Of the five senses, vision is the one that I appreciate the most, and it's the one that I can least take for granted. I think this is partially due to my father, who was blind. It was a fact that he didn't make much of a fuss about, usually. One time in Nova Scotia, when we went to see a total eclipse of the sun --
Od pet čula vid je ono koje najviše cijenim, i najmanje uzimam zdravo za gotovo. Mislim kako je to djelomično zbog mog oca, koji je bio slijep. Činjenica je kako on nije od toga stvarao prevelik problem, najčešće. Jednom kada smo išli u Novu Škotsku, da vidimo potpuno pomračenje Sunca --
(Laughter)
da, isto ono koje se spominje u pjesmi Carly Simon,
Yeah, same one as in the Carly Simon song, which may or may not refer to James Taylor, Warren Beatty or Mick Jagger; we're not really sure. They handed out these dark plastic viewers that allowed us to look directly at the sun without damaging our eyes. But Dad got really scared; he didn't want us doing that. He wanted us instead to use these cheap cardboard viewers, so that there was no chance at all that our eyes would be damaged. I thought this was a little strange at the time.
koje se može a i ne mora odnositi na James Taylora, Warren Beattya ili Mick Jaggera; nismo stvarno sigurni. Dali su nam one tamne plastične folije koje su nam omogućavale da gledamo ravno u sunce a da pri tome ne oštetimo oči. Ali otac se jako uplašio: nije htio da to napravimo. Umjesto toga, htio je da koristimo jeftine kartonske okvire tako da nije bilo teorije da nam se oštete oči. U to vrijeme mi je to bilo pomalo čudno.
What I didn't know at the time was that my father had actually been born with perfect eyesight. When he and his sister Martha were just very little, their mom took them out to see a total eclipse -- or actually, a solar eclipse -- and not long after that, both of them started losing their eyesight. Decades later, it turned out that the source of their blindness was most likely some sort of bacterial infection. As near as we can tell, it had nothing whatsoever to do with that solar eclipse, but by then my grandmother had already gone to her grave thinking it was her fault.
Ono što tada nisam znao jest da je moj otac bio zapravo rođen sa savršenim vidom. Kada su on i njegova sestra Marta bili jako mali, njihova mama ih je povela da vide potpuno pomračenje -- u stvari pomračenje sunca -- i nedugo nakon toga, oboje su započeli gubiti vid. Desetljećima kasnije, ispalo je kako je izvor njihova sljepila bila najvjerojatnije neka vrsta bakterijske infekcije. Koliko najbolje možemo zaključiti, to nije imalo apsolutno nikakve veze s pomračenjem sunca, ali do tada je moja baka već otišla na onaj svijet misleći kako je to bila njena krivica.
So, Dad graduated Harvard in 1946, married my mom, and bought a house in Lexington, Massachusetts, where the first shots were fired against the British in 1775, although we didn't actually hit any of them until Concord. He got a job working for Raytheon designing guidance systems, which was part of the Route 128 high-tech axis in those days -- so, the equivalent of Silicon Valley in the '70s. Dad wasn't a real militaristic kind of guy; he just felt bad that he wasn't able to fight in World War II on account of his handicap, although they did let him get through the several-hour-long army physical exam before they got to the very last test, which was for vision.
Tako je otac diplomirao na Harvardu 1946. oženio se mojom majkom, i kupio kuću u Lexingtonu, Massachusetts, gdje su ispaljeni prvi meci protiv Britanaca 1775., premda ih nismo u stvari pogodili sve do Concorda. Dobio je posao radeći za Raytheon, dizajnirajući sustave za navođenje, koji su bili dio Rute 128, tehnološke osi tog doba -- ekvivalentu Silikonske doline iz 1970-ih. Tata nije bio pravi vojnički tip, samo mu je bilo strašno žao što se nije mogao boriti u II. svjetskom ratu zbog svog hendikepa, premda su ga pustili da obavi višesatni vojni test fizičke spreme priej nego što su došli do zadnjeg testa, koji je bio test vida.
(Laughter)
(Smijeh)
So Dad started racking up all of these patents and gaining a reputation as a blind genius, rocket scientist, inventor. But to us he was just Dad, and our home life was pretty normal. As a kid, I watched a lot of television and had lots of nerdy hobbies like mineralogy and microbiology and the space program and a little bit of politics. I played a lot of chess. But at the age of 14, a friend got me interested in comic books, and I decided that was what I wanted to do for a living.
Tako da je otac počeo osmišljavati razne patente i dobio reputaciju slijepog genijalca, znanstvenika, inovatora. Ali nama je on jednostavno bio otac, i naš je život u kući bio prilično normalan. Kao dijete, puno sam gledao televiziju i imao puno štreberskih hobija kao što su minerologija i mikrobiologija i svemirski program i pomalo politika. Puno sam igrao šah. Ali kada mi je bilo 14 godina, jedan prijatelj me zainteresirao za stripove, i odlučio sam kako je upravo to ono što žellim raditi.
