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.
我是一个研究创造力的手术医生, 从来没病人跟我说 “我真希望你在手术时搞些创造。” 所以我想这也是有点讽刺的。 我是说,做了那么多手术后, 就跟演奏一种乐器一样。 对我来说, 对声音的持久而深切的痴迷 引导我成为一个手术医生, 并研究声学,特别是音乐的。 所以我想在随后的几分钟里 我来讲一下我的职业 我是怎样研究音乐 怎样研究大脑是如何进行创造 等问题的。 我的大部分的工作是在約翰斯霍普金斯大学进行的, 也有些是在我原先工作的国家健康研究所完成的。 我在这里给大家介绍一些科学实验 包括三个音乐实验。
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.
我先给大家看一段录像。 这是基思·杰瑞特Keith Jarrett的一段录像,他是著名的即兴爵士作曲家, 估计他也是能将即兴创造升华到非常高超境界 的最著名,最有代表性的人物。 他可以即兴表演一场音乐会 音乐就在他的大脑里即兴产生, 他不会再用同样的手法演奏第二次。 所以,这是一种创作强度很高的一种形势, 我觉得这是一个很好的例子。 我们为什么还不点击这视频看看。
(Music)
(音乐)
(Music ends)
这真是很神奇,精彩的即兴音乐。
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.
我是他的一个忠实的听众, 粉丝, 我听到这些会感到很震惊。 我想:这怎么可能? 大脑怎么可能产生这么大量的信息, 同时爆发出这么多音乐? 所以我从这个概念出发,科学地认为 艺术创作,是神奇的,但不是魔术。 它是大脑的产物。 很少有不动脑子的人创作艺术。 所以艺术创作的产生 事实上是神经的产物, 我开始了这个研究课题 就象研究其他复杂神经过程一样。 我想我提出了一些潜在的问题。 我们是否能科学地研究创作力? 我觉得这是一个很好的问题。 我想告诉你大多数的音乐科学研究 都很高深莫测。 你很难在那些研究材料中发现音乐。 事实上, 它们完全是非音乐的 完全丧失了音乐性。 这就带来了第二个问题:
This brings the second question: Why should scientists study creativity? Maybe we're not the right people to do it.
为什么科学家研究创造力? 也许我们不是解答这问题的合适人选。
(Laughter)
也可能是,
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.
但是我要说的是, 从科学的观点出发 我们今天谈论了很多有关发明创造的话题-- 科学发明, 我们对大脑是如何创造的了解 才刚起步。 其实,我们对我们是怎样创造的知之甚少。 所以我们会在 今后的10,20,30年间看见 一个真正现实的科学创造力会从兴起走向繁荣。 我们现在有了新的手法帮助我们 将向这样的一个过程过渡, 一个复杂的即兴爵士乐创造的过程,并严格地分析研究它。 所以说到大脑, 我们所有的人都有一个非凡的大脑, 至少现在来说,我们对它的了解是非常有限的。 我想神经学家 的问题比答案要多。 而我今天也没办法给你很多答案, 只能提出很多问题。
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.
这也是基本上我在实验室做的事情。 我追问到底大脑做了什么使得我们能做这些事情。 这是我用的主要方法,这是功能性的核磁共振成像。 如果你用过核磁共振成像扫描仪,它们是一样的, 但是这个有特殊的配备 所以它不只是给你的大脑拍照, 而且给大脑活跃的区域拍照。 整个完成的过程如下, 这是叫做BOLD成像, 它代表血液氧气水平成像。 现在如果你在功能性核磁共振扫描仪中, 你在一个大磁场里 这是和你的一些特别区域的分子对应。 当大脑活跃时,也就是神经区域活跃时, 血液会往那个区域流动。 血液流动会导致那个 区域的血液增加 导致脱氧血红蛋白的浓度发生变化。 核磁共振扫描仪可以探测脱氧血红蛋白, 但不能探测氧合血红蛋白。 所以用这种手法来推理 我们测量血液的流动,不是神经的活动。 我们可以说大脑的某个部分得到了更多的血液, 这个部分在人做某些事情时特别活跃。 这就是功能磁共振成像的关键。 这从90年代就被使用 用来研究复杂的过程。
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.
现在我来介绍我做的一个研究 是关于爵士的功能磁共振成像。 这是我和我的同事阿兰·布朗Alan Braun一起在国家健康研究所做的。 这是我们如果做这个实验的一段录像。
(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.
