tko je ovo?
Girl: Holly. (JN: Okay.)
Djevojčica: Holly. (JN: U redu.)
Mother: Her sister. (JN: Her sister.) Girl: My sister.
Majka: Njena sestra. (JN: Njena sestra) Djevojčica: Moja sestra.
JN: And how can you avoid being annoyed by her?
JN: I kako možeš izbjeći da ti ona dosađuje?
Girl: I just take off my CI, and I don't hear anything. (Laughter) It comes in handy.
Djevojčica: Samo skinem svoj umetak i onda ništa ne čujem. (Smijeh) Korisno je.
JN: So you don't want to hear everything that's out there?
JN: Dakle ne želiš čuti sve što možeš?
Girl: No.
Djevojčica: Ne.
CL: And so she's phenomenal. And there's no way that you can't look at that as an overwhelming success. It is. It's a huge success story in modern medicine. However, despite this incredible facility that some cochlear implant users display with language, you turn on the radio and all of a sudden they can't hear music almost at all. In fact, most implant users really struggle and dislike music because it sounds so bad. And so when it comes to this idea of restoring beauty to somebody's life, we have a long way to go when it comes to audition.
CL: I dakle, ona je fenomenalna. I nema šanse da ne možete gledati na to kao na nadmoćan uspjeh. Stvarno je. To je ogromna priča o uspjehu moderne medicine. Međutim, unatoč ovoj nevjerojatnoj mogućnosti koju neki korisnici umjetnih pužnica pokazuju sa jezikom, upalite radio i odjednom gotovo uopće ne mogu čuti glazbu. Zapravo, većina korisnika umjetnih pužnica stvarno se muči i ne voli glazbu jer zvuči tako loše. I kada dođemo do zamisli da vratimo ljepotu u nečiji život, imamo vrlo dug put kada se radi o sluhu.
Now there are a lot of reasons for that. I mentioned earlier the fact that music is a different capacity because it's abstract. Language is very different. Language is very precise. In fact, the whole reason we use it is because it has semantic-specificity. When you say a word, what you care is that word was perceived correctly. You don't care that the word sounded pretty when it was spoken.
No, postoji puno razloga za to. Spomenuo sam ranije da je glazba drugačije svojstvo zato što je apstraktna. Jezik je puno drugačiji. Jezik je vrlo precizan. Zapravo, pravi razlog zašto ga koristimo je taj što ima semantičku specifičnost. Kad kažete riječ, ono što je bitno jest da je ta riječ pravilno percepirana. Nije vas briga je li riječ zvučala lijepo kad je izgovorena.
Music is entirely different. When you hear music, if it doesn't sound good, what's the point? There's really very little point in listening to music when it doesn't sound good to you. The acoustics of music are much harder than those of language. And you can see on this figure, that the frequency range and the decibel range, the dynamic range of music is far more heterogeneous. So if we had to design a perfect cochlear implant, what we would try to do is target it to be able to allow music transmission. Because I always view music as the pinnacle of hearing. If you can hear music, you should be able to hear anything.
Glazba je potpuno drugačija. Kada čujete glazbu, ako ne zvuči dobro, koji je smisao? Gotovo da nema svrhe u slušanju glazbe kada vam ne zvuči dobro. Akustika glazbe je puno složenija od jezične. I možete vidjeti na ovoj slici da raspon frekvencije i raspon decibela, raspon dinamike glazbe je puno više heterogen. Stoga kada bismo morali dizajnirati savršenu umjetnu pužnicu, ono što bismo pokušali napraviti jest ciljati da možemo omogućiti prijenos glazbe. Zato što uvijek vidim glazbu kao vrhunac sluha. Ako možete čuti glazbu, trebali biste moći čuti sve.
Now the problems begin first with pitch perception. I mean, most of us know that pitch is a fundamental building block of music. And without the ability to perceive pitch well, music and melody is a very difficult thing to do -- forget about a harmony and things like that. Now this is a MIDI arrangement of Rachmaninoff's Prelude. Now if we could just play this.
Problem počinje prvo s percepcijom visine tona. Mislim, većina nas zna da je visina tona osnovni građevni materijal glazbe. I bez sposobnosti da percepiramo visinu tona dobro, glazba i melodija su vrlo teške za napraviti – zaboravite na harmoniju i slične stvari. Ovo je MIDI aranžman Rachmaninoffova preludija. Ako bismo mogli to pustiti.
