So I am a surgeon who studies creativity, and I have never had a patient tell me, "I really want you to be creative during surgery," and so I guess there's a little bit of irony to it. I will say though that, after having done surgery a lot, it's similar to playing a musical instrument. And for me, this deep and enduring fascination with sound is what led me to both be a surgeon and to study the science of sound, particularly music. I'm going to talk over the next few minutes about my career in terms of how I'm able to study music and try to grapple with all these questions of how the brain is able to be creative. I've done most of this work at Johns Hopkins University, and at the National Institute of Health where I was previously. I'll go over some science experiments and cover three musical experiments.
Ja sam kirurg koji proučava kreativnost, i nikad nisam imao pacijenta koji bi mi rekao, "Doista želim da budete kreativni tijekom operacije." I vjerujem kako u tome ima malo ironije. Ali reći ću vam, nakon toliko obavljenih operacija, to vam je pomalo nalik sviranju glazbenog instrumenta. A za mene, ta vrsta duboke i dugotrajne fascinacije sa zvukom je ono što me navelo da budem i kirurg te da ujedno proučavam znanost zvuka, naročito glazbe. I stoga ću vam kroz idućih nekoliko minuta pokušati ispričati o svojoj karijeri u smislu kako zapravo pokušavam proučavati glazbu i doista se uhvatiti u koštac s tim pitanjima o tome kako mozak može biti kreativan. Većinu tog posla sam napravio na Sveučilištu Johns Hopkins, ali ujedno i u Nacionalnom zdravstvenom institutu gdje sam prije bio. Proći ću kroz neke znanstvene eksperimente i pokušati obuhvatiti tri glazbena instrumenta.
I will start off by playing a video for you. This video is of Keith Jarrett, who's a well-known jazz improviser and probably the most well-known, iconic example of someone who takes improvisation to a higher level. And he'll improvise entire concerts off the top of his head, and he'll never play it exactly the same way again, so as a form of intense creativity, I think this is a great example. And so why don't we go and click the video.
Počet ću sa prikazivanjem jednog videa. A ovaj video je video Keitha Jarretta, koji je jako poznati jazz improvizator i vjerojatno najpoznatiji, ikonski primjer nekoga tko uzdiže improvizaciju na doista višu razinu. I on će improvizirati čitave koncerte iz svoje glave, i nikad ih više neće svirati na potpuno isti način. I stoga, kao oblik intenzivne kreativnosti, mislim da je ovo odličan primjer. I stoga, zašto ne bismo uključili video.
(Music)
(Glazba)
(Music ends)
Doista je izvanredna, nevjerojatna stvar ovo što se događa ovdje.
It's really a remarkable thing that happens there. I've always as a listener, as a fan, I listen to that, and I'm astounded. I think -- how can this possibly be? How can the brain generate that much information, that much music, spontaneously? And so I set out with this concept, scientifically, that artistic creativity, it's magical, but it's not magic, meaning that it's a product of the brain. There's not too many brain-dead people creating art. With this notion that artistic creativity is in fact a neurologic product, I took this thesis that we could study it just like we study any other complex neurologic process, and there are subquestions that I put there. Is it possible to study creativity scientifically? And I think that's a good question. And I'll tell you that most scientific studies of music, they're very dense, and when you go through them, it's very hard to recognize the music in it. In fact, they seem to be unmusical entirely and to miss the point of the music.
Uvijek sam -- samo kao slušatelj, samo kao obožavatelj -- slušao, i jednostavno sam zapanjen. Razmišljam: kako je to moguće? Kako mozak može generirati toliko mnogo informacija, toliko mnogo glazbe spontano? I tako sam krenuo s tim konceptom, znanstveno, kako je umjetnička kreativnost, magična, ali nije to magija. Što znači da je proizvod mozga. Nema puno ljudi bez moždanih aktivnosti koji stvaraju umjetnost. I stoga s tom idejom kako je umjetnička kreativnost zapravo neurološki proizvod, uzeo sam tu tezu koju smo mogli proučavati kao što možemo proučavati bilo koji drugi kompleksni neurološki proces. I mislim kako postoje neka podpitanja koja sam stavio tamo. Je li doista moguće proučavati kreativnost na znanstven način? I mislim kako je to dobro pitanje. I reći ću vam kako su najznanstvenija istraživanja glazbe, vrlo neprozirna. I kada prolazite kroz njih, veoma je teško prepoznati glazbu u njima. U biti, čini se kao da su u potpunosti neglazbena i da su promašila cijelu bit glazbe. I to dovodi do drugog pitanja:
This brings the second question: Why should scientists study creativity? Maybe we're not the right people to do it.