So, here's my dad: he's a scientist, he's an engineer and he's a military contractor. So, he has four kids, right? One grows up to become a computer scientist, one grows up to join the Navy, one grows up to become an engineer ... And then there's me: the comic book artist.
Znači, evo mog oca: on je znanstvenik, inženjer i radi za vojsku. I on ima četvero djece, točno? Jedno odraste i postane informatičar, jedno odraste i ode u mornaricu, jedno odraste i postane inženjer, i onda imate mene:
(Laughter)
crtač stripova.
Which, incidentally, makes me the opposite of Dean Kamen, because I'm a comic book artist, son of an inventor, and he's an inventor, son of a comic book artist.
(Smijeh) Što me, sasvim slučajno, čini suprotnim Dean Kamenu, jer ja sam crtač stripova, sin izumitelja, dok je on izumitelj, sin crtača stripova. (Smijeh)
(Laughter)
Točno, to je istina.
Right? It's true.
(Pljesak)
(Applause)
Smiješno je što je otac imao jako puno vjere u mene.
The funny thing is, Dad had a lot of faith in me. He had faith in my abilities as a cartoonist, even though he had no direct evidence that I was any good whatsoever; everything he saw was just a blur. Now, this gives a real meaning to the term "blind faith," which doesn't have the same negative connotation for me that it does for other people. Now, faith in things which cannot be seen, which cannot be proved, is not the sort of faith that I've ever really related to all that much. I tend to like science, where what we see and can ascertain are the foundation of what we know.
Imao je vjere u moju sposobnost kao crtača stripova, premda nije imao nikakvog direktnog dokaza da sam dobar: sve što je on vidio bilo je mutno. To sada daje pravo značenje izrazu 'slijepa vjera', koji meni nema tu negativnu konotaciju koju ima za druge ljude. Vjera u stvari koje su nevidljive, koje se ne mogu dokazati, nije tip vjere s kojom sam se ja ikada mogao previše poistovjetiti. Ja ipak volim znanost, gdje ono što vidimo i što možemo potvrditi, predstavlja osnovu onoga što znamo.
But there's a middle ground, too -- a middle ground tread by people like poor old Charles Babbage and his steam-driven computers that were never built. Nobody really understood what it was that he had in mind except for Ada Lovelace, and he went to his grave trying to pursue that dream. Vannevar Bush with his memex -- this idea of all of human knowledge at your fingertips -- he had this vision. And I think a lot of people in his day probably thought he was a bit of a kook. And, yeah, we can look back in retrospect and say, "Yeah, ha-ha, it's all microfilm --
Ali postoji tu i zajednički dio. Njega čine ljudi poput Charles Babbagea, i njegovog računala na paru koje nikada nije napravljeno. Nitko nikada nije razumio što je on to točno imao na umu, osim Ade Lovelace, i on je otišao u grob pokušavajući ostvariti svoj san. Vannevar Bush s njegovim Memexom -- ta ideja svog ljudskog znanja na dohvat ruke -- on je imao viziju. A ja mislim kako puno ljudi ovih dana misli kako je on bio pomalo čudan. I da, možemo pogledati unazad i reći, da, ha-ha, znate -- to je mikrofilm. Ali to je --
(Laughter)
to nije poanta. On je razumio kako će izgledati budućnost.
But that's not the point; he understood the shape of the future. So did J.C.R. Licklider and his notions for computer-human interaction. Same thing: he understood the shape of the future, even though it was something that would only be implemented by people much later. Or Paul Baran, and his vision for packet switching. Hardly anybody listened to him in his day. Or even the people who actually pulled it off, the people at Bolt, Beranek and Newman in Boston, who just would sketch out these structures of what would eventually become a worldwide network, and sketching things on the back of napkins and on note papers and arguing over dinner at Howard Johnson's -- on Route 128 in Lexington, Massachusetts, just two miles from where I was studying the Queen's Gambit Deferred and listening to Gladys Knight & The Pips singing "Midnight Train to Georgia" --
Kao i J. C. R. Licklider i njegove predstave o interakciji računala i ljudi. Ista stvar: on je razumio kako će budućnost izgledati, iako je to bilo nešto što će ljudi primijeniti bitno kasnije. Ili Paul Baron, i njegova vizija zamjene paketa informacija. Jedva da ga je itko slušao unjegovo vrijeme. Pa čak ni ljudi koji su to kasnije zapravo i izveli, ljudi u Bolt, Beranek i Newmanu u Bostonu, koji bi samo skicirali te strukture od kojih će na kraju nastati svjetska mreža, i skicirajući stvari na pozadini ubrusa i notesa i raspravljajući za vrijeme večere kod Howard Johnsona -- na Ruti 128 u Lexington, Massachusetts, samo tri i pol kilometra od mjesta na kojem sam ja proučavao kraljičin gambit i slušao Gladys Knight & the Pips koji su pjevali ""Midnight Train to Georgia", dok -- (Smijeh)
(Laughter)
-- i to u očevoj velikoj fotelji, znate?
in my dad's big easy chair, you know?
