Let's start with silence. Silence is one of the most precious conditions for humans, because it allows us to feel the depth of our presence. This is one of the reasons why the advent of electric cars has generated lots of enthusiasm among people. For the first time, we could associate the concept of cars with the experience of silence. Cars can finally be quiet: peace in the streets, a silent revolution in the cities.
Počnimo tišinom. Tišina je jedno od najdragocenijih stanja čoveka jer nam dozvoljava da osetimo dubinu našeg prisustva. Ovo je jedan od razloga zašto je dolazak električnih automobila stvorio mnogo entuzijazma među ljudima. Po prvi put, možemo da povežemo koncept automobila sa iskustvom tišine. Kola konačno mogu biti tiha: mir na ulicama tiha revolucija u gradovima.
(Hum)
(Zujanje)
But silence can also be a problem. The absence of sound, in fact, when it comes to cars, it can be quite dangerous. Think of blind people, who can't see a car which is approaching. And now, if it's electric, they can't even hear it. Or think of every one of us as we are walking around the city, we are absorbed in our thoughts, and we detach from the surroundings. In these situations, sound can become our precious companion.
Ali tišina može biti i problem. Odsustvo zvuka, zapravo, kada pričamo o kolima, može biti prilično opasno. Pomislite na slepe ljude, koji ne mogu da vide auto koji se približava. A sad, ako je električni, ne mogu ni da ga čuju. Ili pomislite na svakoga od nas dok se krećemo po gradu, uvučeni smo u naše misli, i odvojeni smo od naše okoline. U ovakvim situacijama, zvuk može da bude dragocen.
Sound is one of the most wonderful gifts of our universe. Sound is emotion and sound is sublime, and when it comes to cars, sound is also information. In order to protect pedestrians and to give acoustic feedback to the drivers, governments around the world have introduced several regulations which prescribe the presence of a sound for electric vehicles. In particular, they require minimum sound levels at specific frequency bands up to the speed of 30 kilometers per hour. Besides this speed, the natural noise of the car is considered as sufficient.
Zvuk je jedan od predivnih poklona našeg univerzuma. Zvuk je emocija i zvuk je uzvišen, i kada govorimo o kolima, zvuk je takođe informacija. Kako bi zaštitile pešake i dale akustičnu povratnu informaciju vozačima, vlade širom sveta su uvele nekoliko propisa koji opisuju prisustvo zvuka kod električnih vozila. Konkretno, oni zahtevaju minimalnu jačinu zvuka određenih frekvencija do brzine od 30 kilometara na sat. Osim ove brzine, prirodna buka kola se smatra dovoljnom.
These regulations have generated different reactions among those who favor sounds and those who fear the presence of too much noise in the city. However, I don't see it as the noise of the car. I rather see it as the voice of the car. And this is one of my biggest challenges, and privileges, at the same time.
Ovi propisi su izazvali različite reakcije među onima koji su naklonjeni zvuku i onih koji se plaše prisustva prevelike buke u gradu. Međutim, ja to ne vidim kao buku kola. To radije vidim kao glas kola. I to je jedan od mojih najvećih izazova, i privilegija, u isto vreme.
I design the voice of electric cars. We all know how a combustion engine sounds like, and we do actually also know how an electric engine sounds like. Think of the electric tramway. As soon as it moves, it creates this ascending high-frequency pitch sound, which we called "whistling" sound. However, if we would just amplify this sound, we would still not be able to fulfill the legal requirements. That's also why we need to compose new sound.
Ja dizajniram glas električnih automobila. Svi znamo kako motor sa unutrašnjim sagorevanjem zvuči, i mi zapravo znamo kako električni motor zvuči. Pomislite na električni tramvaj. Onog trenutka kada se pomeri, stvara uzlazni zvuk visoke frekvencije. koji zovemo "zviždanje". Međutim, ako bismo samo pojačali ovaj zvuk i dalje ne bismo mogli da ispunimo zakonske propise. To je takođe zašto moramo da iskomponujemo novi zvuk.
So how do we go after it? In many cities, the traffic is already very chaotic, and we don't need more chaos. But the streets of the 21st century are a great case study teeming with transience, cross purposes and disarray. And this landscape offers a great opportunity for developing new solutions on how to reduce this chaos.
Dakle kako to da uradimo? U mnogim gradovima saobraćaj je već veoma haotičan i ne treba nam još haosa. Ali ulice 21. veka su sjajna studija slučaja prepune prolaznosti, raznih svrha i nereda. I ovaj pejzaž pruža sjajnu priliku za razvoj novih rešenja kako da smanjimo ovaj haos.