Zašto bi znanstvenici proučavali kreativnost? Možda nismo prave osobe za to.
(Laughter)
To je moguće,
Well it may be, but I will say that, from a scientific perspective, we talked a lot about innovation today, the science of innovation, how much we understand about how the brain is able to innovate is in its infancy, and truly, we know very little about how we are able to be creative. I think that we're going to see, over the next 10, 20, 30 years, a real science of creativity that's burgeoning and is going to flourish, Because we now have new methods that can enable us to take this process like complex jazz improvisation, and study it rigorously. So it gets down to the brain. All of us have this remarkable brain, which is poorly understood, to say the least. I think that neuroscientists have more questions than answers, and I'm not going to give you answers today, just ask a lot of questions.
ali reći ću, iz znanstvene perspektive -- da smo danas puno pričali o inovativnosti -- znanosti o inovativnosti, koliko razumijemo o tome kako je mozak sposoban inovirati u ranom djetinjstvu. Doista, znamo jako malo o tome kako biti kreativni. I stoga mislim kako ćemo vidjeti kroz idućih 10, 20, 30 godina istinsku znanost kreativnosti koja ekspanzivno raste i koja će procvjetati. Jer sada imamo nove metode koje nam omogućavaju da uzmemo neki proces poput ovog, kompleksnu jazz improvizaciju, i rigorozno ju proučavamo. I stoga se svodi na mozak. I svi mi imamo taj izvanredan mozak, koji je slabo shvaćen, u najmanju ruku. Mislim kako neuroznanstvenici imaju puno više pitanja nego odgovora. A ja vam neću danas dati mnogo odgovora, već ću postaviti mnogo pitanja.
And that's what I do in my lab. I ask questions about what is the brain doing to enable us to do this. This is the main method that I use. This is functional MRI. If you've been in an MRI scanner, it's very much the same, but this one is outfitted in a special way to not just take pictures of your brain, but to also take pictures of active areas of the brain. The way that's done is by the following: There's something called BOLD imaging, which is Blood Oxygen Level Dependent imaging. When you're in an fMRI scanner, you're in a big magnet that's aligning your molecules in certain areas. When an area of the brain is active, meaning a neural area is active, it gets blood flow shunted to that area. That blood flow causes an increase in local blood to that area with a deoxyhemoglobin change in concentration. Deoxyhemoglobin can be detected by MRI, whereas oxyhemoglobin can't. So through this method of inference -- and we're measuring blood flow, not neural activity -- we say that an area of the brain that's getting more blood was active during a particular task, and that's the crux of how fMRI works. And it's been used since the '90s to study really complex processes.
