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.
Sunt un chirurg care studiaza creativitatea dar n-am avut niciodata un pacient care sa-mi spuna "Doresc sa fii creativ in timpul operatiei." Cred ca-i o doza de ironie in asta. Dupa multe operatii, as putea spune ca se aseamana cu cantatul la un instrument. Iar pentru mine, aceasta fascinatie profunda si de durata pentru sunet este cea ce m-a condus la a deveni chirurg dar si la studiul stiintei sunetului, in special muzica. Asa ca voi incerca sa va vorbesc in urmatoarele minute despre cariera mea si cum incerc de fapt sa studiez muzica si sa ma lupt cu aceste intrebari despre cum e capabil creierul sa fie creativ. Majoritatea acestui studiu l-am facut la universitatea Johns Hopkins. si la Institutul National de Sanatate unde am lucrat inainte. Voi prezenta cateva experimente stiintifice si voi incerca sa expun trei experimente muzicale.
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.
Voi incepe prin a rula un video. E un clip cu Keith Jarret, un bine cunoscut improvizator de muzica jazz, probabil cel mai bine cunoscut exemplu iconic al cuiva care duce improvizatia la un nivel superior. El va improviza concerte intregi din mintea lui si niciodata nu le va interpreta in acelasi fel. Pentru o forma de creativitate intensa cred ca acesta e un exemplu excelent. Sa pornim clipul.
(Music)
(Muzica)
(Music ends)
E remarcabil, minunat ce se petrece acolo.
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.
Dintotdeauna -- doar ca ascultator, ca fan -- ascult si sunt efectiv uimit. Ma intreb: cum poate fi posibil? Cum poate creierul sa genereze spontan atat de multa informatie, atat de multa muzica? Asadar am pornit de la acest concept stiintific: creativitatea artistica e magica dar nu magie, adica e un produs al creierului. Nu exista multi oameni in coma care sa creeze arta. Deci cu aceasta notiune a creativitatii artistice fiind de fapt un produs neurologic, am pornit la studiul acestei teze exact la fel cum studiem orice alt proces neurologic complex. Cred ca mi-am pus niste intrebari mai nuantate. Chiar e posibila studierea stiintifica a creativitatii? Cred ca asta-i o intrebare buna. Cele mai multe studii stiintifice despre muzica sunt foarte complicate. In aceste studii, e greu sa recunosti muzica din ele. De fapt, par in intregime non-muzicale fiind greu sa discerni ce-i determinat strict de muzica. Astfel, apare a doua intrebare:
This brings the second question: Why should scientists study creativity? Maybe we're not the right people to do it.
De ce ar trebui oamenii de stiinta sa studieze creativitatea? Poate nu suntem oamenii potriviti sa facem asta.
(Laughter)
Posibil,
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.
dar voi spune ca, dintr-o perspectiva stiintifica -- am vorbit azi foarte mult despre inovatie -- stiinta inovatiei. Studiul despre cum poate creierul sa inventeze se afla doar la inceput. Intr-adevar stim foarte putin despre cum putem fi creativi. Cred ca vom vedea in urmatorii 10, 20, 30 de ani o adevarata stiinta a creativitatii care va inmuguri si va inflori. Pentru ca avem acum metode noi care ne permit sa luam un astfel de proces complex, ca improvizatia muzicii de jazz, si sa o studiem riguros . Deci se ajunge la creier. Toti avem acest creier remarcabil, care-i insa foarte putin inteles. Cred ca neurologii au mai multe intrebari decat raspunsuri. Si nici eu nu voi da multe raspunsuri astazi, ci doar voi pune multe intrebari.
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.