I have conceived a new approach that tries to reduce the chaos by introducing harmony. Since many people don't know how an electric car could sound like, I have to define, first of all, a new sound world, something that doesn't belong to our previous experience but creates a reference for the future. Together with a small team, we create lots of sonic textures that are able to transmit emotion. Just like a painter with colors, we are able to connect feelings and frequencies so that whenever one is approaching a car, we can feel an emotion which, besides fulfilling the legal requirements, speaks also about the character and the identity of the car.
Smislio sam novi pristup koji pokušava da smanji haos uvođenjem harmonije. Pošto dosta ljudi ne zna kako električna kola treba da zvuče ja sam definisao, kao prvo, novi svet zvuka, nešto što ne pripada našim prethodnim iskustvima ali stvara preporuku za budućnost. Zajedno sa malim timom, stvorili smo dosta zvučnih tekstura koje mogu da prenesu emociju. Baš kao slikar sa bojama, možemo da povežemo osećanja i frekvencije tako da kad god nam se približavaju kola možemo da osetimo emociju. koja, pored što ispunjava zakonske propise, govori o karakteru i identitetu vozila.
I call this paradigm "sound genetics." With sound genetics, I define, first of all, an aesthetic space of sound, and at the same time, I search for new, innovative methods for generating soundscapes that we don't know, soundscapes that allow us to envision abstract worlds, to make them tangible and audible. Sound genetics is based on three steps. The first one is the definition of a sonic organism, the second one is a description of sonic variations, and the third one is the composition of sound genes. The description of a sonic organism is based on a cluster of properties that every sound that I compose should have.
Ovu paradigmu nazivam "genetika zvuka". Sa genetikom zvuka, definišem, kao prvo, estetski prostor zvuka, i u isto vreme sam u potrazi za novim, inovativnim metodama za stvaranje zvučnog pejzaža, kog ne znamo, zvučnog pejzaža, koji nam omogućava da zamislimo apstraktne svetove, da ga učinimo opipljivim i čujnim. Genetika zvuka je bazirana na tri koraka. Prvi je definicija zvučnog organizma, drugi je opis zvučnih varijacija, i treći je kompozicija zvučnih gena. Opis zvučnog organizma je baziran na grupi svojstava koje svaki zvuk koji iskomponujem treba da ima.
[Sound is moving.]
[Zvuk je pokret.]
I transfer to a small sound entity, such as the sound of a car, the power of the motion of music, so that sound can move so.
Prenosim u mali zvučni entitet, kao što je zvuk kola, moć pokreta muzike, tako da zvuk može pomeriti.
[Sound is acting.]
[Zvuk je gluma.]
And just like a dancer on a stage, sound will project trajectories of sound in the air.
Baš kao plesač na bini, zvuk će projektovati putanje zvuka u vazduhu.
[Sound is memory.]
[Zvuk je sećanje.]
And it's not just about the sound of a car. It's the memory of my father coming back home.
I to nije samo u vezi sa zvukom kola. To je sećanje kako se moj otac vraća kući.
[Sound is hypnotizing.]
[Zvuk hipnotiše.]
And sound has the power to create an unexpected sense of wonder, which hypnotizes. And ultimately,
I zvuk ima moć da stvori neočekivan osećaj zapitanosti, koji hipnotiše. I na kraju,
[Sound is superhuman.]
[Zvuk je nadčovek.]
sound goes beyond the human condition, because it allows us to transcend. As a second step, we define the sonic variations.
zvuk prevazilazi ljudsko stanje, jer nam dozvoljava da nadmašimo sebe. Kao drugi korak, definišemo zvučne varijacije.
[Identity prism]
[Prizma identiteta]
Just like humans, where different bodies generate different voices, also different car shapes have a different acoustic behavior which depends on the geometry and the materials. So we have to know, first of all, how this car propagates the sound outside by means of acoustic measurements. And just like a single voice is able to produce different tones and timbres, at the same time, we produce different sonic variations within a space of eight words that I defined. And some of them are, to me, really important, such as the concept of "visionary," of "elegance," of "dynamic," of "embracing." And once we have defined these two aspects, we have what I call the identity prism, which is something like the sonic identity card of a car.