I to je, u osnovi, ono što ja radim u svom laboratoriju. Postavljam pitanja o tome što taj mozak radi a da nam omogućava da uradimo to. To je glavna metoda koju koristim. Ovo je funkcionalni uređaj za magnetsku organizaciju. Ukoliko ste bili na skeniranju u uređaju za magnetsku rezonanciju, prilično je isto, samo što je ovaj opremljen na poseban način ne samo da uzima slika vašeg mozga, već da i uzima slike aktivnih područja u mozgu. Način na koji se to radi, je slijedeći. Postoji nešto što se zove BOLD prikaz, što označava prikaz razine kisika u krvi. Kada ste u funkcionalnom uređaju za magnetsku rezonanciju, vi ste u velikom magnetu koji poravnava vaše molekule u određenim područjima. Kada je područje mozga aktivno, što znači kada je neuralno područje aktivno, dobiva protok krvi koji je paralelno povezan s tim područjem. Taj protok krvi uzrokuje povećanje lokalne krvi u to područje sa promjenom u koncentraciji deoksihemoglobina. Deoksihemoglobin se može detektirati pomoću uređaja za magnetsku rezonanciju, dok se oksihemoglobin ne može. Kroz tu metodu zaključivanja - a mjerimo protok krvi, ne neuralnu aktivnost - možemo reći da područje mozga koje dobiva više krvi je bilo aktivno tijekom određenog zadatka. A to je srž načina rada funkcionalnog uređaja za magnetsku rezonanciju. I koristi se još od 90-ih kako bi se proučavali doista kompleksni procesi.
I'm going to review a study that I did, which was jazz in an fMRI scanner. It was done with a colleague, Alan Braun, at the NIH. This is a short video of how we did this project.
Otkrit ću osvrt istraživanja koje sam proveo, a koje se odnosi na jazz u funkcionalnom uređaju za magnetsku rezonanciju. A njega sam proveo s mojim kolegom, Alanom Braunom, u NIH-u. Ovo je kratak video o tome kako smo napravili taj projekt.
(Video) Charles Limb: This is a plastic MIDI piano keyboard that we use for the jazz experiments. And it's a 35-key keyboard designed to fit both inside the scanner, be magnetically safe, have minimal interference that would contribute to any artifact, and have this cushion so that it can rest on the players' legs while they're lying down in the scanner, playing on their back. It works like this -- this doesn't actually produce any sound. It sends out what's called a MIDI signal -- or a Musical Instrument Digital Interface -- through these wires into the box and then the computer, which then trigger high-quality piano samples like this.
(Video) Chrales Limb: Ovo su plastične MIDI klavijature koje koristimo kod jazz eksperimenata. A to su klavijeture s 35 tipki koje su dizajnirane da stanu u skener, da budu magnetski sigurne, da proizvode minimalne smetnje koje bi mogle doprinijeti bilo kakvom artefaktu i koje imaju jastuk tako da mogu biti položene na noge osobe koja ih svira kada ta osoba leži u skeneru, svirajući ih ležeći na leđima. A rade na sljedeći način -- one ne produciraju zapravo nikakav zvuk. Šalju van ono što se naziva MIDI signal -- ili glazbeni instrument digitalno sučelje -- kroz ove žice u kutiju a zatim u računalo, koje zatim aktivira uzorke klavira visoke kvalitete poput ovog.
(Music)
(Glazba)
(Music)
(Glazba)
(Music ends)
CL: U redu, dakle radi.
OK, so it works. And so through this piano keyboard, we have the means to take a musical process and study it. So what do you do now that you have this cool piano keyboard? You can't just say, "It's great we have a keyboard." We have to come up with a scientific experiment. The experiment really rests on the following: What happens in the brain during something that's memorized and over-learned, and what happens in the brain during something that is spontaneously generated, or improvised, in a way that's matched motorically and in terms of lower-level sensory motor features?
I kroz te klavijature, mi sada imamo mogućnosti preuzeti glazbeni proces i proučavati ga. Dakle, što radite sada kada imate te super klavijature? Ne možete samo pomisliti -- "Super je što imamo te klavijature." Mi, zapravo, moramo osmisliti znanstveni eksperiment. A eksperiment doista počiva na sljedećem. Što se događa u mozgu tijekom nečeg što je memorizirano i naučeno više puta, i što se događa u mozgu tijekom nečeg što je spontano generirano ili improvizirano, na način da je motorički vezano te u terminima osjetilnih motoričkih značajki niže razine?
I have here what we call the paradigms. There's a scale paradigm, which is playing a scale up and down, memorized, then there's improvising on a scale, quarter notes, metronome, right hand -- scientifically very safe, but musically really boring. Then there's the bottom one, which is called the jazz paradigm. So we brought professional jazz players to the NIH, and we had them memorize this piece of music on the lower-left, which is what you heard me playing -- and we had them improvise to the same chord changes. And if you can hit that lower-right sound icon, that's an example of what was recorded in the scanner.
