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.
Začneme v roku 1964. Bob Dylan má 23 rokov a jeho kariéra práve vrcholí. Nazývajú ho hlasom generácie, chŕli klasické skladby zdanlivo nemožným tempom, ale malá skupina jeho oponentov tvrdí, že Bob Dylan kradne piesne iných ľudí.
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."
V roku 2004 Brian Burton, zvaný "Nebezpečná myš", vzal "Biely Album" od Beatles skombinoval ho s "Čiernym albumom" Jay-Z-ho a vytvoril "Sivý album." "Sivý album" sa stal okamžite internetovou senzáciou a nahrávacia spoločnosť Beatles rozposlala nespočetné žiadosti o stiahnutie nahrávok kvôli "nekalej súťaži a znehodnoteniu majetku."
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.
Nuž, "Sivý album" je remix. Je to nové médium vytvorené zo starého média. Bol vytvorený pomocou troch techník: kopírovanie, pretvorenie, skombinovanie. Tak sa remixuje. vezmete existujúcu pieseň, rozsekáte ju, pretvoríte jednotlivé kúsky a skombinujete naspäť dokopy. Získate novú pieseň, ale tá sa zjavne skladá zo starých piesní.
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.
Ja si myslím, že to nie sú len komponenty remixovania. Sú to základné zložky všetkej tvorivosti. Myslím si, že všetko je remix, a že je to lepší spôsob, ako si predstavovať tvorivosť.
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.
Dobre, vráťme sa späť do roku 1964 a vypočujme si odkiaľ pochádzajú prvé piesne Boba Dylana. Porovnáme piesne bok po boku.
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."
Dobre, prvá skladbu, ktorú si vypočujete je "Nottamun Town," tradičná folková melódia. Potom budete počuť Dylanovu "Masters of War".
Jean Ritchie: ♫ In Nottamun Town, not a soul would look out, ♫
Jean Ritchie: ♫ V Nottamunskom meste, žiadna duša nepozerá nahor, ♫
♫ not a soul would look up, not a soul would look down. ♫
♫ žiadna duša nepozerá nahor, žiadna duša nepozerá nadol. ♫
Bob Dylan: ♫ Come you masters of war, ♫
Bob Dylan: ♫ Príďte páni vojny, ♫
♫ you that build the big guns, you that build the death planes, ♫
♫ vy, čo staviate veľké zbrane, vy, čo staviate lietadlá smrti. ♫
♫ You that build all the bombs. ♫
♫ Vy, čo staviate bomby. ♫
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.
Okej, takže je to rovnaká základná melódia a celková štruktúra. Ďalšia pieseň je "The Patriot Game" od Dominika Behana. Zároveň si vypočujete "With God on Our Side" od Dylana.
Dominic Behan: ♫ Come all ye young rebels, ♫
Dominic Behan: ♫ Príďte rebeli mladí, ♫
♫ and list while I sing, ♫
♫ vstúpte do armády, kým spievam, ♫
♫ for the love of one's land is a terrible thing. ♫
♫ láska k vlasti je strašná vec. ♫
BD: ♫ Oh my name it is nothin', ♫
Bob Dylan: ♫ Oh, moje meno je ničím, ♫
♫ my age it means less, ♫
♫ môj vek znamená pramálo, ♫
♫ the country I come from is called the Midwest. ♫
♫ kraj, z ktorého pochádzam sa volá Stredozápad. ♫
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.
V tomto prípade Dylan pripúsťa, že musel počuť "The Patriot Game", ale zabudol na to. Potom, keď sa mu pieseň znova vynorila v hlave, myslel si, že je to jeho pieseň.
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.
Ako posledná toto je "Who's Going To Buy You Ribbons", ďalšia tradičná folková pieseň. A popri tom "Don't Think Twice, It's All Right." Tentorkát ide skôr o text piesne.
Paul Clayton: ♫ It ain't no use to sit and sigh now, ♫
Paul Clayton: ♫ Už nemá zmysel, sedieť a vzdychať, ♫
♫ darlin', and it ain't no use to sit and cry now. ♫
♫ drahá, už nemá zmysel, sedieť a vzdychať. ♫
BD: ♫ It ain’t no use to sit and wonder why, babe, ♫
Bob Dylan: ♫ Nemá zmysel sedieť a pýtať sa prečo, zlato ♫
♫ if you don't know by now, ♫
♫ ak to doteraz nevieš, ♫
♫ and it ain't no use to sit and wonder why, babe, ♫
♫ už nemá zmysel sedieť a pýtať sa prečo, zlato, ♫
♫ it'll never do somehow. ♫
♫ už to nebude mať zmysel. ♫
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.
Dobre, nuž, príkladov je veľa. Odhaduje sa, že dve tretiny piesní, ktoré Dylan použil v prvých skladbách, boli požičané. To je celkom typické medzi folkovými spevákmi. Tu je rada od Dylanovho idola, Woodyho Guthrieho.
"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.
"Dôležité sú slová. Melódiou sa netráp. Vezmi pieseň, spievaj vysoko, kde sa spieva nízko, spievaj rýchlo, keď sa spieva pomaly a máš novú pieseň." (Smiech) (Potlesk) A Guthrie to naozaj urobil. Som si istý, že spoznáte výsledok. (Hudba) Pieseň poznáme, však? Poznáme ju. V skutočnosti ju nepoznáte. Je to "When the World's on Fire", veľmi stará pieseň, tentokrát v prevedení Carter Family. Guthrie ju upravil do "This Land Is Your Land". Takže, Bob Dylan, ako všetci folkoví speváci, kopíroval skladby, menil ich, kombinoval s novým textom, ktoré boli častokrát len zmesou predošlých vecí.