Baš kao ljudi, gde različita tela stvaraju različite glasove, tako i različiti oblici kola imaju različito akustično ponašanje koje zavisi od geometrije i materijala. Dakle moramo da znamo, kao prvo, kako ova kola šire zvuk spolja pomoću akustičnih merenja. Baš kao što jedan glas može da proizvede različite tonove i boje zvuka, u isto vreme, mi proizvodimo različite zvučne varijacije u prostoru od osam reči koje sam definisao. I neke od njih su, meni, veoma bitne, kao što je "vizionarski", "elegantno", "dinamično", "obgrliti". I kada smo definisali ova dva aspekta, dobijemo nešto, što nazivam prizma identiteta, što predstavlja zvučnu ličnu kartu kola.
And as a third step, we enter the world of the sound design, where the sound genes are composed and a new archetype is conceived. Now let me show you another example of how I transform a sound field into a melody.
I kao treći korak, ulazimo u svet dizajniranja zvuka, gde se zvučni geni stvaraju i novi arhetipovi začinju. Dozvolite mi da vam pokažem sledeći primer kako sam pretvorio zvučno polje u melodiju.
Think that I am a violin player on stage. If I would start to play the violin, I would generate a sound field which would propagate in this hall, and at some point, the sound field would hit the side walls and would be scattered all over the place. And this is how it looked like. Some time ago, I captured several ways of sound to hit side walls. And last year, I was asked by the Bavarian Radio Symphony Orchestra to compose ringtones that they were going to play. So one of them, I had the idea to start from this sound field. I took a section, I superimposed the section over the distribution of the musicians onstage, and then I followed the blooming of the sound field by means of three parameters: time, intensity and frequency. Then I wrote down all the gradients for each instrument, and as you can see, for instance, the piece will start with the string section playing very softly, and then it's going to have a crescendo as the brasses, the woods will jump in, and the melody will end with a harp and a piano playing on the highest range.
Zamislite da sam violinista na bini. Ako bih počeo da sviram violinu, stvorio bih zvučno polje koje bi se širilo u ovoj dvorani, i u jednom trenutku zvučno polje bi udarilo bočne zidove i rasulo bi se po prostoru. I ovako bi to izgledalo. Pre nekog vremena, zabeležio sam više načina na koji zvuk udara zidove. I prošle godine, Bavarski radijski simfonijski orkestar me je upitao da iskomponujem zvuk koji će oni odsvirati. Za jedan od njih, imao sam ideju da krenem od ovog zvučnog polja. Uzeo sam deo, postavio sam ga preko raspodele muzičara na bini, i onda pratio cvetanje zvučnog polja pomoću tri paramera: vreme, jačina i frekvencija. Onda sam zapisao sve gradijente svakog instrumentra, i kao što možemo da vidimo, na primer, deo će početi nežno sa gudačkim delom, a zatim će imati krešendo kako se duvačka sekcija uključuje, i melodija će se završiti harfom i klavirom koji sviraju na najvišem dometu.
Let's listen how it sounded like.
Poslišajmo kako je zvučalo.
(Ethereal music)
(Eterična muzika)
(Music ends)
(Kraj muzike)
So this is the sound of my alarm clock, actually, in the morning.
Ovo je, zapravo, zvuk mog alarma ujutru.
(Laughter)
(Smeh)
And now let's go back to electric cars. And let's listen to the first example that I showed you.
Vratimo se nazad na električne automobile. Poslušajmo prvi primer koji sam vam pokazao.
(Hum)
(Zujanje)
And now I would like to show you how a potential sound, based on the sound genetics for electric cars, could sound like.
Sada bih želeo da vam pokažem kako bi potencijalni zvuk, baziran na genetici zvuka za električne automobile, mogao da zvuči.
(Ethereal music)
(Eterična muzika)
(Pitch rises with acceleration)
(Visina tona raste sa ubrzanjem)
Cars are a metaphor of time, distance and journey, of setting out and returning, of anticipation and adventure, but, at the same time, of intelligence and complexity, of human intuition and accomplishment. And the sound has to glorify all that.
Kola su metafora vremena, udaljenosti i putovanja, odlaska i povratka, iščekivanja i avanture, ali, u isto vreme, inteligencije i složenosti, ljudske intuicije i dostignuća. I zvuk treba da veliča sve to.
I see cars both as living creatures and as highly complex performative art installations. The sounds that we envision through sound genetics allow us not only to celebrate this complexity but also to make the world a more elegant and safe space.
Ja vidim kola podjednako kao živa bića i visoko složenu umetničku instalaciju. Zvukovi koje smo mi zamislili kroz genetiku zvuka dozvoljavaju nam ne samo da slavimo ovu složenost, nego isto tako da učinimo svet elegantnijim i bezbednijim mestom.
Thank you.
Hvala vam.
(Applause)
(Aplauz)