In esenta, asta-i ce fac eu in laborator. Pun intrebari despre ce face creierul sa ne permita creativitatea. Asta-i metoda de baza pe care o folosesc. Se numeste RMN functional. Daca ati fost intr-un scaner RMN, e foarte asemanator, dar acesta este echipat intr-un mod special nu doar pentru a fotografia creierul, ci, totodata, zone active din creier. Se procedeaza in felul urmator. Exista ceva numit inregistrare BOLD, adica inregistrarea nivelului de oxigen din sange. Cand te afli intr-un aparat fRMN, te afli in interiorul unui magnet imens care iti aliniaza moleculele in anumite zone. Cand o zona a creierului e activa, adica o zona neurala e activa, aceasta primeste un flux de sange. Fluxul de sange suplimentar cauzeaza o intensificare a volumului de sange din acea zona cu o schimbare a concentratiei de 2-oxihemoglobina. 2-oxihemoglobina poate fi detectata de RMN, in timp ce oxihemoglobina nu poate. Prin aceasta metoda de deductie -- masuram circulatia sangelui, nu activitatea neurala -- spunem ca o zona a creierului care primeste mai mult sange a fost activa in timpul acelui proces. Si asta-i esenta functionarii fRMN-ului. E folosita din anii '90 pentru a studia procese complexe.
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.
Acum voi expune un studiu pe care l-am facut constand in interpretarea de muzica Jazz intr-un scaner fRMN. Am facut acest studiu impreuna cu colegul meu, Alan Braun, la institutul NIH. Asta e un scurt clip ilustrand cum am facut acest proiect.
(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) Charles Limb: Asta e o claviatura de plastic MIDI pe care o folosim pentru experimentele de jazz. E o claviatura cu 35 de clape conceputa sa se potriveasca in scanerul RMN, neafectata magnetic, cu interferente minime care sa nu modifice rezultatul si aceasta perinita pentru a fi sprijinita pe picioarele interpretului in timp ce sta pe spate si interpreteaza in interiorul RMN-ului. Functioneaza astfel -- asta nu produce nici un sunet. Transmite ce se numeste un semnal MIDI -- adica interfata digitala de instrument muzical -- prin aceste cabluri in cutie si apoi in calculator, producand apoi sunete de pian de inalta calitate.
(Music)
(Muzica)
(Music)
(Muzica)
(Music ends)
CL: Bun, deci functioneaza.
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?
Si cu aceasta claviatura de pian, avem acum mijloacele pentru a studia un proces muzical. Deci ce faci acum cu aceasta claviatura faina? Nu poti doar sa spui: "Ce tare ca avem aceasta claviatura." Trebuie sa concepem un experiment stiintific. Deci experimentul consta in urmatoarele: Ce se petrece in creier in timpul redarii a ceva memorat, stiut pe dinafara, si ce se intampla in creier atunci cand ceva e generat sau improvizat spontan producand reactii motrice similare, privind prin prisma functiilor sensoriale motrice?
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.
Asadar, am aici ceea ce numim paradigme. Un exemplu de gama memorata, canta gama in sus si-n jos. Apoi improvizarea pe gama -- patrimile de nota, metronomul, mana dreapta -- stiintific e foarte corect, dar muzical e foarte plictisitor. Si apoi, cea de jos, numita "paradigma jazz". Deci am adus cantareti profesionisti de jazz la NIH pe care i-am pus sa memoreze aceasta piesa muzicala din stanga-jos, -- chiar ce am interpretat eu -- si apoi i-am pus sa improvizeze in aceiasi gama. Daca apasati pe simbolul de sunet din dreapta-jos, asta e un exemplu de inregistrare din scaner.
(Music)
(Muzica)
(Music ends)
In fine, nu-i cel mai natural mediu
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.
dar pot canta la instrument realmente. Am ascultat acel solo de 200 ori si inca imi place. Muzicienii s-au simtit in largul lor pana la urma. Am masurat prima data numarul notelor. Cantau doar mai multe note cand improvizau? Nu era asta. Ne-am uitat apoi la activitatea cerebrala. Voi incerca sa rezum. Astea sunt reprezentari de contrast care arata diferenta intre ceea ce se schimba cand improvizezi comparativ cu interpretarea memorata. In rosu e zona activa din cortexul prefrontal, lobul frontal. Iar in albastru e zona inactiva. Am observat ca aceasta zona numita cortex prefrontal s-a activat intens. Iar aceasta suprafata mare numita cortex prefrontal lateral a inregistrat o mare scadere in activitate; voi rezuma aici. Astea sunt zone multifunctionale ale creierului.