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.
Americké autorské a patentové právo sa stavia proti názoru, že staviame na práci iných. Naopak tieto zákony a zákony po celom svete používajú pomerne divnú analógiu vlastníctva. Veruže, tvorivé diela môžu byť trocha ako majetok, ale je to majetok, ktorý staviame všetci. Výtvory sa zakorenia a rastú, len ak bola pripravená pôda.
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."
Henry Ford raz povedal: "Nič nové som nevynašiel. Len som dal dokopy objavy iných ľudí, za ktorými sú stáročia práce. Pokrok prichádza, keď sú všetky prvky, ktoré ho tvoria pripravené a potom je to nevyhnutné."
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.
Rok 2007. Debut iPhonu. Apple nám nepochybne prináša inováciu, ale kľúčová technológia sa vyvýjala už dekády. Toto je multi-touch, ovládanie zariadenia pomocou dotyku displeja. Tu Steve Jobs predstavuje multi-touch a vtipkuje o zlej predtuche.
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.
Steve Jobs: A vynašli sme novú technológiu nazvanú multi-touch. Môžete s ňou robiť viacprstové gestá. Jasné, že sme si ju patentovali! (Smiech) Áno. A predsa tu máme multi-touch v akcii. Toto je na TEDe asi rok predtým. Toto je Jeff Han a multi-touch. Niečo podobného druhu. Vypočujme si, čo nám chce Jeff Han o hypermodernej technológii povedať. Jeff Han: Multi-touch vnímanie nie je nič nové - nič úplne nové. Ľudia ako Bill Buxton sa s tým hrali už v 80-tych rokoch. Najvzrušujúcejšia tu nie je teraz technológia. Ale skôr znovu objavená dostupnosť. Takže celkom otvorene hovorí o tom, že to nie je nové. Nie multi-touch ako taký je patentovaný. Ale jeho malé časti sú. A v týchto malých detailoch vidíme, že patentové právo odporuje svojmu zámeru: podporovať rozvoj vynálezov.
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.
Tu je predstavenie funkcie slide-to-unlock (odomykanie pohybom). To je celé. Apple si to patentoval. Je to 28-stranový softvérový patent, ale viem ho zhrnúť takto: Odomknutie vášho telefónu kĺzavým pohybom prsta po ikone. (Smiech) Len trocha preháňam. Je to rozsiahly patent.
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?
Nuž, môže niekto vlastniť takýto nápad? Späť v 80-tych rokoch, keď neexistovali softvérové patenty, to bol Xerox, ktorý prvý prišiel s grafickým rozhraním pre používateľa. Čo ak by si patentovali vyskakovacie menu, posúvanie obrazovky, plochu s ikonami, ktoré vyzerajú ako priečinky na papiere? Prežil by mladý a neskúsený Apple po právnom útoku väčšej a skúsenejšej spoločnosti ako Xerox?
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)
Táto predstava, že všetko je remix môže znieť prirodzene, až kým to nie ste vy, koho kopírujú. Napríklad... Steven Jobs: Picasso raz povedal: "Dobrí umelci kopírujú. Skvelí umelci kradnú." Doteraz sme, ako viete, bez hanby kradli skvelé nápady iných. Takže to bolo v roku 1996. Tu je 2010. "Chystám sa zničiť Android, lebo je to ukradnutý produkt." (Smiech) "Som ochotný rozpútať jadrovú vojnu, ak to bude nutné." Takže inými slovami, skvelí umelci kradnú, ale nie odo mňa. (Smiech)
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.
Behaviorálni ekonómovia to nazývajú nechuť k strate. Máme silnú predispozíciu chrániť to, o čom predpokladáme, že je naše. Žiadnu takúto averziu nemáme voči kopírovaniu iných, lebo to robíme neustále.
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?
Takže sa pozeráme na akúsi rovnicu. Máme zákony, ktoré nakladajú s tvorivými výtvormi ako s majetkom a masívne odškodné v súdnych zmieroch a obrovské poplatky za právnikov, na ochranu v týchto sporoch. Plus kognitívnu predpojatosť voči vnímanej strate. A výsledok rovnice vyzerá takto: toto sú posledné 4 roky súdnych sporov v oblasti smartfónov. Toto pomáha rozvoju vynálezov?
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."
1983. Bob Dylan má 42 rokov a jeho roky slávy sú dávno preč. Nahrá skladbu nazvanú "Slepý Willie McTell", po bluesovom spevákovi. Pieseň je cestou po minulosti a oveľa ťažších časoch, ale jednoduchších časoch, keď hudobníci ako Willie McTell nemali veľa ilúzií o tom, čo robia. "Beriem si od iných autorov, ale upravím si to podľa seba."
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.
Myslím, že to vystihuje, čo robíme. Naša kreativita pochádza zvonku, nie zvnútra. Závisíme jeden na druhom. Tým, že si to priznáme, nepríjmeme priemernosť a nepôvodnosť. Je to oslobodenie od našich omylov. Je to popud k tomu, aby sme od seba príliš veľa neočakávali a jednoducho začali.
Thank you so much. It was an honor to be here. Thank you. (Applause) Thank you. Thank you. (Applause) Thank you. (Applause)
Ďakujem vám veľmi pekne. Bolo mi cťou tu byť. Ďakujem vám. (Potlesk) Ďakujem. Ďakujem. (Potlesk) Ďakujem vám. (Potlesk)