(Dominoes fall)
(Domine padaju)
(Toy car)
(Autić)
(Ball rolls)
(Kotrljanje kuglice)
(Music: "This Too Shall Pass")
(Muzika: "I ovo će proći")
(Singing)
(Pesma)
You know you can't keep letting it get you down,
Jasno ti je da moraš da se odupreš tom nespokoju,
and you can't keep dragging that dead weight around.
i ne možeš stalno da tegliš suvišan teret naokolo
If there ain't all that much to lug around
Ako i nema toliko toga da se vuca naokolo
better run like hell when you hit the ground
bolje trči dok te noge nose kad ti zemlju dotakne stopalo
When the morning comes
Kad jutro stigne
When the morning comes
Kad jutro stigne
You can't stop these kids from dancing,
Nemoguće je sprečiti te klince da plešu
but why would you want to,
ali zašto bi to hteo,
especially when you're already getting yours?
naročito kad i tebe već sustiže?
(Xylophone)
(Ksilofon)
(Singing) 'Cause if your mind don't move and your knees don't bend,
(Pevanje) Jer ako um ti se ne pokreće a kolena ti se ne povijaju,
well don't go blaming the kids again.
pa, krivicu na klince opet ne svaljuj.
(Xylophone)
(Ksilofon)
(Singing) When the morning comes
(Pevanje) Kad jutro stigne
When the morning comes
Kad jutro stigne
When the morning comes
Kad jutro stigne
When the morning comes
Kad jutro stigne
When the morning comes
Kad jutro stigne
When the morning comes
Kad jutro stigne
(Xylophone)
(Ksilofon)
(Singing) Let it go,
(Pevanje) Mani se svega,
this too shall pass
i ovo će proći.
Let it go, this too shall pass
Mani se svega, i ovo će proći
You know you can't keep letting it get you down,
Jasno ti je da moraš da se odupreš nespokoju
you can't keep letting it get you down --
moraš da se odupreš nespokoju -
this too shall pass
i ovo će proći
If there ain't all that much to lug around,
Ako i nema toliko toga da se vuca naokolo,
you can't keep letting it get you down --
moraš da se odupreš nespokoju -
this too shall pass
i ovo će proći.
When the morning comes --
Kad jutro dođe -
you can't keep letting it get you down,
moraš da se odupreš nespokoju,
no you can't keep letting it
moraš da se odupreš
When the morning comes --
Kad jutro dođe -
you can't keep letting it get you down,
moraš da se odupreš nespokoju,
no you can't keep letting it
ne, moraš da se odupreš
When the morning comes --
Kad jutro dođe -
you can't keep letting it get you down,
moraš da se odupreš nespokoju,
no you can't keep letting it
ne, moraš da se odupreš
When the morning comes --
Kad jutro dođe -
you can't keep letting it get you down,
moraš da se odupreš nespokoju,
no you can't keep letting it
ne, moraš da se odupreš
When the morning comes
Kad jutro dođe
(Paint guns fire)
(Pištolj sa bojom puca)
(Applause)
(Aplauz)
Damian Kulash: Thank you, thanks very much.
Damijan Kulaš: Hvala vam, mnogo vam hvala.
We are OK Go, and we've been together as a band since 1998. But in the last decade, we've become known as much for the elaborate music videos, like the one we just saw, as for the songs they accompany. So we will play along with another one of those in a few minutes, but in the meantime, we want to address this question that we get asked all the time but we've really never come up with an adequate answer for it, and that is, how do we think of those ideas?
Mi smo OK Go, i zajedno smo kao bend od 1998. Ali u poslednjoj deceniji smo postali jednako poznati po razrađenim spotovima, poput ovog kog ste videli, kao i po pesmama koje ih prate. Pa ćemo da pustimo još jednu od njih za nekoliko minuta, a u međuvremenu, želimo da se bavimo pitanjem koje nas stalno pitaju, ali nikad nismo zaista smislili odgovarajući odgovor za njega, a ono glasi, kako nam ideje padaju na pamet?
The videos are not all Rube Goldberg machines, by the way. Last year we did a dance in zero gravity, and once we set up an obstacle course out of thousands of musical instruments in the desert, and then played them by stunt driving a car through them.