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 --
Nu sunt "zonele jazz" ale creierului. Ele fac o multime de lucruri legate de relfexie, introspectie, memorie activa, etc. De fapt, constiinta e situata in lobul frontal. Dar aveam aceasta combinatie a unei suprafete ce-i implicata in controlul de sine, focalizandu-se spre interior, si aceasta suprafata despre care se crede a fi autobiografica, sau exprexiva, focalizandu-se spre exterior. Si credem, cel putin preliminar -- E doar un singur studiu. Probabil e gresit. Dar e un studiu.
(Laughter)
Credem, cel putin ca ipoteza rezonabila
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.
ca pentru a fi creativ trebuie sa ai aceasta disociere ciudata in lobul frontal. O zona se deschide, o zona mare se inchide, asa ca nu esti inhibat, esti dispus sa faci greseli, ca sa nu blochezi mereu toate aceste noi impulsuri generate. Stim ca muzica nu e intotdeauna o activitate solo -- cateodata e creata comunicand. Asa ca urmatoarea intrebare a fost:
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.
Ce se intampla cand muzicienii canta simultan, ceva numit "trading fours" [alterneaza tot la 4 masuri], ceva normal intr-un experiment jazz. Astea sunt 12 masuri dintr-un blues. Le-am despartit in grupe de 4 masuri, ca sa intelegeti cum se face schimbul. Am adus un muzician in scanerul RMN -- la fel -- l-am pus sa memoreze aceasta melodie, apoi in camera de control am avut un alt muzician comunicand muzical interactiv.
So this is a musician, Mike Pope, one of the world's best bassists and a fantastic piano player.
Acesta e muzicianul Mike Pope, unul din cei mai buni basisti din lume si un pianist fantastic.
(Music)
Acum el interpreteaza o piesa
He's now playing the piece that we just saw a little better than I wrote it.
pe care tocmai am vazut-o dar mai bine decat mine.
(Video) CL: Mike, come on in.
(Clip) CL: Intra, Mike.
Mike Pope: May the force be with you.
Asistenta: Nimic in buzunare, Mike?
Nurse: Nothing in your pockets, Mike?
Mike Pope: Nu. Nimic in buzunare. >>Asistenta: OK.
MP: No. Nothing's in my pockets.
CL: You have to have the right attitude to agree to do it.
CL: Trebuie sa ai atitudine pozitiva sa fi de acord cu asta.
(Laughter)
(Rasete)
It's kind of fun, actually.
E chiar distractiv de fapt.
(Music)
Deci acum cantam interactiv.
Now we're playing back and forth. He's in there. You can see his legs up there.
El e inauntru. Ii vedeti picioarele.
(Music)
Iar eu aici in camera de control, cantand simultan.
And then I'm in the control room here, playing back and forth.
(Muzica)
(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 --
(Clip) Mike Pope: Asta-i o reprezentare chiar buna a ceea ce se intampla in realitate. Si e bine ca nu-i prea in graba. Faptul ca facem odata si inca odata ma lasa sa ma acomodez cu imprejurimile. Cel mai complicat pentru mine a fost aspectul chinestezic de a ma uita la maini prin 2 oglinzi, intins pe spate si neputandu-ma misca deloc, exceptand mainile. Asta a fost o incercare. Dar cu siguranta, au fost momente,
(Laughter)
sincer,
there were moments of real, honest-to-God musical interplay, for sure.
momente reale de interactiune muzicala, cu siguranta.
