Vi begynder tilbage i 1964. Bob Dylan er 23 år gammel og hans karriere er netop ved at nå dets højdepunkt. Han har været døbt talerør for en generation og han sprøjter klassiske sange ud en tilsyneladende umulig hastighed. Men der er et lille mindretal mener noget andet, og de hævder at Bob Dylan stjæler andre folks sange.
We're going to begin in 1964. Bob Dylan is 23 years old, and his career is just reaching its pinnacle. He's been christened the voice of a generation, and he's churning out classic songs at a seemingly impossible rate, but there's a small minority of dissenters, and they claim that Bob Dylan is stealing other people's songs.
2004. Brian Burton, aka Danger Mouse, tager Beatles' "Det hvide album" kombinerer det med Jay-Z "The Black Album" og laver "Det grå Album." "Det grå Album" bliver en øjeblikkelig sensation online, og Beatles' pladeselskab udsender utallige trusselsbreve for "illoyal konkurrence og forvanskning af vores værdifulde ejendom."
2004. Brian Burton, aka Danger Mouse, takes the Beatles' "White Album," combines it with Jay-Z's "The Black Album" to create "The Grey Album." "The Grey Album" becomes an immediate sensation online, and the Beatles' record company sends out countless cease-and-desist letters for "unfair competition and dilution of our valuable property."
Nu er "Det Grå Album" et remix. Det er nye medier oprettet fra gamle medier. Det blev gjort brug af disse tre teknikker: Kopiere, omdanne og kombinere. Det er sådan du remixer. Du tage eksisterende sange, Du klipper dem itu, du omdanner delene, du kombinerer dem sammen igen, og du har en ny sang, men denne nye sang består klart af gamle sange.
Now, "The Grey Album" is a remix. It is new media created from old media. It was made using these three techniques: copy, transform and combine. It's how you remix. You take existing songs, you chop them up, you transform the pieces, you combine them back together again, and you've got a new song, but that new song is clearly comprised of old songs.
Men jeg tror ikke, at remix bare er summen af delene. Jeg tror at de er de grundlæggende elementer i alt kreativitet. Jeg mener, alt er et remix og jeg tror, dette er en bedre måde at forstå kreativitet.
But I think these aren't just the components of remixing. I think these are the basic elements of all creativity. I think everything is a remix, and I think this is a better way to conceive of creativity.
Okay, lad os gå tilbage til 1964 og lad os høre hvor nogle af Dylan's tidlige kom sange fra. Vi vil lave nogle sammenligninger her.
All right, let's head back to 1964, and let's hear where some of Dylan's early songs came from. We'll do some side-by-side comparisons here.
Okay, den første sang I skal høre er "Nottamun town." Det er en traditionel folkemusik melodi. Efter det vil skal I høre Dylans "Masters og war."
All right, this first song you're going to hear is "Nottamun Town." It's a traditional folk tune. After that, you'll hear Dylan's "Masters of War."
Jean Ritchie: ♫ I Nottamun Town, not a soul would look out, ♫
Jean Ritchie: ♫ In Nottamun Town, not a soul would look out, ♫
♫ not a soul would look out, not a soul would look out. ♫
♫ not a soul would look up, not a soul would look down. ♫
Bob Dylan: ♫ Come you masters of war, ♫
Bob Dylan: ♫ Come you masters of war, ♫
♫ you that build the big guns, you that build the death planes, ♫
♫ you that build the big guns, you that build the death planes, ♫
♫ you that builds all the bombs. ♫
♫ You that build all the bombs. ♫
Kirby Ferguson: Okay, så det er den samme grundlæggende melodi og overordnede struktur. Denne næste her er "The Patriot Game" af Dominic Behan. Sideløbende hermed kommer du til at høre "With God on our side" af Dylan.
Kirby Ferguson: Okay, so that's the same basic melody and overall structure. This next one is "The Patriot Game," by Dominic Behan. Alongside that, you're going to hear "With God on Our Side," by Dylan.