(录像)查尔斯·林普Charles Limb: 这是一个塑料的MIDI琴键键盘 我们用它来做爵士实验。 它有35个键 是为了可以在扫描仪中使用而设计的, 它保证磁控安全, 并将可能造成影响的人为干扰 减到最小, 这个垫子可以放在演奏者的腿上, 他们在扫描仪中,他们是躺着弹琴的。 这是像这样工作的,它并不产生声音。 它传递所谓的MIDI信号 也称为乐器数字界面, 通过这个电线传到盒子和计算机中, 然后产生了象这样高质量钢琴声。
(Music)
(音乐)
(Music)
(音乐)
(Music ends)
CL:好的, 它是这样工作的。
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?
所以通过钢琴的琴键, 我们可以有办法记录音乐的过程来进行研究。 所以你有了这个很酷的钢琴琴键后干什么呢? 你不能说:“太好了,我们有了键盘了。” 我们得想出真正的科学实验。 实验其实是由以下的内容组成的。 大脑在人们靠记忆演奏熟知的音乐时是怎样反应的? 大脑在演奏者自发和即兴创作 时又是如何反应的? 从某个角度来说这与肌肉运动相匹配 并符合低级感知运动的特征吗?
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.
我这里有一段范例。 这是一段音阶范例, 只需要跟了音阶上下, 记住就行。 而这是对这段音阶的即兴发挥, 4分音符, 节拍器和右手, 科学上来说很妥当, 但是从音乐上来说很单调。 底下的这个,叫做爵士范例。 我们把专业的爵士乐演奏者请到国家健康研究中心, 我们让他们记住左边的这段音乐,左下 就是你听到我弹的这段, 然后我们让他们用同样的和音来即兴发挥。 如果你能按右下角的按钮, 这就是扫描仪录下的例子。
(Music)
(音乐)
(Music ends)
说到底,这并不是最自然的环境,
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.
但是他们能弹奏真的音乐。 我已经听了这段独奏200遍了, 我还是喜欢它。 音乐家们最后也感到挺舒适。 我们首先测量音符数量。 他们在即兴创作时会演奏很多音符吗? 结果不是这样。 然后我们查看了大脑的活动。 我来把这个给你们压缩在一起。 这些对比图展示了大脑在 在你做即兴创作时 和你在做熟记的事情时的不同。 左前头叶外皮的一个活跃地区呈红色, 这是在大脑的前叶。 蓝色的地区是不活跃地区。 所以我们看到这个前额皮质一侧是一个焦点 活跃程度很高。 我们可以看到这前额皮质的这一侧一大块 活跃程度很低, 我在这里为你们总结一下。 这是大脑的多功能区域。
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 --
像我说的那样, 这不是大脑的爵士部分。 它们担当了很多的事情 包括自省, 内省, 工作记忆等。 人的意识其实是处于大脑前叶。 但是我们发现这些联系在一起的 主管自我控制的区域关闭了, 而这个代表自传 自我表达的区域活跃起来。 所以我们想,至少初步是这么想, 这只是一个研究, 可能是错误的。 但是这是一个研究成果。
(Laughter)
我想至少是一个合理的解说
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.
就是, 要有创造力, 你需要跟你的大脑前叶达成这种奇怪的分离。 一个区域打开了,一个大的区域关闭了, 因此你会感到不受局限的, 你愿意犯错, 而不是老是去停止尝试 所有新创造的冲动。 很多人都知道音乐不总是一个单独的活动, 有的时候它是通过沟通合作完成的。 所以下面的一个问题是:
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.
当音乐家们互相弹奏音乐时大脑是怎样活动的呢? 有种手法叫四小节交换, 这是种在爵士乐中常用的方法吗? 这是一个12小节的爵士。 这里我把它分成四小节一组, 所以你知道怎么切换。 我们用同样的办法把一个音乐人安排到扫描仪中, 让他记住这段旋律 然后让另一个演奏者在控制室 跟他前后交互演奏。
So this is a musician, Mike Pope, one of the world's best bassists and a fantastic piano player.
这是那个音乐家,迈克·蒲柏Mike Pope, 世界上最好的贝斯手, 一个奇妙的钢琴手。
(Music)
他现在在弹的这一段
He's now playing the piece that we just saw a little better than I wrote it.
我们要看见的这一段 只不过他弹得音乐比我写的音乐要好点。
(Video) CL: Mike, come on in.
(视频) CL:迈克Mile, 请进。 ( 男人:愿力量与你同在。)
Mike Pope: May the force be with you.
护士:你口袋里没其他东西吧,迈克Mike?
Nurse: Nothing in your pockets, Mike?
迈克·蒲柏Mike Pope: 没有, 我口袋里没东西。(护士:好的。)
MP: No. Nothing's in my pockets.
CL: You have to have the right attitude to agree to do it.
CL:你答应做这个实验时需要有正确的态度。
(Laughter)
(笑声)
It's kind of fun, actually.
这其实挺好玩的。
(Music)
现在我们开始互相交互弹奏。
Now we're playing back and forth. He's in there. You can see his legs up there.
