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 hirurg koji proučava kreativnost, a nikada nisam imao pacijenta koji bi mi rekao: "Želim da budete kreativni tokom moje operacije." (Smeh) Tako da mislim da tu postoji mala doza ironije. Reći ću uprkos tome, nakon toliko obavljenih operacija, da je operisanje jako slično sviranju muzičkog instrumenta. I za mene, ova vrsta duboke i dugotrajne fascinacije zvukom je činilac koji me naveo da budem i hirurg ali i da se bavim naukom o zvuku, posebno muzikom. I tako ću vam narednih minuta pričati o svojoj karijeri, o tome kako sam bio u stanju da proučavam muziku i kako sam pokušao da se izborim sa ovim pitanjima kako je mozak u stanju da bude kreativan. Većinu ovog rada sam završio na Džons Hopkins Univerzitetu, ali i na Nacionalnom institutu zdravlja gde sam prethodno radio. Proći ću kroz neke naučne eksperimente
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.
i pokušati da objasnim tri muzička eksperimenta. Počeću jednim snimkom. To je snimak Kita Džereta, poznatog džez improvizatora i verovatno najpoznatiji primer osobe koja stvara improvizacije na izuzetno visokom nivou. I on će improvizovati čitave koncerte iz svoje glave, i nikada ih neće svirati na potpuno isti način. I tako, kao oblik intenzivne kreativnosti, mislim da je ovo sjajan primer. I zašto da onda ne pustimo snimak.
(Music)
(Muzika)
(Music ends)
Zaista je neverovatno, fenomenalno to što se dešava ovde.
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.
Uvek sam zapanjen - samo kao slušalac, kao obožavatelj - kad god slušam ovo. I mislim: kako je to uopšte moguće? Kako mozak uopšte može da stvara toliko informacija, toliko muzike, spontano? Tako sam postavio ovaj koncept, naučno, da je umetnička kreativnost magična, ali nije magija. Što znači da je proizvod mozga. Nema mnogo ljudi bez moždane aktivnosti koji stvaraju umetnost. I sa tom pretpostavkom da je umetnička kreativnost zapravo neuronski proizvod, uzeo sam tu tezu da bismo je mogli proučavati kao što bismo mogli proučavati bilo koji drugi složeni neurološki proces. I mislim da postoje i neka podpitanja koja sam postavio. Da li je zaista moguće naučno proučavati kreativnost? Mislim da je to jako dobro pitanje. I reći ću vam da su najnaučnije studije muzike veoma neprovidne. I kada prođete kroz njih, veoma je teško prepoznati muziku u njima. Zapravo, deluju vrlo nemuzikalno u celini gledano i kao da propuštaju čitavu poentu muzike.
This brings the second question: Why should scientists study creativity? Maybe we're not the right people to do it.
I tako nas to dovodi do narednog pitanja: zašto bi naučnici proučavali kreativnost? Možda mi nismo prave osobe za to.
(Laughter)
Pa, možda,
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 ja bih rekao da, iz naučne perspektive - mi pričamo puno o inovacijama danas - o nauci o inovacijama, koliko razumemo način na koji je mozak sposoban da stvara inovacije u najranijem uzrastu. Istina je da znamo veoma malo o tome kako smo u stanju da budemo kreativni. I zato mislim da ćemo tek videti u narednih 10, 20, 30 godina pravu nauku o kreativnosti koja je u razvoju i koja će tek procvetati. I jer sada imamo nove metode koje će nam omogućiti da procese kao što je jedan ovakav, složena džez improvizacija, detaljno proučimo. Tako se sve svodi na mozak. Svi mi imamo ovaj izuzetan mozak, koji je u najmanju ruku, slabo shvaćen. Mislim da neuronaučnici imaju mnogo više pitanja nego odgovora. I ja vam neću dati previše odgovora danas,
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.
samo ću postaviti puno pitanja. I u osnovi to je ono što ja radim u laboratoriji. Postavljam pitanja o tome šta to mozak radi, a što nam omogućava da budemo kreativni. Ovo je glavni metod koji koristim. Zove se funkcionalna magnetna rezonanca. Ako ste nekada bili na magnetnoj rezonanci, to vam je jako slično, samo je ova opremljena na specijalan način da pravi slike aktivnih zona mozga. Način na koji to radi je sledeći. Postoji nešto što se zove BOLD slikanje, i odnosi se na prikaz nivoa kiseonika u krvi. Kada ste na funkcionalnoj magnetnoj rezonanci, vi ste u velikom magnetu koji poravnava vaše molekule u određenim regijama. Kada je određena zona mozga aktivna, što znači da je neuronska zona aktivna, dobija dotok krvi u to područje. Taj dotok krvi izaziva povećanje lokalne krvi u tom području kao i promenu u koncentraciji deoksihemoglobina. Deoksihemoglobin se može detektovati magnetnom rezonancom, dok oksihemoglobin ne može. Putem ovog metoda zaključivanja - a merimo takođe i dotok krvi, ne neuralnu aktivnost - možemo reći da je deo mozga koji dobija više krvi aktivan tokom određenog zadatka. I to je suština načina rada fMRI-a. I on se koristi još od devedesetih kako bi se analizirali neki složeni 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.