Usput, nisu svi spotovi Rub Goldbergove mašine. Prošle godine smo plesali u nultoj gravitaciji, a jednom smo postavili putanju od prepreka sačinjenu od na hiljadu muzičkih instrumenata u pustinji, a potom smo ih svirali akrobatski vozeći auto kroz njih.
(Laughter)
(Smeh)
For one of the videos, we choreographed hundreds of people with umbrellas in an abandoned parking lot outside Tokyo, and then filmed them from a drone a half a mile in the air.
Za jedan od spotova, uradili smo koreografiju sa stotinama ljudi sa kišobranima na napuštenom parkingu blizu Tokija, a potom smo ih snimali iz drona 800 metara iz vazduha.
So it's all of these ideas that people are curious about, and the reason we've had so much trouble describing how we think of these ideas is that it doesn't really feel like we think of them at all. It feels like we find them. And by way of explanation -- well, I have a compulsive habit. I play parallax and perspective games with my eyes pretty much all the time, and it's something I've been doing since I was a teenager. And I think the big contributing factor may have been that this is how I decorated my high school bedroom.
Dakle, ljudi su znatiželjni za sve ove ideje, a razlog zbog kog nam je bilo tako teško da opišemo kako ih smišljamo je taj što uopšte nemamo osećaj da ih smišljamo. Imamo osećaj da ih pronalazimo. A da bih objasnio - pa, imam kompulsivnu naviku. Igram igre premeštanja i perspektive sa svojim očima gotovo stalno, a to radim otkad sam bio tinejdžer. I smatram da je možda tome uveliko doprinelo to što sam ovako ukrasio moju srednjoškolsku sobu.
(Laughter)
(Smeh)
And being a teenager, what I did in there, of course, was just talk on the phone for staggering amounts of time. So I was in this visual maelstrom just pretty much usually sitting in one place, and I guess just the overload in general -- my brain kind of tried to make sense of it, and I would -- If I could move my head off to one side a little bit, the edge of the desk would line up just perfectly with that poster on the opposite wall; or if I put my thumb out, I could close first my left eye and then my right, and my thumb would bounce back and forth between Jimi Hendrix's left eye and his right.
A kako sam bio tinejdžer, samo sam, naravno, telefonirao, ništa drugo, zapanjujuće duge vremenske periode. Pa sam bio u tom vizuelnom vrtlogu uglavnom prosto sedeći na jednom mestu i, pretpostavljam, sveopšta preopterećenost - moj mozak je nekako pokušavao da nađe smisao u tome, i ja bih - ako bih mogao da pomerim glavu malčice na jednu stranu, ivica stola bi se savršeno poravnala sa tim posterom na suprotnom zidu; ili ako bih ispružio palac, mogao bih prvo da zatvorim levo oko, a onda desno, i moj palac bi poskakivao napred i nazad između levog i desnog oka Džimija Hendriksa.
(Laughter)
(Smeh)
It was not a conscious thing, of course, this is just kind of the equivalent of doodling while you're talking, and it's still something I do all the time. This is my wife, Kristin --
Nisam to radio svesno, naravno, to je prosto ravno škrabanju dok razgovarate i dalje je nešto što radim sve vreme. Ovo je moja supruga Kristin -
(Applause)
(Aplauz)
Yeah! Woo!
Da! Opa!
And it's not uncommon that we are out at dinner, and in the middle of a great conversation she'll just stop mid-sentence, and when she stops is when I realize that I'm the one who's acting weird because I'm like bobbing and weaving. And what I'm trying to do is get that ficus back there to stick out of her head like a ponytail.
Nije neobično da izađemo na večeru, a u sred značajnog razgovora, prosto se zaustavi u sred rečenice i kada se zaustavi, tad shvatim da sam ja taj koji se ponaša čudno jer se izvijam i uvijam. A pokušavam da postignem da fikus iza nje štrči iz njene glave poput konjskog repa.
(Laughter)
(Smeh)
The point of telling you all this is that -- for me this is what it feels like to have an idea. It's like they're made of these disparate parts, these disparate chunks sort of floating out there. And if you're receptive and you're observant, and crucially, if you're in exactly the right place, you can get them to just line up.