I stoga, imamo ovdje ono što mi nazivamo paradigmama. Postoji paradigma ljestvice, što je zapravo sviranje ljestvice gore, dolje, memorizirano. A zatim, tu je je improvizacija na ljestvici -- četvrtinke, metronom, desna ruka -- znanstveno vrlo sigurno, ali glazbeno uistinu dosadno. A zatim, tu je i posljednja, koju nazivamo jazz paradigma. Ono što smo učinili jest, da smo doveli profesionalne jazz glazbenike u NIH, i dali smo im da memoriraju ovaj komad glazbe lijevo, lijevo dolje -- što je ono što sam ja svirao -- a zatim smo im dali da improviziraju na osnovi identičnih promjena akorda. A ako možete kliknuti tu ikonu zvuka u donjem desnog uglu, to je primjer što je snimljeno u skeneru.
(Music)
(Glazba)
(Music ends)
Na kraju krajeva, nije najprirodnije okruženje,
In the end, it's not the most natural environment, but they're able to play real music. And I've listened to that solo 200 times, and I still like it. And the musicians were comfortable in the end. We first measured the number of notes. Were they playing more notes when they were improvising? That was not what was going on. And then we looked at the brain activity. I will try to condense this for you. These are contrast maps that are showing subtractions between what changes when you're improvising vs. when you're doing something memorized. In red is an area that's active in the prefrontal cortex, the frontal lobe of the brain, and in blue is this area that was deactivated. So we had this focal area called the medial prefrontal cortex that went way up in activity. We had this broad patch of area called the lateral prefrontal cortex that went way down in activity, I'll summarize that for you.
ali mogli su svirati pravu glazbu. I slušao sam tu solo dionicu 200 puta, i još uvijek mi se sviđa. A glazbenici su se osjećali ugodno na kraju. Prvo smo izmjerili broj nota. Jesu li, zapravo, svirali puno više nota kada su improvizirali? To nije bilo ono što se događalo. Zatim smo gledali moždanu aktivnost. Pokušat ću sažeti to za vas. Ovo su kontrastne mape koje prikazuju oduzimanje između promjena kada improvizirate i kada radite nešto memorirano. Crveno je područje koje je aktivno u prefrontalnom korteksu, prednjem režnju mozga. A plavo je područje koje je bilo deaktivirano. I tako smo imali to žarišno područje zvano središnji prefrontalni korteks kojem je aktivnost narasla. Imali smo široki sloj područja zvan lateralni prefrontalni korteks kojem je aktivnost pala, i sažet ću to za vas. To su multifunkcionalna područja mozga.
These are multifunctional areas of the brain, these are not the jazz areas of the brain. They do a whole host of things that have to do with self-reflection, introspection, working memory etc. Really, consciousness is seated in the frontal lobe. But we have this combination of an area that's thought to be involved in self-monitoring, turning off, and this area that's thought to be autobiographical, or self-expressive, turning on. We think, at least in this preliminary -- it's one study; it's probably wrong, but it's one study --
Kao što volim reći, to nisu jazz područja mozga. Rade mnogo stvari koje su povezane sa samo-refleksijom, introspekcijom, radnom memorijom i tako dalje. Doista, svijest je locirana u frontalnom režnju. Ali imamo i kombinaciju područja za koje se smatra da je uključeno u samo-nadgledanje, a koje se gasi, i područja za koje se smatra da je autobiografsko, ili samo-izražavajuće, a koje se pali. I mislimo, barem u ovom preliminarnom -- To je jedno istraživanje. Vjerojatno je pogrešno. Ali to je jedno istraživanje.