(Music)
(Glazba)
Okay, now if we consider that in a cochlear implant patient pitch perception could be off as much as two octaves, let's see what happens here when we randomize this to within one semitone. We would be thrilled if we had one semitone pitch perception in cochlear implant users. Go ahead and play this one.
Ok, ako uzmemo u obzir da percepcija visine tona pacijenta s ugrađenom umjetnom pužnicom može biti pogrešna za čak dvije oktave, pogledajmo šta se događa kada uzmemo slučajni uzorak unutar jednog polutona. Bilo bi zaista izvrsno kada bismo imali percepciju visine jednog polutona kod pacijenata s ugrađenom pužnicom. Pustite glazbu.
(Music)
(Glazba)
Now my goal in showing you that is to show you that music is not robust to degradation. You distort it a little bit, especially in terms of pitch, and you've changed it. And it might be that you kind of like that. That's kind of hypnotic. But it certainly wasn't the way the music was intended. And you're not hearing the same thing that most people who have normal hearing are hearing.
Moj cilj je pokazati vam da glazba nije otporna na degradaciju. Napravimo distorziju, pogotovo visine tona, i promijenili smo ju. Možda vam se to i sviđa. Hipnotično je, na neki način, ali zasigurno ne predstavlja oblik koji je prvobitno zamišljen. Nećete čuti istu stvar koju čuje većina ljudi s normalnim sluhom.
Now the other issue comes with, not just the ability to tell pitches apart, but the ability to tell sounds apart. Most cochlear implant users cannot tell the difference between an instrument. If we could play these two sound clips in succession. (Trumpet) The trumpet. And the second one. (Violin) That's a violin. These have similar wave forms. They're both sustained instruments. Cochlear implant users cannot tell the difference between these instruments. The sound quality, or the sound of the sound is how I like to describe timbre, tone color -- they cannot tell these things whatsoever. This implant is not transmitting the quality of music that usually provides things like warmth.
Sljedeći problem je ne samo sa sposobnošću razlikovanja visine tona, nego i sa sposobnošću razlikovanja zvukova. Većina korisnika umjetne pužnice ne može razlikovati zvukove koje proizvode različiti instrumenti. Ako bismo pustili ova dva zvuka jedan za drugim. (Truba) Truba. I sljedeći. (Violina) To je violina. Ova dva instrumenta imaju slične valne oblike i trajanje tona. Korisnici umjetne pužnice ne mogu razlikovati ova dva instrumenta. Kvaliteta zvuka, ili "zvuk zvuka" kako ja volim opisati boju tona - oni ju uopće ne mogu razlikovati. Ovaj implantat ne prenosi osobine glazbe koje joj obično daju toplinu i slično.
Now if you look at the brain of an individual who has a cochlear implant and you have them listen to speech, have them listen to rhythm and have them listen to melody, what you find is that the auditory cortex is the most active during speech. You would think that because these implants are optimized for speech, they were designed for speech. But actually if you look at melody, what you find is that there's very little cortical activity in implant users compared with normal hearing controls. So for whatever reason, this implant is not successfully stimulating auditory cortices during melody perception.
Ako pogledate mozak osobe koja ima umjetnu pužnicu i date joj da sluša govor, ritam i melodiju, otkrit ćete da će slušni korteks biti najaktivniji tijekom slušanja govora. Pomislit ćete da je to zato što su te pužnice namijenjene govoru, dizajnirane za slušanje govora. Ali, ako pogledate slušanje melodije, otkrit ćete da je tu vrlo malo kortikalne aktivnosti kod korisnika umjetne pužnice, u odnosu na kontrolnu skupinu normalnog sluha. Tako da, koji god je razlog, umjetna pužnica nije uspješna u stimulaciji slušnog korteksa tijekom percepcije melodije.
Now the next question is, well how does it really sound? Now we've been doing some studies to really get a sense of what sound quality is like for these implant users. I'm going to play you two clips of Usher, one which is normal and one which has almost no high frequencies, almost no low frequencies and not even that many mid frequencies. Go ahead and play that.