Sada ću opisati studiju koju sam ja radio, a to je džez u funcionalnoj magnetnoj rezonanci. Radio sam sa svojim kolegom, Alanom Braunom, na NIH-u.
(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.
Ovo je kratak video prikaz kako smo radili taj projekat. (Video) Čarls Lim: Ovo je plastična MIDI klavijatura koju koristimo za Džez eksperimente. A to je klavijatura sa 35 dirki dizajnirana tako da stane u skener, da bude magnetski sigurna, da ima minimalne smetnje koje bi uticale na neke nalaze i ima ovaj jastuk koji može da se položi na sviračeve noge dok sviraju u ležećem položaju, dok su u skeneru. I to radi ovako - ovo ne proizvodi nikakav zvuk. Ono šalje zvuk koji se zove MIDI signal - ili digitalni muzički interfejs - kroz ove žice u kutiju i potom u kompjuter, koji potom aktiviraju uzorke klavira visokog kvaliteta poput ovog.
(Music)
(Muzika)
(Music)
(Muzika)
(Music ends)
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?
ČL: Ok, dakle radi. Tako kroz ovu klavijaturu, imamo način da proučavamo muzičke procese. Pa šta onda radite sada kada imate ovakvu kul klavijaturu? Ne možete samo reći - "Sjajno, imamo ovakvu klavijaturu." Moramo uraditi i nekakav naučni eksperiment. A eksperiment zaista počiva na sledećem. Šta se dešava u mozgu tokom učenja i memorisanja, a šta se dešava tokom nečega što je spontano izvedeno ili improvizovano, na način koji se poklapa motorički u terminima nižeg nivoa senzornih motoričkih funkcija?
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 tako, imam ovde nešto što zovemo paradigme. Imamo ovde paradigmu skale, što je zapravo sviranje skale gore dole, zapamćeno. I tu je i improvizacija na skali - četvrtine nota, metronom, desna ruka - naučno veoma sigurno, ali muzički jako dosadno. I onda je tu i poslednja, koju zovemo džez paradigma. Doveli smo profesionalne džez muzičare u NIH, oni su morali da zapamte ovaj deo muzike levo, niže levo - što je ono što ste mene čuli da sviram - i onda su morali to da improvizuju sa istim promenama u akordima. Kliknite tu zvučnu ikonu sa donje leve strane, to je primer onoga što je zapisano skenerom.
(Music)
(Muzika)
(Music ends)
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.
I na kraju, ovo nije najprirodnije okruženje, ali su oni u stanju da sviraju pravu muziku. Slušao sam taj solo 200 puta, i još uvek mi se sviđa. I muzičarima je bilo izuzetno ugodno na kraju. Prvo smo izračunali broj nota. Da li oni zapravo sviraju mnogo više nota dok improvizuju? Nije to bilo u pitanju. Pogledali smo aktivnost mozga. Pokušaću ovo da vam sažmem. Ovo su kontrastne mape koje pokazuju razlike između onoga što se dešava dok improvizujete i onoga što radite a što je memorisano. Crveno je deo koji je aktivan u prefrontalnom korteksu, frontalnom režnju mozga. Plavo je deo koji nije bio aktivan. Tako smo imali taj žarišni deo, središnji prefrontalni korteks, koji je bio aktivan. Imali smo taj široki pojas koji se zove lateralni prefrontalni korteks kome je aktivnost opadala, i to ću vam sada sumirati. Ovo su multifunkcionalne zone 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 --
Kako ja to volim da kažem, ovo nisu džez zone mozga. One radi mnogo drugih stvari kao što su samorefleksija, introspekcija, radna memorija i tako dalje. Svest je smeštena u frontalnom delu. Ali imamo ovu kombinaciju područja koja se navodno angažuju tokom samoposmatranja, koja se gase, i područja za koja se misli da su autobiografska, ili samoekspresivna, koja se pale. I mi mislimo, bar sad na početku - to je jedna studija. Verovatno je pogrešna.
(Laughter)
Ali to je jedna studija.
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.
Mislimo, razumna je hipoteza to da, kako biste bili kreativni, morate da imate ovu čudnu disocijaciju frontalnog režnja. Jedna zona se pali, a druga velika zona se gasi, kako ne biste bili inhibirani, kako biste dozvolili sebi da pravite greške, kako ne biste stalno gasili sve te generišuće impulse. E sada, mnogo ljudi zna da muzika nije uvek samostalna aktivnost - nekada se radi u komunikaciji sa drugima.