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: OK, acum voi lua cateva momente. Asadar ceea ce vedeti aici -- Si cu asta fac un pacat principial in stiinta, aratandu-va date prelimarii. Acestea sunt datele unui subiect. Acestea sunt, de fapt, datele lui Mike Pope. Asadar ce va arat aici? Cand el canta interactiv cu mine, improvizand, nu din memorie, suprafata ce tine de vorbire s-a aprins, suprafata Broca, care e girusul frontal inferior din stanga. De fapt s-a aprins si omologul acestuia din dreapta. Asta e suprafata presupusa a fi implicata in comunicarea expresiva. Aceasta intreaga notiune ca muzica e un limbaj, poate are o baza neurologica de fapt, si o vedem atunci cand doi muzicieni comunica muzical. Am facut acest studiu pe 8 indivizi pana acum, si abia organizam toate datele. Deci speram ca vom concluziona ceva semnificativ.
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.
Considerand acum legatura improvizatie-limbaj, ce urmeaza? Muzica rap, bineinteles, rap -- free-style [stilul-liber]. Am fost intotdeauna fascinat de free-style. Asa ca haideti sa rulam aceasta inregistrare.
(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
(Clip) Mos Def: ♫ Am pielea neagra, sunt inalt de 1.80 ♫ ♫ Facandu-mi de cap cand sunt in preajma ta ♫ ♫ Sinergie plina de stil, recunoaste simetria ♫ ♫ Incearca, raneste-ma, dizolva-ma chimic ♫ ♫ Nu sunt al 10-lea M.C, vorbind despre ce am fost ♫ ♫ Stilat ca un Kennedy, cum e 10 dupa 3 ♫ ♫ Cand spun unde-oi fi, fetele zic indoaie cheile ♫
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: Asadar observam o intreaga analogie intre ce se petrece in rap si in jazz. Sunt chiar multe corelari intre cele 2 tipuri de muzica desi apartin in doua epoci diferite. In multe feluri, rap-ul deserveste aceleasi functii sociale pe care muzica jazz le servea. Deci cum studiezi stiintific muzica rap? Colegii mei ma cam cred nebun. dar eu cred ca-i foarte viabil. Deci asta-i ce faci: aduci un artist de free-style il pui sa memoreze o melodie rap pe care o scrii tu pentru ei, pe care n-au mai auzit-o niciodata, iar apoi îi pui sa cante free-style. Asadar le-am spus colegilor de laborator ca voi canta rap pentru TED, iar ei au spus, "Nu, nu vei face asta." Iar apoi m-am gandit --
(Laughter)
(Aplauze)
(Applause)
Uite cum sta treaba.
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.
Cu acest ecran imens, puteti toti canta rap cu mine. Bine? Asa ca le-am cerut sa memoreze de la acest buton de sunet din stanga jos. Asta-i partea controlata. Asta au memorat. Calculator: ♫ Memorie, ridica volumul. ♫
Computer: Memory, thump.
CL: ♫ Ridica volumul repetat ♫
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
♫ Ritmul si rima, ma completeaza ♫ ♫ Ascensiunea-i sublima cand sunt la microfon ♫ ♫ Aruncand rime care te lovesc ca un fulger ♫
Computer: Search.
♫ Caut adevarul in aceasta misiune eterna ♫
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
♫ Pasiunea mea nu-i moda, uite cum sunt imbracat ♫ ♫ Cuvinte psihopate, in capul meu apar ♫ ♫ Soptesc aceste versuri ca doar eu sa aud ♫
Computer: Art.
♫ Arta in descoperire si in plutire ♫
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
♫ In mintea celor neinhibati ♫ ♫ Si toate cuvintele astea tot curg ca ploaia♫ ♫ Am nevoie de un medic nebun sa-mi verifice creierul ♫
Computer: Stop.
(Aplauze)
(Applause)
I guarantee you that will never happen again.
Va garantez, asta nu se va mai intampla niciodata.