Sljedeće pitanje je, kako to doista zvuči? Radili smo neka istraživanja da bismo shvatili kakva je kvaliteta zvuka za korisnike implanta. Pustit ću vam dva isječka Ushera, jedan normalan, a jedan skoro u potpunosti bez visokih frekvencija, bez niskih frekvencija, a čak ne ni tako puno srednjih frekvencija. Pustite to.
(Music)
(Glazba)
(Limited Frequency Music)
(Glazba ograničene frekvencije)
I had patients tell me that those sound the same. They cannot differentiate sound quality differences between those two clips. Again, we are very, very far away in just getting to where we want to get to.
Imao sam pacijente koji bi mi rekli da zvuče jednako. Ne mogu razlikovati kvalitetu zvuka između ova dva isječka. Opet, mi smo vrlo, vrlo daleko od postizanja cilja.
Now the question comes to mind: Is there any hope? And yes, there is hope. Now I don't know if anybody knows who this is. This is ... does somebody know? This is Beethoven. Now why would we know what Beethoven's skull looks like? Because his grave was exhumed. And it turns out that his temporal bones were harvested when he died to try to look at the cause of his deafness, which is why he has molding clay and his skull is bulging out on the side there. But Beethoven composed music long after he lost his hearing. What that suggests is that, even in the case of hearing loss, the capacity for music remains. The brains remain hardwired for music.
Sada na pamet pada pitanje: Ima li ikakve nade? Da, ima nade. Ne znam zna li itko tko je ovo. Ovo je ... Zna li netko? Ovo je Beethoven. Zašto bismo mi znali kako izgleda Beethovenova lubanja? Zato što je njegov grob ekshumiran i pokazalo se da su njegove temporalne kosti uzete kako bi se ustanovio razlog gluhoće, stoga je tu glina za oblikovanje, a njegova lubanja strši tu sa strane. Ali, Beethoven je skladao dugo nakon što je izgubio sluh. To nam pokazuje da, čak i u slučaju gubitka sluha, zadržavamo glazbenu sposobnost. Mozak ostaje "ožičen" za glazbu.
I've been very lucky to work with Dr. David Ryugo where I've been working on deaf cats that are white and trying to figure out what happens when we give them cochlear implants. This is a cat that's been trained to respond to a trumpet for food.
Imao sam sreću raditi s dr. Davidom Ryugom, gdje sam radio na gluhim, bijelim mačkama, pokušavajući shvatiti što se dogodi kad im ugradimo umjetnu pužnicu. Ovo je mačka koja je trenirana da nakon trubljenja očekuje hranu.
(Music)
(Glazba)
Text: Beethoven doesn't excite her. (Music) The "1812 Overture" isn't worth waking for. (Trumpet) But she jumps to action when called to duty! (Trumpet)
Tekst: Beethoven ju ne uzbuđuje. (Glazba) "1812. uvertira" nije vrijedna buđenja. (Truba) Ali skače u akciju kada je pozvana na dužnost! (Truba)
CL: Now I'm not suggesting that the cat is hearing that trumpet the way we're hearing it. I'm suggesting that with training you can imbue a musical sound with significance, even in a cat. If we were to direct efforts towards training cochlear implant users to hear music -- because right now there's virtually no effort put towards that, no rehabilitative strategies, very little in the way of technological advances to actually improve music -- we would come a long way.
CL: Ne želim reći da mačka čuje trubu na način na koji ju mi čujemo. Samo hoću reći da se treningom može usvojiti zvuk sa značenjem, čak i kod mačke. Ako bismo ulagali trud u treniranje korisnika umjetne pužnice da čuju glazbu, budući da se trenutno ne ulaže trud u to, nema rehabilitacijskih strategija, jako malo je tehničkih pristupa da bi se poboljšala glazba - napravili bismo veliki napredak.
Now I want to show you one last video. And this is of a student of mine named Joseph who I had the good fortune to work with for three years in my lab. He's deaf, and he learned to play the piano after he received the cochlear implant. And here's a video of Joseph.
Sada vam želim pokazati zadnji video. Ovo je jedan moj student, Joseph, s kojim sam imao sreću raditi 3 godine u svom laboratoriju. On je gluh i naučio je svirati klavir nakon što mu je ugrađena umjetna pužnica. Ide video o Josephu.