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.
I tako je sledeće pitanje: šta se dešava kada muzičari improvizuju naizmenično - improvizujuća četvorka - što je nešto što se normalno radi u džez eksperimentu? Ovo je bluz sa skalom od 12. I razbio sam to na grupe skala od po četiri, kako biste znali kako biste improvizovali. Mi smo doveli muzičare u skener - sve isto - dali smo im da memorišu ovu melodiju imali smo muzičara i u kontrolnoj sobi koji je improvizovao interaktivno.
So this is a musician, Mike Pope, one of the world's best bassists and a fantastic piano player.
Ovo je muzičar, Majk Poup, jedan od najboljih svetskih basista i fenomenalni pijanista.
(Music)
On svira komad
He's now playing the piece that we just saw a little better than I wrote it.
koji smo upravo videli nešto bolje nego što sam ja zapisao.
(Video) CL: Mike, come on in.
(Video) ČL: Majk, hajde uđi. Čovek: Neka sila bude sa tobom.
Mike Pope: May the force be with you.
Nurse: Nothing in your pockets, Mike?
Sestra: Nemaš ništa u džepovima Majk?
MP: No. Nothing's in my pockets.
Majk Poup: Ne. Ništa nemam u džepovima. Sestra: OK.
CL: You have to have the right attitude to agree to do it.
ČL: Morate da imati ispravan stav kako biste pristali na to.
(Laughter)
(Smeh)
It's kind of fun, actually.
Zapravo je na neki način i zabavno.
(Music)
Now we're playing back and forth. He's in there. You can see his legs up there.
I tako sada sviramo naizmenično. On je unutra. Možete videti njegove noge.
(Music)
And then I'm in the control room here, playing back and forth.
Ja sam u kontrolnoj sobi tamo, sviram naizmenično.
(Music)
(Muzika)
(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 --
Majk Poup: Ovo je prilično dobra prezentacija kako to zapravo jeste. I dobro je što nije prebrzo. Činjenica da mi to radimo iznova i iznova dozvoljava da se prilagodite okruženju. Najteža stvar mi je bila ta kinestetička stvar, da gledam svoje ruke kroz dva ogledala, ležeći na leđima i što nisam u mogućnosti da pomeram išta izuzev ruku. To je bio izazov. Ali ipak, bili su trenuci,
(Laughter)
zaista,
there were moments of real, honest-to-God musical interplay, for sure.
pravog, istinskog zajedničkog sviranja.
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.
ČL: U ovom trenutku, uzeću par trenutaka. Ono što vidite ovde - i činim najgori greh u nauci, a to je da vam pokažem preliminarne podatke. Ovo su podaci jednog subjekta. Podaci Majka Poupa. Šta vam zapravo pokazujem ovde? Kada je svirao sa mnom, improvizovao, a ne svirao naučeno, njegove lingvističke zone su se upalile, njegova Brokina zona, što je inferiorni frontalni girus sa leve strane. Imao je gotovo iste i sa desne strane. To je zona koja je aktivna tokom ekspresivne komunikacije. Čitava postavka da je muzika jezik, možda postoji čitava neurološka osnova za to na kraju krajeva, možemo da je vidimo kad dva muzičara zapravo razgovaraju kroz muziku. Ovo smo uradili sa osam subjekata, i sada sakupljamo sve podatke. I nadamo se da ćemo pronaći nešto značajno.
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.
Sada kada razmišljam o improvizaciji i jeziku, zapitam se šta je sledeće? Rep, naravno, rep - slobodni stil. Oduvek sam bio fasciniran slobodnim stilom.
(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
I hajde da pogledamo i ovaj video. (Video) Mos Def: ... tamne kože ja sam, 1.80 ja sam sviram gde god sam, u tvojoj blizini sam sinergija celog stila, prepoznajem simetriju hajde probaj da me povrediš, slomi ih hemijski nije broj 10 M.C., pričaj o tome kako si stilizovan kao Kenedi, kasnim kao 10 do 3 kada kažem tu sam, cure kažu sakrij ožiljak
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 --
ČL: I tako postoji puno analogije između slobodnog stila i džeza. Postoji zapravo jaka korelacija između ova dva oblika muzike u različitim vremenskim periodima. Na mnogo načina, rep je imao sociološku funkciju istu koju je imao i džez. I kako proučavate rep naučno? Moje kolege misle da sam malo lud, ali ja mislim da je to vrlo moguće. I ovako ja radim: umetnik slobodnog stila koji dođe i memoriše muziku koju ste mu napisali, koju nikada ranije nije čuo, i zatim on uradi slobodan stil. Rekao sam članovima svog tima da ću repovati za TED, a oni su rekli, "Nema šanse." I tada sam pomislio -
(Laughter)
(Smeh)
(Applause)
(Aplauz)
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.