Dominic Behan: ♫ Come all ya young rebels, ♫
Dominic Behan: ♫ Come all ye young rebels, ♫
♫ and list while I sing, ♫
♫ and list while I sing, ♫
♫ for the love of one's land is a terribel thing. ♫
♫ for the love of one's land is a terrible thing. ♫
BD: ♫ Oh my name it is nothin', ♫
BD: ♫ Oh my name it is nothin', ♫
♫ my age it means less, ♫
♫ my age it means less, ♫
♫ the country i come from is called the Midwest. ♫
♫ the country I come from is called the Midwest. ♫
KF: Okay, så i dette tilfælde indrømmer Dylan at han må have hørt "The Patriot Game", men glemt det, hvorefter sangen er dukket op i hans hjerne og han troede at det var hans sang.
KF: Okay, so in this case, Dylan admits he must have heard "The Patriot Game," he forgot about it, then when the song kind of bubbled back up in his brain, he just thought it was his song.
Den sidste er "Whos's Going to boy your ribbons" en anden traditionel folkemusiksang. Som svarer til "Don't think twice, it's all right" Denne her er mere om teksterne.
Last one, this is "Who's Going To Buy You Ribbons," another traditional folk tune. Alongside that is "Don't Think Twice, It's All Right." This one's more about the lyric.
Paul Clayton: ♫ It ain't use sit and sigh now, ♫
Paul Clayton: ♫ It ain't no use to sit and sigh now, ♫
♫ darlin', and it ain't use sit and cry now. ♫
♫ darlin', and it ain't no use to sit and cry now. ♫
BD: ♫ It ain't use to sit and wonder why, babe, ♫
BD: ♫ It ain’t no use to sit and wonder why, babe, ♫
♫ if you don't now by now, ♫
♫ if you don't know by now, ♫
♫ and it ain't use to sit and wonder why, babe, ♫
♫ and it ain't no use to sit and wonder why, babe, ♫
♫ it'll never do somehow. ♫
♫ it'll never do somehow. ♫
KF: Okay, nu, er der masser eksempler. Det er blevet anslået, at to tredjedele af melodierne Dylan brugte i hans tidlige sange var lånt. Det er temmelig typisk blandt folkemusiksangere. Her er rådet fra Dylans idol, Woody Guthrie.
KF: Okay, now, there's a lot of these. It's been estimated that two thirds of the melodies Dylan used in his early songs were borrowed. This is pretty typical among folk singers. Here's the advice of Dylan's idol, Woody Guthrie.
"Ordene er det vigtigste. Bekymre dig ikke om melodier. Tag en melodi, syng højt når de synger lavt, syng hurtigt når de synger langsomt, og du har en ny melodi." (Latter) (Bifald) Og det er hvad Guthrie gjorde og jeg er sikker på, du alle genkender resultaterne. (Musik) Vi kender denne melodi, ikke sandt? Vi kender den? Faktisk gør I det ikke. Det er "When the World's on Fire" en meget gammel melodi, i dette tilfælde spillet af the Carter family. Guthrie tilpassede den til "This Land is your Land." Så, Bob Dylan, som alle andre folkemusiksangere, kopierede melodier, Han omdannede dem, han kombinerede dem med nye sangtekster som var ofte selv var sammenkogt af tidligere materiale.
"The worlds are the important thing. Don't worry about tunes. Take a tune, sing high when they sing low, sing fast when they sing slow, and you've got a new tune." (Laughter) (Applause) And that's, that's what Guthrie did right here, and I'm sure you all recognize the results. (Music) We know this tune, right? We know it? Actually you don't. That is "When the World's on Fire," a very old melody, in this case performed by the Carter Family. Guthrie adapted it into "This Land Is Your Land." So, Bob Dylan, like all folk singers, he copied melodies, he transformed them, he combined them with new lyrics which were frequently their own concoction of previous stuff.
I dag er amerikansk ophavsrets- og patentretlove i modstrid med forestillingen om, at vi bygger på arbejde udført af andre. I stedet bruger disse love og love i andre lande, den lidt akavede analogi med fast ejendom. Nu, kreative værker kan faktisk være en slags ejendom, men det er en ejendom, som vi alle bygger på og skabelse kan kun tage rod og vokse når jorden er blevet forberedt.
Now, American copyright and patent laws run counter to this notion that we build on the work of others. Instead, these laws and laws around the world use the rather awkward analogy of property. Now, creative works may indeed be kind of like property, but it's property that we're all building on, and creations can only take root and grow once that ground has been prepared.