Ovo vam govorim jer - takav je osećaj kod mene kad imam ideju. Kao da su sačinjene od tih nepovezanih delova, tih nepovezanih parčadi koja nekako lebde svuda. I ako ste prijemčivi i opažajni, i što je ključno, ako ste baš na pravom mestu, možete ih navesti da se poklope.
So if you get used to -- if it's your job to think of ideas this way, they'll start beckoning to you the way that Jimi's eyes beckoned from that poster, or the ficus beckons from behind Kristin's head. Writing music feels like that process just over and over again, like you've got a bunch of sounds or a groove or a chord progression and you're just looking for that thing on the other side, that little chunk over there, that puzzle piece that clicks right in. And when it does click, it doesn't feel like you thought up that puzzle piece, it feels like you found it -- like it was a set of relationships that you unlocked.
Pa, ako se naviknete - ako vam je posao da ovako razmišljate o idejama, počeće da vas prizivaju kao što su Džimijeve oči prizivale sa tog postera ili kao što vas fikus mami iza Kristinine glave. Pisanje muzike liči na taj proces, ponovljen iznova i iznova, kao da imate hrpu zvuka ili ritma ili niza akorda i vi prosto tragate za tim nečim sa druge strane, tim parčićem skroz tamo, tim delićem slagalice koji se uklapa. A kad se uklopi, nemate osećaj da ste smislili taj delić slagalice, imate osećaj da ste ga našli - kao da se radi o skupu veza koje ste oslobodili.
But with the videos in particular, we're usually looking for this specific feeling which is wonder. And there's always a component of surprise to wonder, so we're not just looking for good ideas, we're looking for good ideas that surprise us in some way. And this causes something of a problem, because ... the process that we all use to make stuff, it actually has a very strong bias against surprising ideas.
A u spotovima naročito, obično tragamo za naročitim osećajem čuđenja. A iznenađenje je uvek deo čuđenja, te mi ne tragamo tek za dobrim idejama, tragamo za dobrim idejama koje nas nekako iznenađuju. A zbog toga nastaje problem jer... proces tokom koga pravimo stvari, zapravo sadrži snažnu pristrasnost protiv iznenađujućih ideja.
The process I'm talking about is the one you all know -- we all do it all the time. You think of an idea. You just sit and think of your brilliant idea and then you come up with a plan for how you're going to make that idea happen. And then with that plan in mind, you go back and double-check your original idea and maybe revise it, and then bouncing back and forth between the idea and the plan, the plan and the idea, eventually you come up with a truly great plan. And then once you have that, and only then, do you go out and you execute. And this is like -- this is sort of a flawless system in terms of maximizing your resources, because this -- super cheap. Thinking usually costs very little, but this is really expensive most of the time, so by the time you get there, you want to make sure you're super prepared and you can squeeze every last drop out of what you've got.
Proces o kom govorim vam je svima poznat - svi to stalno radimo. Smislite ideju. Prosto sedite i mislite o svojoj sjajnoj ideji, a onda osmislite plan kako da sprovedete tu ideju u delo. A onda, s tim planom na umu, vratite se i opet proverite prvobitnu ideju i možda je revidirate, a onda poskakujete napred i nazad između ideje i plana, plana i ideje, na kraju smislite uistinu sjajan plan. A onda kad stignete do toga, tad i samo tad zaputite se i sprovedete zamisao. A ovo je kao - ovo je nekakav sistem bez mane, u smislu iskoristivosti sredstava, jer ovo... je superjeftino. Razmišljanje obično malo košta, ali većinu vremena, ovo je zaista skupo, pa kad stignete dotle, morate da se postarate da ste krajnje spremni i da možete da iscedite i poslednju kap iz onoga što imate.
But there are problems with this, and math will help us reveal the biggest one. Go back to that video that we just showed you. That Rube Goldberg machine, it had about 130 interactions in it. That was 130 things that we had to have go according to our plan. So let's assume that we want to make a new video now, similarly complex -- 130 moving parts. If we're really good planners in that system, it seems like maybe we could be good enough to get every part of that system to be 90 percent reliable. 90 percent sounds good, right? Well, it's not. It's terrible actually. The numbers say so. The chance of getting all 130 things to not fail at the same time is .9 for 90 percent to the 130th power. So calculate that out and you get ...