他在里面, 你可以看见他的腿在那儿。
(Music)
而我在控制室, 我们弹来弹去。
And then I'm in the control room here, playing back and forth.
(音乐)
(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 --
(视频)迈克·蒲柏Mike Pope:这很好的代表了 演奏的状态。 而且曲子不是太快,这很好。 我们之所以一遍又一遍地实验 是为了让你熟悉新的环境。 那个头套对我来说,让我有点行动不便, 我通过两边的镜子 看见我的手, 我仰面躺着 除了手我完全不能动。 这是很有挑战性的。 但是再说了, 有些时刻,真的,
(Laughter)
有一些时刻
there were moments of real, honest-to-God musical interplay, for sure.
你会感到绝对发自内心地,诚挚地与音乐交流,真的。
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:到此, 我来回顾一下。 你们到底看到了什么, 而我在犯科学之大忌, 给你们展示初步的数据。 这只是一个实验的数据。 这是,事实上,迈克·蒲柏Mike Pope的数据。 所以我在这里给你看的是什么呢? 当他在跟我交换四小节的演奏时, 靠的是即兴不是记忆, 他的语言部分亮了起来,他的布洛卡区域 就是他左脑的前方下面的脑回。 其实他右脑边的同源也有同样的表现。 这个区域被认为是有关于表达和交流的。 音乐是语言的想法, 说到底大概是具有神经学基础的, 我们可以通过两个音乐人的音乐交流看到这结论。 我们已经对8个对象做了类似的实验, 我们收集了所有的数据。 希望我们可以能从中得出一些有意义的结论。
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.
当我们说到即兴和语言时,我们还会想到什么呢? 说唱,当然, 说唱 自由式说唱。 我一直感到自由式说唱的形势很奇妙。 让我们在这里放一段录像。
(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
(视频)摩斯·戴夫Mos Def:♫ ... 我是粽皮肤,我有五英尺十英寸高... brown skin I be, standing five-ten I be ♫ ♫ 当我在你附近摇滚时Rockin' it when I be, in your vicinity ♫ ♫ 整体协同,相互认识Whole-style synergy, recognize symmetry ♫ ♫ 来吧试着伤害我,让我伤心欲绝Go and try to injure me, broke 'em down chemically ♫ ♫ 提及10 M.C.号码,谈到的正是我Ain't the number 10 M.C., talk about how been I be ♫ ♫ 像肯尼迪的风格,在夜里10点到3点Styled it like Kennedy, late like a 10 to three ♫ ♫ 当我说我自己时,女孩们随声附和When I say when I be, girls say bend that key cut ♫
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: 所以自由式说唱和爵士乐之间 有很大的相似之处。 事实上,我觉得在不同的时代,这两种音乐有很多相关的地方 。 在很多方面, 说唱实现了很多爵士曾经 担当的社会功能。 所以我们该怎样科学地研究说唱呢? 我同事觉得我很疯狂, 但是我觉得这是可行的。 这是你要做的:你请一个自由说唱的艺术家来 记住你为他们写好的说唱词, 他们以前从来没听说过这种说唱词, 然后你让他们自由发挥。 我告诉我实验室成员说我会在TED讲台说唱, 他们说:“不会吧,你不会真正说唱吧。” 然后我想--
(Laughter)
(掌声)
(Applause)
这说唱词就在
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.
这大屏幕,你们可以跟我一起说唱,行吗? 所以我们让他们做的是 请他们记住左下角的声音记号。 这是控制的条件。这是他们记住的说唱。 计算机:♫ 记忆,即兴说唱Memory, thump. ♫
Computer: Memory, thump.
CL: ♫熟知一个重复节拍来动感说唱Thump of the beat in a known repeat ♫
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
♫节奏和韵律使我能完美说唱Rhythm and rhyme, they make me complete ♫ ♫当我即兴说唱时,我就如同攀登上了高峰一样兴奋The climb is sublime when I'm on the mic ♫ ♫ 这押韵的即兴表演就如同你被雷击一样Spittin' rhymes that hit you like a lightning strike ♫
Computer: Search.
♫我在这永恒追寻中寻求真理I search for the truth in this eternal quest ♫
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
♫ 我的激情可不等同于我的时尚,大家可能看出我不怎么打扮My passion's not fashion, you can see how I'm dressed ♫ ♫ 在我脑海中有些胡思乱语Psychopathic words, in my head appear ♫ ♫ 这些微妙的细语只有我能理解Whisper these lyrics only I can hear ♫
Computer: Art.
♫ 对艺术的探索我还在徘徊的路上The art of discovering and that which is hovering ♫
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
♫ 在未知的内心深处Inside the mind of those unconfined ♫ ♫ 所有这些轻声细语像才思泉涌一样不断地迸出All of these words keep pouring out like rain ♫ ♫我需要一个疯狂的科学家来了解我才思泉涌的大脑I need a mad scientist to check my brain ♫
Computer: Stop.