Evo o čemu se radi. Sa ovim velikim ekranom, možete svi repovati sa mnom. Ok? Od njih smo tražili da memorišu ovu ikonu dole levo. Ovo je kontrolni uslov. Ovo je to što su memorisali.
Computer: Memory, thump.
Kompjuter: Memorija, udar
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
ČL: Udari ritma u poznatoj sredini Ritam i rima, čine me kompletnim Klima je uzvišena kada sam za mikrofonom Izbacujem rime koje udaraju kao gromovi
Computer: Search.
Kompjuter: traženje.
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
Tražim istinu u ovom večitom lutanju Moja strast nije moda, vidite kako sam obučen Psihopatske reči, pojavljuju se u glavi Pevam ove reči koje samo ja čujem
Computer: Art.
Kompjuter: umetnost
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
Umetnost otkrivanja u kojoj se lebdi Unutar misli slobodnih po volji Sve ove reči teku kao kiša Treba mi ludi naučnik da proveri moj mozak
Computer: Stop.
(Aplauz)
(Applause)
I guarantee you that will never happen again.
Obećavam vam da se ovo više nikada neće desiti.
(Laughter)
(Smeh)
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.
I sada, ono što je sjajno kod muzičara slobodnog stila, oni dobiju stimulus u vidu različitih reči. Ne znaju šta sledi, ali će čuti nešto. Kliknu na tu zvučnu ikonu desno. Oni treba da budu stimulisani nekom od ove tri reči: sviđati, ne i glava. On ne zna šta dolazi.
Freestyler: I'm like some kind of extraterrestrial, celestial scene Back in the days, I used to sit in pyramids and meditate
Muzičar slobodnog stila: Ja sam nalik neljudskoj, nebeskoj slici Nekada, ja sam sedeo na piramidama i meditirao
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
Sa slušalicama na glavi Kompjuter: glava. Da vidim da li još uvek mogu da slušam, izbacuje zvuk Vidi kako se keziš Učim decu u pozadini učionice O poruci apokalipse
Computer: Not. Not really though, 'cause I've got to keep it simple instrumental Detrimental playing Super Mario boxes [unclear] hip hop
Kompjuter: ne. Ne mnogo ipak, mora biti jednostavno (nejasno) instrumental Štetno je igrati Super Maria (nejasno) kutije (nejasno) hip hop
Computer: Stop.
Kompjuter: stani.
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.
ČL: I ponovo, nešto neverovatno se dešava. Dešava se nešto neurološki fascinantno. Nebitno je da li volite ili ne tu muziku. Sa kreativnog stanovišta, to je fenomenalna stvar. Ovo je video kako smo to radili u skeneru.
[fMRI of Hip-Hop Rap]
[fMRI snimak repovanja]
(Laughter)
(Smeh)
(Video) CL: We're here with Emmanuel.
(Video) ČL: Ovde smo sa Emanuelom.
CL: That was recorded in the scanner, by the way.
To je bilo snimljeno u skeneru, inače.
(Video) CL: That's Emmanuel in the scanner. He's just memorized a rhyme for us.
(Video) ČL: To je Emanuel u skeneru. Upravo je naučio rime.
[Control Condition Memorized Verses]
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
Emanuel: Udari ritma u poznatoj sredini Ritam i rima, čine me kompletnim Klima je uzvišena kada sam za mikrofonom Izbacujem rime koje udaraju kao gromovi
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 večitom lutanju Moja strast je moda, vidite kako sam obučen ČL: Ok. Prekinuću ovde. Šta 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 repera. I ono što vidimo, jesu govorna područja koja se pale, ali onda - zatvorenih očiju - kada ste u slobodnom stilu - nasuprot memorisanju, imate upaljenu široku zonu vizuelnog područja. Glavnu cerebralnu aktivnost, koja je uključena pri motoričkoj koordinaciji. Imate povišenu moždanu aktivnost kada radite komparativan zadatak, kada je jedan zadatak kreativan, a drugi baziran na memorisanju. Ovo je sve preliminarno, ali mislim da je nekako kul.
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.
I tako samo da zaključim, imamo mnogo pitanja. I kao što sam rekao, ovde smo da postavljamo pitanja, ne da odgovaramo. Želimo da dođemo do korena kreativnih genija, neurološki. I mislim da smo se ovim metodama jako približili tome. I nadam se da ćete u narednih 10, 20 godina zaista moći da vidite prave, značajne studije koje će pokazati da nauka mora da sustigne umetnost, i mislim da sada počinjemo sa tim.
Thank you for your time, I appreciate it.
Želim sada da vam zahvalim na vremenu. Cenim to.
(Applause)
(Aplauz)