Međutim, tu imamo probleme, a matematika će da nam otkrije najveći. Vratimo se na spot koji smo vam upravo prikazali. Ta Rub Goldbergova mašina je imala oko 130 interakcija. To je 130 stvari koje smo morali sprovesti po planu. Pretpostavimo da sada želimo da snimimo novi spot, slične složenosti - 130 pokretnih delova. Ako smo zaista dobri organizatori u tom sistemu, čini se kao da bismo možda mogli biti dovoljno dobri da uspemo da svaki deo tog sistema bude 90 procenata pouzdan. 90% zvuči dobro, zar ne? Pa, nije. Zapravo je užasno. Brojke tako kažu. Šansa da uspete da svih 130 stvari ne omanu istovremeno je 0.9 za 90 procenata na 130. Dakle, izračunajte to i dobićete...
(Ding)
(Cing)
.000001, which is one ten-thousandth of one percent, so your chance for success is literally one in a million.
0.000001, a to je desetohiljaditi deo jednog procenta, pa su vam šanse za uspeh bukvalno jedan u milion.
(Whistle)
(Zvižduk)
(Laughter)
(Smeh)
I mean that's not a gamble I want to take, so let's ratchet up that reliability to 99 percent. .99 to the 130th power is ...
Mislim, ne bih se kockao s tim, dakle, hajde da povećamo pouzdanost na 99 procenata. 0.99 na 130. je...
(Ding)
(Cing)
.27 -- 27 percent. Significantly less daunting -- like this might even be usable. But really think about that. How many parts of your lives are 99 percent reliable? And could you really get 130 of them all in one place at once? And if you really could, doesn't it seem like you deserve to succeed? Like that is -- that thing is going to work, right? But no, it actually fails three times more often than it succeeds.
0.27 - 27 procenata. Značajno manje obeshrabrujuće - kao, ovo bi moglo da prođe. Ali zaista pomislite na to. Koliko delova vaših života je 99 procenata pouzdano? I da li bi ste zaista mogli svih 130 da imate u isto vreme na istom mestu? I, ako biste zaista mogli, zar se ne čini kao da zaslužujete da uspete? Kao, to će - ta stvar će da funkcioniše, tačno? Ali, ne, zapravo ne uspete tri puta češće nego što uspete.
So the upshot of all this is that if your project is pretty complex -- like, you know, every ambitious project is -- if you've got a lot of moving parts, you're basically constrained to just reshuffling ideas that have already demonstrably proven that they're 100 percent reliable. So now go back to me sitting with my thumb in the air trying to line up something surprising. If the only things I'm allowed to consider in the first place are ideas that have already been done over and over and over again, I am screwed. However, there are ways around this, because we all know that there are tons of untried ideas still out there, and plenty of them will turn out to be every bit as reliable as we need, it's just that we don't yet know they are reliable when we are at this planning phase.
Pa iz svega proizilazi da ako vam je projekat prilično složen - kao što znate da svaki ambiciozan projekat jeste - ako imate mnogo pokretnih delova, u suštini ste ograničeni da prosto smenjujete ideje koje su se već pokazale na delu kao 100 posto pouzdane. Sad se vratite na mene dok sedim sa ispruženim palcem, trudeći se da mi se poklopi nešto iznenađujuće. Ako mi je jedino moguće, prvenstveno, da razmatram ideje koje su već isprobane iznova i iznova i iznova, gotov sam. Međutim, možete se snaći s tim, jer svi mi znamo da postoji gomila neisprobanih ideja, a mnoge od njih će da ispadnu onoliko pouzdane koliko nam je potrebno, samo mi još uvek ne znamo da su pouzdane dok smo u fazi planiranja.
So what we do is we try to identify some place where there might just be a ton of those untried ideas. We try to find a sandbox and then we gamble a whole bunch of our resources on getting in that sandbox and playing.