(Laughter)
Mislimo kako je barem razumna hipoteza
we think that at least a reasonable hypothesis is that, to be creative, you should have this weird dissociation in your frontal lobe. One area turns on, and a big area shuts off, so that you're not inhibited, you're willing to make mistakes, so that you're not constantly shutting down all of these new generative impulses. Now a lot of people know that music is not always a solo activity -- sometimes it's done communicatively.
da, za kreativnost, morate imati tu čudnu pregradu u vašem frontalnom režnju. Jedno područje se aktivira, a jedno veliko područje se ugasi, tako da niste inhibirani, tako da ste voljni raditi pogreške, tako da neprestano ne gasite sve te nove generativne impulse. Puno ljudi zna kako glazba nije uvijek samostalna aktivnost -- nekad je izvedena pomoću komunikacije. I stoga je sljedeće pitanje bilo:
The next question was: What happens when musicians are trading back and forth, something called "trading fours," which is something they do normally in a jazz experiment. So this is a 12-bar blues, and I've broken it down into four-bar groups, so you would know how you would trade. We brought a musician into the scanner, same way, had them memorize this melody then had another musician out in the control room trading back and forth interactively.
Što se događa kada glazbenici improviziraju naizmjence, nešto zvano improvizacijska četvorka, što je nešto što oni normalno rade u jazz eksperimentu? Ovo je bluz sa skalom od dvanaest. A ja sam ga razbio u grupe skala od po četiri ovdje, kako biste znali kako ćete trgovati. Ono što smo napravili jest da smo stavili glazbenika u skener -- na isti način -- oni su morali memorirati tu melodiju i zatim smo imali drugog glazbenika u kontrolnoj sobi koji bi naizmjence interaktivno improvizirao.
So this is a musician, Mike Pope, one of the world's best bassists and a fantastic piano player.
Ovo je glazbenik, Mike Pope, jedan od najboljih svjetskih basista i fantastičan svirač klavira.
(Music)
Sada svira komad
He's now playing the piece that we just saw a little better than I wrote it.
koji smo upravo vidjeli malo bolje nego što sam ga ja napisao.
(Video) CL: Mike, come on in.
(Video) CL: Mike, uđi. (Čovjek: Neka sila bude s tobom.)
Mike Pope: May the force be with you.
Sestra: Ništa nemate u džepovima, je li točno Mike?
Nurse: Nothing in your pockets, Mike?
Mike Pope: Ne. Nemam ništa u džepovima. (Sestra: U redu.)
MP: No. Nothing's in my pockets.
CL: You have to have the right attitude to agree to do it.
CL: Morate imati pravi stav da se složite s ovime.
(Laughter)
(Smijeh)
It's kind of fun, actually.
Zapravo je, na neki način, zabavno.
(Music)
I tako sada sviramo naizmjence.
Now we're playing back and forth. He's in there. You can see his legs up there.
On je tamo unutra. Možete vidjeti njegove noge tamo gore.
(Music)
A ja sam ovdje u kontrolnoj sobi, svirajući naizmjence.
And then I'm in the control room here, playing back and forth.
(Glazba)
(Music)
(Music ends)
(Video) Mike Pope: This is a pretty good representation of what it's like. And it's good that it's not too quick. The fact that we do it over and over again lets you acclimate to your surroundings. So the hardest thing for me was the kinesthetic thing, looking at my hands through two mirrors, laying on my back, and not able to move at all except for my hand. That was challenging. But again -- there were moments, for sure --
(Video) Mike Pope: Ovo je prilično dobar prikaz onoga čemu je to nalik. I dobro je što nije prebrzo. Činjenica da možemo to raditi opet i isponova dozvoljava vam da se aklimatizirate na vaše okruženje. Najteža stvar za mene je bila kinestetička stvar, gledajući svoje ruke kroz dva ogledala, ležeći na leđima i nemogućnosti micanja ičega osim svojih ruku. To je bilo izazovno. Ali opet, postojali su trenuci, sigurno,
(Laughter)
postojali su trenuci
there were moments of real, honest-to-God musical interplay, for sure.
istinskog, najiskrenijeg uzajamnog sviranja, sigurno.