(掌声)
(Applause)
I guarantee you that will never happen again.
我向你们保证,这不会再发生了。
(Laughter)
(笑声)
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.
这些自由式说唱家的伟大之处是 你给他们不同的说唱词,他们也能演绎。 他们不知道你给他们什么样的说唱词,但是他们听了以后,会马上即兴发挥。 请按一下右边那个声音图标。 我们会给他们方框里的这些词'喜欢like', '不not','头head'。 他们不知道接下来的词会是什么。 自由式说唱者:♫ 我有点像那些自由人士I'm like some kind of Freedom Beings ♫
Freestyler: I'm like some kind of extraterrestrial, celestial scene Back in the days, I used to sit in pyramids and meditate
♫ 外星人,天文奇观[unclear] extraterrestrial, celestial scene ♫ ♫ 回首往事,我曾坐在金字塔边冥想Back in the days, I used to sit in pyramids and meditate ♫ ♫ 在我头上盘旋着2个麦克风With two microphones hovering over my head ♫
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
♫ 看看我是否能听到一些声音,即兴说唱See if I could still listen, spittin' off the sound ♫ ♫ 看着大家在嬉笑See what you grinning ♫ ♫ 我在教室后面教学生I teach the children in the back of the classroom ♫ ♫ 有关启示论的福音About the message of apocalyptical ♫
Computer: Not. Not really though, 'cause I've got to keep it simple instrumental Detrimental playing Super Mario boxes [unclear] hip hop
♫ 不是说真的,因为我要使它变简单Not really though, cuz I've got to keep it simple ♫ ♫ 乐器[unclear] instrumental ♫ ♫ 打超级玛利游戏有害Detrimental playing Super Mario ♫ ♫ 音乐盒子 嘻哈Hip Hop[unclear] boxes [unclear] hip hop ♫
Computer: Stop.
CL: 令人难以置信的事情又发生了。
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.
从神经学角度来讲,这些事情是有显著意义的。 无论你是否喜欢音乐, 仅从创造性的角度来说, 这也是非凡的。 这一小段录像记录了我们怎样用扫描仪的。 (笑声)
[fMRI of Hip-Hop Rap]
(视频) CL: 我们和伊曼纽尔Emmanuel在一起。
(Laughter)
(Video) CL: We're here with Emmanuel.
CL:顺便提一句, 这是从扫描仪里记录的。
CL: That was recorded in the scanner, by the way.
(视频) CL: 这是伊曼纽尔Emmanuel 在扫描仪中的视频。
(Video) CL: That's Emmanuel in the scanner. He's just memorized a rhyme for us.
他仅记住了一段韵律。
[Control Condition Memorized Verses]
伊曼纽尔Emmanuel: ♫ 最棒的动感说唱不需要重复Top of the beat with no repeat ♫
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
♫ 节奏和韵律使我能完美地说唱Rhythm and rhyme make me complete ♫ ♫ 当我即兴说唱时,我就如同攀登上了高峰一样兴奋Climb is sublime when I'm on the mic ♫ ♫ 这押韵的即兴表演就如同你被雷击一样Spittin' rhymes that'll hit you like a lightning strike ♫
Computer: Search. I search for the truth in this eternal quest I'm passing on fashion; you can see how I'm dressed
♫ 我在这永恒追寻中寻求真理I search for the truth in this eternal quest ♫ ♫ 我的激情可不等同于我的时尚,大家可能看出我不怎么打扮I'm passing on fashion; you can see how I'm dressed ♫ CL:好的, 就在这里结束吧。你们看见他的大脑发生了什么呢?
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.
这其实是四个说唱家的大脑记录。 我们看见了什么?我们看见了语言部分很活跃, 但是当他们闭了眼睛, 自由式发挥而不是单纯记忆时, 你看见视觉区域也活跃起来。 你看见大量协调运动的小脑活动。 如果将有创造性的活动和单纯记忆的活动来比较 大脑活动在做创造性活动时更为活跃。 这还是很初步的研究, 但是我觉得很酷。
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.
总之,我们还有很多问题可以引申。 正如我说的, 我们到这里来是提出问题的, 而不是回答问题的。 但是我们想从神经学的角度来了解创造天才的真相。 我认为, 用这些手法,我们跟目标更接近了。 我希望在今后的10,20年间, 你会看见真正有意义的研究, 它是说科学要追赶上艺术, 也许我们可以从现在开始追赶这个目标。
Thank you for your time, I appreciate it.
谢谢你们费时听我的演讲,我很感激。
(Applause)
(鼓掌)