Te mi pokušavamo da odredimo neko mesto gde bi hrpe ovih ideja mogle da postoje. Pokušavamo da pronađemo igralište i onda se kockamo sa čitavom hrpom resursa ulaskom u tu igraonicu i igrom.
(Laughter)
(Smeh)
Because we have to trust that it's the process in the sandbox that will reveal to us which ideas are not only surprising, but surprisingly reliable.
Zato što verujemo da će nam proces u igraonici otkriti koje ideje, ne samo da su iznenađujuće, već su iznenađujuće pouzdane.
So some of the sandboxes that we've started videos with. Let's play with optical illusions. Let's try to dance on moving surfaces. Let's try to make toast with a laser cutter. Or let's do something in one of those zero-gravity airplanes. But then instead of actually trying to sit there and think out what that something is, we spent a full third of our budget getting in an actual Vomit Comet and bouncing off the walls for a week.
Ovo su neke od igraonica u kojima su se začeli spotovi. Poigravajmo se optičkim iluzijama. Plešimo na pokretnim površinama. Poušajmo da spremimo tost laserskim sečivom. Ili, napravimo nešto u jednom od aviona sa nultom gravitacijom. Ali onda, umesto da zapravo pokušamo da sednemo i smislimo šta je to nešto, potrošili smo trećinu budžeta na stvarni Vomit Komet i na celonedeljno odbijanje o zidove.
So this may seem to you like testing, but it really isn't, because at this point we don't yet know what our idea is, we don't have a plan to be testing. So we're just -- we're just playing, we're just trying everything we can think of, because we need to get this idea space filled up with a chaos like the one in my high school bedroom. Because then, if we can do the bob and weave thing, if we can put our thumbs up and get just a few things to line up --
Ovo vam se može učiniti kao testiranje, ali zaista nije jer u ovoj tački još uvek ne znamo koja je naša ideja, nemamo plan za testiranje. Prosto se - prosto se igramo, prosto isprobavamo sve što nam padne na pamet jer moramo ovoj ideji da damo prostor ispunjen neredom, nalik onom u mojoj srednjoškolskoj sobi. Jer onda, ako uspemo da se izvrdamo i izmigoljimo, ako možemo da ispružimo palčeve i uspemo da poredamo svega par stvari -
(Ding)
(Cing)
chances are no one else has ever made those same things line up before. And when we're done with that project, people will ask us again how we thought of that idea, and we'll be stumped, because from our perspective, it doesn't feel like we thought of it at all, it just feels like we found it.
sve su prilike da niko drugi nikad pre nije smislio sve to. A kad završimo s tim projektom, ljudi će opet da nas pitaju kako smo smislili tu ideju, a mi ćemo da budemo bez reči jer iz naše perspektive nemamo osećaj da smo je uopšte smislili, prosto osećamo da smo je našli.
So we'll play another video for you now and the song along with it. This is for the song "The One Moment," and for this one, the sandbox was ballistics and math. So I spent a full month putting together a giant spreadsheet for this. It was like my playspace was 400 lines long and 25 columns wide -- which I presume that if anybody is going to understand that, it's this crowd.
Dakle, prikazaćemo vam još jedan spot i pesmu koja ga prati. Ovaj je za pesmu "Taj jedan tren", a u ovom slučaju, igraonica su balistika i matematika. Dakle, proveo sam čitav mesec dana praveći džinovsku tabelu za ovo. Kao da je moj prostor za igru bio 400 redova dug i 25 kolona širok - a pretpostavljam da ako neko to razume, onda je to ova publika.
(Laughter)
(Smeh)
Nothing is better than a giant spreadsheet, right?
Šta je bolje od džinovske tabele, je li tako?
(Laughter)
(Smeh)
Well, thank you everyone, very much. We are OK Go, and this is called "The One Moment."
Pa, hvala vam svima, mnogo. Mi smo OK Go, a ova pesma se zove "Taj jedan tren".
(Applause)
(Aplauz)
[The One Moment]
[Taj jedan tren]
(Explosions)
(Eksplozije)
[What you just saw was real and it took 4.2 seconds]
[Ono što ste upravo videli je stvarno i trajalo je 4,2 sekunde]
(Video) Let me know when it's safe.