CL: At this point, I'll take a few moments. So what you're seeing here -- and I'm doing a cardinal sin in science, which is to show you preliminary data. This is one subject's data. This is, in fact, Mike Pope's data. So what am I showing you here? When he was trading fours with me, improvising vs. memorized, his language areas lit up, his Broca's area, in the inferior frontal gyrus on the left. He had it also homologous on the right. This is an area thought to be involved in expressive communication. This whole notion that music is a language -- maybe there's a neurologic basis to it after all, and we can see it when two musicians are having a musical conversation. So we've done this on eight subjects now, and we're getting all the data together, hopefully we'll have something to say about it meaningfully.
CL: U ovoj točki, uzet ću par trenutaka. Ono što vidite ovdje -- A ja sam počinio glavni grijeh u znanosti, što vam pokazujem preliminarne podatke. Ovo su podaci jednog subjekta. Ovo su, zapravo, podaci Mike Popea. Što vam ja pokazujem ovdje? Kada smo naizmjence improvizirali, improvizacija nasuprot memoriranju, njegovo područje za jezik je zasvjetlilo, njegovo Broca područje, koje čine inferiorne frontalne vijuge na lijevoj strani. Imao je odgovarajuće reakcije i s desne strane. Ovo je područje za koje se smatra da je zaduženo za ekspresivnu komunikaciju. Ta cijela ideja da je glazba jezik, možda, u biti, postoji neurološka baza za to naposljetku, i možemo to vidjeti kada dvoje glazbenika vode glazbeni razgovor. I zapravo smo to napravili na osam subjekata do sada, i sada sakupljamo sve podatke zajedno. I nadam se kako ćemo imati nešto smisleno za reći.
Now when I think about improvisation and the language, what's next? Rap, of course, rap -- freestyle. I've always been fascinated by freestyle. And let's play this video.
Kada razmišljam o improvizaciji i jeziku, pa, što je sljedeće? Rap, naravno, rap -- slobodni stil. I uvijek sam bio fasciniran slobodnim stilom. I pokrenimo ovaj video ovdje.
(Video) Mos Def: Brown skin I be, standing five-ten I be Rockin' it when I be, in your vicinity Whole-style synergy, recognize symmetry Go and try to injure me, broke 'em down chemically Ain't the number 10 MC, talk about how been I be Styled it like Kennedy, late like a 10 to three When I say when I be, girls say bend that key cut
(Video) Mos Def: ♫... smeđa koža ja sam, stojeći na 1.80 ja sam ♫ ♫ Svirati gdje jesam, u tvojoj blizini sam ♫ ♫ Sinergija cijelog stila, poznata simetrija ♫ ♫ Dođi i probaj me raniti, razbijem ih kemijski ♫ ♫ Nije broj 10 M.C., pričaj o tome kako jesi ♫ ♫ Stiliran poput Kennedya, kasnim poput 10 do trija ♫ ♫ Kada kažem kada tu sam, cure kažu savij tu ogrebotinu od ključa ♫
CL: So there's a lot of analogy between what takes place in freestyle rap and jazz. There are a lot of correlates between the two forms of music, I think, in different time periods, in lot of ways, rap serves the same social function that jazz used to serve. So how do you study rap scientifically? And my colleagues think I'm crazy, but I think it's very viable. This is what you do: You have a freestyle artist come and memorize a rap that you write for them, that they've never heard before, and then you have them freestyle. So I told my lab members that I would rap for TED, and they said, "No, you won't." And then I thought --
CL: I postoji mnogo analogije između rapa slobodnim stilom i jazza. Postoji, zapravo, mnogo korelacija između ta dva oblika glazbe u različitim vremenskim periodima. U mnogo pogleda, rap služi istoj društvenoj funkciji kojoj je jazz nekada služio. Dakle, kako proučavate rap znanstvenim putem? I moji kolege, na neki način, misle kako sam lud, ali ja mislim da je to vrlo izvedivo. A ovo je što morate učiniti: imate umjetnika za slobodan stil koji dođe i memorira rap koji vi napišete za njega, a koji nikada prije nisu čuli, i zatim im dopustite da izvedu to slobodnim stilom. I stoga sam rekao svojim članovima laboratorija kako ću rapati za TED, a oni su rekli, "Ne, nećeš." A zatim sam pomislio --
(Laughter)
(Pljesak)
(Applause)
Evo o čemu se radi.