Henry Ford sagde engang: "Jeg opfandt ikke noget nyt. Jeg samlede blot opdagelser af andre mænd bag hvem, der var århundredevis af arbejde. Fremskridt sker, når alle nødvendige faktorer for det er klar og herefter er det uundgåeligt."
Henry Ford once said, "I invented nothing new. I simply assembled the discoveries of other men behind whom were centuries of work. Progress happens when all the factors that make for it are ready and then it is inevitable."
2007. IPhone gør sin debut. Apple var utvivlsomt de første med denne nyskabelse, men dens tid nærmede sig fordi dens kerne-teknologi havde været under udvikling i årtier. Det er multi-touch, det at styre en enhed ved at røre ved dens skærm. Her er Steve Jobs som introducerer multi-touch og siger en temmelig ildevarslende vits.
2007. The iPhone makes it debut. Apple undoubtedly brings this innovation to us early, but its time was approaching because its core technology had been evolving for decades. That's multi-touch, controlling a device by touching its display. Here is Steve Jobs introducing multi-touch and making a rather foreboding joke.
Steve Jobs: Og vi har opfundet en ny teknologi kaldet multi-touch. Du kan bruge flerfingerede håndbevægelser og drenge, vi har patenteret det. (Latter) KF: Ja. Men her er multi-touch i aktion. Dette er faktisk på TED, ca et år tidligere. Dette er Jeff Han, og jeg mener, der er multi-touch. Det er det samme dyr, mindst. Lad os høre hvad Jeff Han har at sige om denne nymodens teknologi. Jeff Han: Multi-touch sensing er ikke noget-- er ikke helt nyt. Jeg mener, folk som Bill Buxton har leget med det i 80'erne. Teknologien, er ikke den mest spændende ting her bortset fra sin nyfundne tilgængelighed. KF: Så han er temmelig åbenhjertig om, at det ikke er nyt. Det er altså ikke multi-touch som helhed, der er patenteret. Det er de små dele af det, som er, og det er i disse små detaljer hvor vi tydeligt kan se patentretten er i modstrid med dens hensigtserklæring: At fremme fremskridt af nyttige kundskaber.
Steve Jobs: And we have invented a new technology called multi-touch. You can do multi-fingered gestures on it, and boy have we patented it. (Laughter) KF: Yes. And yet, here is multi-touch in action. This is at TED, actually, about a year earlier. This is Jeff Han, and, I mean, that's multi-touch. It's the same animal, at least. Let's hear what Jeff Han has to say about this newfangled technology. Jeff Han: Multi-touch sensing isn't anything -- isn't completely new. I mean, people like Bill Buxton have been playing around with it in the '80s. The technology, you know, isn't the most exciting thing here right now other than probably its newfound accessibility. KF: So he's pretty frank about it not being new. So it's not multi-touch as a whole that's patented. It's the small parts of it that are, and it's in these small details where we can clearly see patent law contradicting its intent: to promote the progress of useful arts.
Her er det første til stryg-til-oplåsning nogensinde. Det er alt hvad der er i det. Apple har patenteret det. Det er et 28-sider langt softwarepatent, som jeg vil opsummere hvad omfatter. Spoiler advarsel: oplåsning telefonen ved at stryge et ikon med din finger. (Latter) Jeg overdriver kun en smule. Det er et bredt patent.
Here is the first ever slide-to-unlock. That is all there is to it. Apple has patented this. It's a 28-page software patent, but I will summarize what it covers. Spoiler alert: Unlocking your phone by sliding an icon with your finger. (Laughter) I'm only exaggerating a little bit. It's a broad patent.
Nå, kan en person eje denne idé? Tilbage i 80'erne var der ingen softwarepatenter, og det var Xerox, som var banebrydende med den grafiske brugergrænseflade. Hvad nu, hvis de havde patenteret pop op-menuer, rullepaneler, skrivebordet med ikoner, som ligner mapper og papirark? Ville et ungt og uerfarent Apple have overlevet det juridiske angreb fra et meget større og mere modent selskab som Xerox?
Now, can someone own this idea? Now, back in the '80s, there were no software patents, and it was Xerox that pioneered the graphical user interface. What if they had patented pop-up menus, scrollbars, the desktop with icons that look like folders and sheets of paper? Would a young and inexperienced Apple have survived the legal assault from a much larger and more mature company like Xerox?