(Video) Javite mi kad bude bezbedno.
(Percussion)
(Perkusije)
[Here's the same moment ... slowed down.]
[Sledi isti trenutak... usporen]
(Music)
(Muzika)
(Guitar)
(Gitara)
(Singing) You're right,
(Pevanje) Uravu si,
there's nothing more lovely,
nema ništa ljupkije,
there's nothing more profound than the certainty,
nema ništa produhovljenije od izvesnosti,
than the certainty that all of this will end
od izvesnosti da će se sve ovo okončati
That all of this will end
Da će se sve ovo okončati
So open your arms to me,
Zato raširi ruke za mene,
open your arms to me
raširi ruke za mene
And this will be the one moment that matters,
I ovo će da bude taj jedan tren koji znači,
and this will be the one thing we remember,
i ovo će da bude ta jedna stvar koja se pamti,
and this will be the reason to have been here,
i ovo će da bude razlog zašto bili smo tu,
and this will be the one moment that matters --
i ovo će da bude taj jedan tren koji znači -
Oh ...
Oh...
(Guitar)
(Gitara)
(Singing) So while the mud reclaims our footprints,
(Pevanje) Pa kad blato zatraži nazad naše stope,
and while our bones keep looking back
i dok nam se kosti i dalje budu osvrtale
at the overgrowth that's swallowing the path --
na rastinje koje guta stazu -
but for the grace of God go we,
ali za božju milost eto nas,
but for the grace of God go we
ali za božju milost eto nas
But for the grace of time and chance and entropy's cruel hands --
Ali za milost vremena i prilika i surovih ruku entropije -
So open your arms to me,
Zato, raširi svoje ruke za mene,
open your arms to me
raširi svoje ruke za mene
And this will be the one moment that matters,
I ovo će da bude taj jedan tren koji znači,
and this will be the one thing we remember,
i ovo će da bude ta jedna stvar koja se pamti,
and this will be the reason to have been here,
i ovo će da bude razlog zašto bili smo tu,
and this will be the one moment that matters
i ovo će da bude taj jedan tren koji znači
Oh ...
Oh...
So won't you stay here with me
Zato, zašto ne bi ostala tu uz mene
and we'll build 'til we've blistered our hands
i gradićemo dok nam ruke preplave žuljevi
So won't you stay here with me and we'll build us some temples,
Zato, zašto ne bi ostala tu uz mene i sagradićemo sebi nekakve hramove,
build us some castles,
sagraditi nam zamkove,
build us some monuments
sagraditi nam spomenike
and burn them all right down
i sve ćemo ih do temelja spaliti
(Music)
(Muzika)
(Singing) So open your arms to me
(Pevanje) Zato raširi ruke za mene
And this will be the one moment that matters,
I ovo će da bude taj jedan tren koji znači,
and this will be the reason to have been here,
i ovo će da bude razlog zašto bili smo tu,
and this will be the one thing we remember,
i ovo će da bude to nešto što se pamti,
and this will be the one moment that matters
i ovo će da bude taj jedan tren koji znači
So won't you stay here with me,
Zato, zašto ne bi ostala uz mene,
we'll build 'til we blister our hands
gradićemo dok nam ruke preplave žuljevi
And this will be the one moment that matters --
I ovo će da bude taj jedan tren koji znači -
So won't you stay here with me and build us some temples --
Zato, zašto ne bi ostala uz mene da nam sagradimo neke hramove -
This will be the one moment that matters --
Ovo će da bude taj jedan tren koji znači -
Build us some temples --
Sagradimo nam neke hramove -
The one moment that matters --
Taj jedan tren koji znači -
Build us some monuments --
Sagradimo nam spomenike -
The one moment that matters
Taj jedan tren koji znači
Build us some temples --
Sagradimo nam neke hramove -
The one moment that matters.
Taj jedan tren koji znači.
Build us some monuments --
Sagradimo nam neke spomenike -
The one moment that matters, oh
Taj jedan tren koji znači, oh
(Guitar)
(Gitara)
(Applause)
(Aplauz)