But here's the thing. With this big screen, you can all rap with me. OK? So what we had them do was memorize this lower-left sound icon, please. This is the control condition. This is what they memorized.
S ovim velikim zaslonom, svi možete rapati sa mnom. U redu? Ono što smo im dali da učine jest da memoriraju ovu donju lijevu ikonu zvuka, molim. Ovo je kontrolna situacija. Ovo su memorirali. Računalo: ♫ Memorija, udarac. ♫
Computer: Memory, thump.
CL: ♫ Udarac takta u poznatom ponavljanju ♫
CL: Thump of the beat in a known repeat Rhythm and rhyme, they make me complete The climb is sublime when I'm on the mic Spittin' rhymes that hit you like a lightning strike
♫ Ritam i rima, sa mnom sve štima ♫ ♫ Uspon brojim kada za mikrofonom stojim ♫ ♫ Bacam rime i udarce munja brojim ♫
Computer: Search.
♫ Tražim istinu u ovom vječnom pohodu ♫
CL: I search for the truth in this eternal quest My passion's not fashion, you can see how I'm dressed Psychopathic words in my head appear Whisper these lyrics only I can hear
♫ Moja strast nije moda, vidite s kakvom garderobom hoda ♫ ♫ Psihopatske riječi u mojoj glavi se pojavljuju ♫ ♫ Šapat tih pjesama samo kod mene odzvanja ♫
Computer: Art.
♫ Lebdenja su djelovi umjetnosti otkrivanja ♫
CL: The art of discovering and that which is hovering Inside the mind of those unconfined All of these words keep pouring out like rain I need a mad scientist to check my brain
♫ Unutar mozga bez pokrića ♫ ♫ Poput kiše izlaze iz mene ove riječi ♫ ♫ Potreban mi je lud znanstvenik da moj mozak liječi ♫
Computer: Stop.
(Pljesak)
(Applause)
I guarantee you that will never happen again.
Garantiram vam, ovo se više nikad neće ponoviti.
(Laughter)
(Smijeh)
So now, what's great about these free-stylers, they will get cued different words. They don't know what's coming, but they'll hear something off the cuff. Go hit that right sound icon, there will be cued three square words: like, not and head. He doesn't know what's coming. Computer: Like.
Sada, ono što je super kod tih umjetnika slobodnim stilom, jest da će ubaciti druge riječi. Ne znaju što im dolazi, ali čuti će nešto potpuno drugačije. Dajte kliknite tu desnu ikonu zvuka. Dobit će redoslijed od te tri riječi: 'kao', 'ne' i 'glava'. On ne zna što dolazi. Umjetnik slobodnim stilom: ♫ Ja sam poput [nejasno] ♫
Freestyler: I'm like some kind of extraterrestrial, celestial scene Back in the days, I used to sit in pyramids and meditate
♫ [nejasno] izvanzemaljska, nebeska scena ♫ ♫ Nekad davno, znao sam u piramidama sjediti i meditirati ♫ ♫ S dva leteća mikrofona iznad moje glave ♫
With two microphones -- Computer: Head hovering over my head See if I could still listen, spittin' off the sound See what you grinning I teach the children in the back of the classroom About the message of apocalyptical
♫ Vidi mogu li i dalje slušati, taj zvuk van pljuvati ♫ ♫ Vidi kako se ceriš ♫ ♫ Učim djecu u stražnjem dijelu učionice ♫ ♫ O apokaliptičnoj poruci ♫
Computer: Not. Not really though, 'cause I've got to keep it simple instrumental Detrimental playing Super Mario boxes [unclear] hip hop
♫ Nije zapravo teško, jer moram se držat pravila jednostavnosti ♫ ♫ [nejasno] instrumental ♫ ♫ Štetnost igra Super Mario ♫ ♫ [nejasno] kutije [nejasno] hip hop ♫
Computer: Stop.