Nu lyder denne idé om at alt er et remix måske ganske fornuftigt indtil du er den som bliver remixet. For eksempel... SJ: Jeg mener, Picasso havde et ordsprog. Han sagde: "Gode kunstnere kopier. Store kunstnere stjæler." Og vi har, I ved, altid været skamløse med at stjæle store ideer. KF: Okay, så det var i ' 96. Nu i 2010. "Jeg vil ødelægge Android, fordi det er et stjålet produkt." (Latter) "Jeg er villig til at føre termonuklear krig for det." (Latter) Okay, så med andre ord, store kunstnere stjæler, men ikke fra mig. (Latter)
Now, this idea that everything is a remix might sound like common sense until you're the one getting remixed. For example ... SJ: I mean, Picasso had a saying. He said, "Good artists copy. Great artists steal." And we have, you know, always been shameless about stealing great ideas. KF: Okay, so that's in '96. Here's in 2010. "I'm going to destroy Android because it's a stolen product." (Laughter) "I'm willing to go thermonuclear war on this." (Laughter) Okay, so in other words, great artists steal, but not from me. (Laughter)
Nu, adfærdsøkonomer kan henvise til denne slags ting som modvilje mod tab. Vi er stærkt prædispositionerede til at beskytte ting vi føler er vores. Vi har ikke en sådan modvilje mod kopiering af hvad andre mennesker har, fordi vi gør det nonstop.
Now, behavioral economists might refer to this sort of thing as loss aversion We have a strong predisposition towards protecting what we feel is ours. We have no such aversion towards copying what other people have, because we do that nonstop.
Så her er den slags ligning kigger vi på. Vi har love, der fundamentalt behandler kreative værker som ejendom, plus massiv belønninger eller erstatninger i overtrædelsessager, plus enorme juridiske udgifter for at beskytte dig selv i retten, samt en kognitiv modstand mod formodede tab. Og resultatet er dette . Det er de sidste fire års retssager i forbindelse med smartphones. Er dette at fremme udvikling af nyttige kundskaber?
So here's the sort of equation we're looking at. We've got laws that fundamentally treat creative works as property, plus massive rewards or settlements in infringement cases, plus huge legal fees to protect yourself in court, plus cognitive biases against perceived loss. And the sum looks like this. That is the last four years of lawsuits in the realm of smartphones. Is this promoting the progress of useful arts?
1983. Bob Dylan er 42 år gamle, og hans tid i den kulturelle spotlight har varet forbi længe. Han indspiller en sang kaldet "Blind Willie McTell" opkaldt efter blues-sangeren, og sangen er en rejse gennem tidligere tider, en meget mørkere tid, men en enklere. En tid hvor musikere et Willie McTell ikke gjorde sig illusioner om hvad de har gjorde. "Jeg snuppede dem fra andre sangskrivere men jeg arrangerer dem på min egen måde".
1983. Bob Dylan is 42 years old, and his time in the cultural spotlight is long since past. He records a song called "Blind Willie McTell," named after the blues singer, and the song is a voyage through the past, through a much darker time, but a simpler one, a time when musicians like Willie McTell had few illusions about what they did. "I jump 'em from other writers but I arrange 'em my own way."
Jeg tror, dette er for det meste hvad vi gør. Vores kreativitet kommer fra omverdenen, ikke fra vores indre. Vi er ikke self-made. Vi er afhængige af hinanden, og at indrømme dette er ikke en omfavnelse af middelmådighed og afledninger. Det er en befrielse fra vores misforståelser, og det er et incitament til at ikke forvente så meget fra vores indre og bare begynde.
I think this is mostly what we do. Our creativity comes from without, not from within. We are not self-made. We are dependent on one another, and admitting this to ourselves isn't an embrace of mediocrity and derivativeness. It's a liberation from our misconceptions, and it's an incentive to not expect so much from ourselves and to simply begin.
Mange tak. Det var en ære at være her. Tak. (Bifald) Tak. Tak. (Bifald) Tak. (Bifald)
Thank you so much. It was an honor to be here. Thank you. (Applause) Thank you. Thank you. (Applause) Thank you. (Applause)