(Music)
(Glazba)
(Video) Joseph: I was born in 1986. And at about four months old, I was diagnosed with profoundly severe hearing loss. Not long after, I was fitted with hearing aids. But although these hearing aids were the most powerful hearing aids on the market at the time, they weren't very helpful. So as a result, I had to rely on lip reading a lot, and I couldn't really hear what people were saying. When I was 12 years old, I was one of the first few people in Singapore who underwent cochlear implantation. And not long after I got my cochlear implant, I started learning how to play piano. And it was absolutely wonderful. Since then, I've never looked back.
(Video) Joseph: Rođen sam 1986. Kad sam imao oko 4 mjeseca, dijagnosticirano mi je teško oštećenje sluha. Nedugo nakon toga, dobio sam slušna pomagala. Ali, iako su ta slušna pomagala bila najjača na tržištu tada, nisu bila od pomoći. Kao rezultat, morao sam se puno oslanjati na čitanje s usana, i nisam baš čuo što ljudi govore. Kada sam imao 12 godina, bio sam jedan od prvih ljudi u Singapuru koji je podvrgnut implantaciji pužnice. Ubrzo nakon toga, počeo sam učiti svirati klavir. I bilo je apsolutno prekrasno. Od tada, nisam pomišljao na prošlost.
CL: Joseph is phenomenal. He's brilliant. He is now a medical student at Yale University, and he's contemplating a surgical career -- one of the first deaf individuals to consider a career in surgery. There are almost no deaf surgeons anywhere. And this is really unheard of stuff, and this is all because of this technology. And the fact that he can play the piano like that is a testament to his brain. Truth of the matter is you can play the piano without a cochlear implant, because all you have to do is press the keys at the right time. You don't actually have to hear it. I know he doesn't hear well, because I've heard him do Karaoke. (Laughter) And it's one of the most awful things -- heartwarming, but awful. (Laughter) And so there is certainly a lot of hope, but there's a lot more that needs to be done.
CL: Joseph je izvanredan. On je sjajan. Sada je student medicine na Yaleu i razmišlja o kirurškoj karijeri - jedan je od prvih gluhih osoba koje razmišljaju o karijeri u kirurgiji. Skoro nigdje nema gluhih kirurga. Ovo je doista nečuveno, sve zbog te tehnologije. A činjenica da on može svirati klavir - to je testament njegova mozga. Istina je da možete svirati klavir bez umjetne pužnice, budući da je sve što morate pritisnuti tipke u točno vrijeme. Ne morate to čuti. Ja znam da on ne čuje dobro, budući da sam ga slušao kako pjeva na karaokama. (Smijeh) I to je jedna od najgroznijih stvari - možda vam od toga bude toplo oko srca, ali je istovremeno grozno. (Smijeh) Dakle, postoji nada, ali preostaje još mnogo truda.
So I just want to conclude with the following words. When it comes to restoration of hearing, we have certainly come a long way, a remarkably long way. And we have a much longer way to go when it comes to the idea of restoring perfect hearing. And let me tell you right now, it's fine that we would all be very happy with speech. But I tell you, if we lost our hearing, if anyone here suddenly lost your hearing, you would want perfect hearing back. You wouldn't want decent hearing, you would want perfect hearing. Restoration of basic sensory function is critical. And I don't mean to understate how important it is to restore basic function. But it's really restoration of the ability to perceive beauty where we can get inspiring. And I don't think that we should give up on beauty.
Zato želim zaključiti sljedećim riječima. Kada je u pitanju vraćanje sluha, prešli smo dug put, zamjetno dug put. Ali moramo prijeći puno duži put kad je u pitanju vraćanje savršenog sluha. I, dopustite da vam kažem, u redu je što bismo svi bili sretni s govorom. Ali, reći ću vam, ako izgubimo sluh, kad bi itko ovdje odjednom izgubio sluh, htio bi nazad svoj savršeni sluh. Ne biste htjeli pristojan sluh, htjeli biste savršen sluh. Obnova osnovne senzorne funkcije je kritična. Ne želim podcjenjivati važnost obnove osnovne funkcije. Ali potpuna obnova mogućnosti spoznaje ljepote je ono što nas može inspirirati. I ne mislim da bismo trebali odustati od ljepote.
And I want to thank you for your time.
I želim vam zahvaliti za vaše vrijeme.
(Applause)
(Pljesak)