(Laughter)
(Rasete)
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.
Ce-i grozav la acesti free-style-eri, e ca prind din zbor cuvinte cheie. Ei nu stiu ce urmeaza, dar vor auzi ceva spontan Da-i drumul, apasa pe butonul de sunet. Vor auzi aceste cuvine cheie: "like", "not" si "head". El nu stie ce urmeaza. Free-style-er: ♫ Sunt intr-un fel de zbor ♫
Freestyler: I'm like some kind of extraterrestrial, celestial scene Back in the days, I used to sit in pyramids and meditate
♫ pe bolta cereasca, in spatiu stelar ♫ ♫ Mai de mult, stateam in piramide si meditam ♫ ♫ Cu 2 microfoane plutind peste cap ♫
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
♫ De-oi mai putea asculta, scuipand sunete ♫ ♫ Vad ca te strambi ♫ ♫ Predau elevilor in spatele clasei ♫ ♫ Mesajul apocaliptic ♫
Computer: Not. Not really though, 'cause I've got to keep it simple instrumental Detrimental playing Super Mario boxes [unclear] hip hop
♫ Nu prea complicat, caci tre sa fie simplu ♫ ♫ instrumental ♫ ♫ Joc periculos cu Super Mario ♫ ♫ cu tobe si hip-hop ♫
Computer: Stop.
CL: Din nou, are loc un fenomen incredibil.
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.
Neurologic, el face ceva absolut remarcabil. Daca va place sau nu muzica este irelevant. Dar creativ vorbind, e un lucru fenomenal. Iata o scurta inregistrare despre cum adaptam asta in RMN . (Rasete)
[fMRI of Hip-Hop Rap]
(Clip) CL: Suntem aici cu Emmanuel.
(Laughter)
(Video) CL: We're here with Emmanuel.
Apropo, asta a fost inregistrat in scaner.
CL: That was recorded in the scanner, by the way.
(Clip) CL: Acela-i Emmanuel in scanerul RMN.
(Video) CL: That's Emmanuel in the scanner. He's just memorized a rhyme for us.
Tocmai a memorat o rima pentru noi.
[Control Condition Memorized Verses]
♫ In fruntea masurilor fara repetare ♫
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
♫ Ritmul si rima ma completeaza ♫ ♫ Ascensiunea e usoara cand sunt la microfon " ♫ Scuipand rime ce lovesc ca un fulger ♫
Computer: Search. I search for the truth in this eternal quest I'm passing on fashion; you can see how I'm dressed
♫ Caut un adevar in aceasta misiune ♫ ♫ Trec peste moda, vezi cum sunt imbracat ♫ CL: Bun. Voi opri aici. Deci, ce vedem la creierul sau?
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.
Pai, astea sunt de fapt creierele a 4 rap-eri. Iar ce vedem sunt zonele de limbaj ce se aprind. dar apoi -- cu ochii inchisi -- cand se canta liber nu din memorie se aprind zone majore ce tin de vedere. Activitate cerebrala majora implicata in coordonarea motorie. Activitatea cerebrala se intensifica daca faceti o treaba similara, cand un procas e creativ iar cealalt e memorat. E studiu preliminar, dar cred ca e chiar fain.
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.
Deci doar pentru a trage concluzii, avem de raspuns la multe intrebari. Si cum am spus, vom pune intrebari, nu vom da raspunsuri. Dar, neurologic, vrem sa ajungem la radacinile geniului creativ. Si cred, cu aceste metode, ne apropiem. Sper cu toata nadejdea ca in urmatorii 10, 20 de ani vom vedea cu adevarat, studii semnificative ce vor arata ca stiinta trebuie sa prinda din urma arta, si poate acum pornim la drum sa ajungem acolo.
Thank you for your time, I appreciate it.
Deci va multumesc pentru timpul acordat. Cu recunostinta.
(Applause)
(Aplauze)