CL: Ponovno, nevjerojatna stvar se događa ovdje.
CL: It's an incredible thing that's taking place. It's doing something neurologically remarkable. Whether or not you like the music is irrelevant. Creatively speaking, it's just a phenomenal thing. This is a short video of how we do this in a scanner.
Radeći nešto što je, neurološki, izvanredno. Volite li glazbu ili ne je nevažno. Govoreći u terminima kreativnosti, to je jednostavno fenomenalna stvar. Ovo je kratak video kako to zapravo radimo u skeneru. (Smijeh)
[fMRI of Hip-Hop Rap]
(Video) CL: Ovdje smo s Emmanuelom.
(Laughter)
(Video) CL: We're here with Emmanuel.
CL: Ovo je, usput rečeno, snimljeno u skeneru.
CL: That was recorded in the scanner, by the way.
(Video) CL: Ovo je Emmanuel u skeneru.
(Video) CL: That's Emmanuel in the scanner. He's just memorized a rhyme for us.
On je za nas memorirao rimu.
[Control Condition Memorized Verses]
Emmanuel: ♫ Od vrha udarca kažem bez repeticija ♫
Emmanuel: Top of the beat with no repeat Rhythm and rhyme make me complete Climb is sublime when I'm on the mic Spittin' rhymes that'll hit you like a lightning strike
♫ Ritam i rime me ispune ♫ ♫ Uspon je uzvišen kada za mikrofonom stojim ♫ ♫ Pljujem rime i udarce munja brojim ♫
Computer: Search. I search for the truth in this eternal quest I'm passing on fashion; you can see how I'm dressed
♫ Tražim istinu u ovom vječnom pohodu ♫ ♫ Ostavljam modu, vidite me sa užasnom garderobom u hodu ♫ CL: U redu. Stati ću ovdje. Dakle, što vidimo u njegovom mozgu?
CL: I'm going to stop that there; so what do we see in his brain? This is four rappers' brains. And we do see language areas lighting up, but then, eyes closed -- when you are freestyling vs. memorizing, you've got major visual areas lighting up. You've got major cerebellar activity, which is involved in motor coordination. You have heightened brain activity when you're doing a comparable task, when that one task is creative and the other task is memorized. It's very preliminary, but I think it's kind of cool.
Ovo su zapravo mozgovi četvorice rapera. I ono što vidimo, vidimo kako su područja za jezik osvijetljena, ali tada -- zatvorenih očiju -- kada izvodite komad slobodnim stilom nasuprot memoriranju, imate glavna područja za vizualizaciju koja su osvijetljena. Imate glavnu cerebelarnu aktivnost, koja je povezana s motoričkom koordinacijom. Povisili ste moždanu aktivnost kada radite usporediv zadatak, kada je jedan zadatak kreativan a drugi zadatak obuhvaća memoriranje. Vrlo je preliminarno, ali mislim kako je, na neki način, super.
To conclude, we've got a lot of questions to ask, and like I said, we'll ask questions here, not answer them. But we want to get at the root of what is creative genius neurologically, and I think, with these methods, we're getting close. And I think, hopefully in the next 10, 20 years, you'll see real, meaningful studies that say science has to catch up to art, and maybe we're starting now to get there.
Samo da zaključim, imamo mnogo pitanja koje moramo postaviti. I kao što sam rekao, ovdje ćemo postavljati pitanja, a nećemo davati odgovore. Ali želimo doći do srži poimanja kreativnog genija, u neurološkom smislu. I mislim, s tim metodama, približavamo se tome. I mislim kako ćete u idućih 10, 20 godina zapravo vidjeti stvarne, značajne studije koje kažu kako znanost mora dostići umjetnost, i možda mi počinjemo sada ići u tom smjeru.
Thank you for your time, I appreciate it.
I stoga vam želim zahvaliti na vašem vremenu. Cjenim to.
(Applause)
(Pljesak)