So, three types of vision, right? Vision based on what one cannot see, the vision of that unseen and unknowable. The vision of that which has already been proven or can be ascertained. And this third kind, a vision of something which can be, which may be, based on knowledge but is, as yet, unproven. Now, we've seen a lot of examples of people who are pursuing that sort of vision in science, but I think it's also true in the arts, it's true in politics, it's even true in personal endeavors.
Tako postoje tri načina gledanja, točno? Vizija bazirana na onome što nitko ne vidi: vizija nevidljivog i nepoznatog. Vizija onoga što je već dokazano ili može biti potvrđeno. I postoji ova treća vrsta vizija nečega što može biti, ili bi moglo biti, bazirano na znanju, ali i dalje nije dokazano. E sad, vidijeli smo puno primjera ljudi koji su slijedili ovaj tip vizije u znanosti, ali smatram kako ih ima i u umjetnosti, i u politici, pa čak i u našim osobnim nastojanjima.
What it comes down to, really, is four basic principles: learn from everyone; follow no one; watch for patterns; and work like hell. I think these are the four principles that go into this. And it's that third one, especially, where visions of the future begin to manifest themselves. What's interesting is that this particular way of looking at the world, is, I think, only one of four different ways that manifest themselves in different fields of endeavor. In comics, I know that it results in sort of a formalist attitude towards trying to understand how it works. Then there's another, more classical attitude which embraces beauty and craft; another one which believes in the pure transparency of content; and then another, which emphasizes the authenticity of human experience and honesty and rawness.
U suštini, to se sve svodi na četiri osnovna načela: uči od svakog, nemoj slijediti nikoga, obrati pažnju na ponavljanja, i radi kao lud. Mislim kako su to četiri načela koja se uklapaju. I to posebno ovaj treći, u kojem se vizija budućnosti počinje samo od sebe manifestirati. Ono što je interesantno da baš taj način gledanja svijeta po mom mišljenju, samo jedan od četiri različita načina koji se manofestiraju u različitim poljima ljudskog djelovanja.“ U stripu se, po mom mišljenju, on izražava u formalističkom pristupu koji pokušava shvatiti kako nešto funkcionira. Onda tu je drugi, klasičniji stav koji iznad svega cijeni ljepotu i vještinu. Onda sljedeći, koji vjeruje u čistu transparentnost sadržaja. I još jedan koji naglašava autentičnost ljudskog iskustva -- i iskrenost i sirovost.
These are four very different ways of looking at the world. I even gave them names: the classicist, the animist, the formalist and iconoclast. Interestingly, they seem to correspond more or less to Jung's four subdivisions of human thought. And they reflect a dichotomy of art and delight on left and the right; tradition and revolution on the top and the bottom. And if you go on the diagonal, you get content and form, and then beauty and truth. And it probably applies just as much to music and movies and fine art, which has nothing whatsoever to do with vision at all, or, for that matter, nothing to do with our conference theme of "Inspired by Nature," except to the extent of the fable of the frog who gives a ride to the scorpion on his back to get across the river because the scorpion promises not to sting him, but the scorpion stings him anyway and they both die, but not before the frog asks him why, and the scorpion says, "Because it's my nature." In that sense, yes.
Ovo su četiri vrlo različita načina gledanja na svijet. Čak sam im dao i nazive. Klasičan, animistički, formalistički i ikonoklastični. Interesantno, čini se kako više-manje odgovara Jungovim podjelama ljudske misli. I one zrcale dihotomiju umjetnosti i života po vertikali: tradicije i revolucije po horizontali. A ako odete dijagonalno, dobijete sadržaj i formu -- i onda ljepotu i istinu. I to je primjenjivo jednako na glazbu i filmove te umjetnost, što nema baš nikakve veze s vizijom, ili, kada smo već kod toga, s temom naše konferencije 'Inspirirano prirodom' -- osim ako to primjenite na basnu o žabi koja prebacuje škorpiona na svojim leđima preko rijeke jer joj škorpion obećao kako je neće ubosti, ali onda je škorpion ipak ubode i oboje umru, ali ne prije nego što ga žaba pita zašto a škorpion joj kaže, "Jer mi je to u prirodi." -- u tom smislu, da. (Smijeh)
(Laughter)
Dakle --
So this was my nature. The thing was, I saw that the route I took to discovering this focus in my work and who I was -- I saw it as just this road to discovery. Actually, it was just me embracing my nature, which means that I didn't actually fall that far from the tree, after all.
to je bila moja priroda. Stvar je u tome, da sam vidio kako je taj put kojim sam krenuo ka pronalaženju tog fokusa u mom radu i toga tko sam, vidio sam to samo kao put ka spoznaji. U stvari, ja sam samo prihvatio svoju prirodu Što znači da u stvari nisam pao jako daleko od stabla.
So what does a "scientific mind" do in the arts? I started making comics, but I also started trying to understand them, almost immediately. One of the most important things about comics that I discovered was that comics are a visual medium, but they try to embrace all of the senses within it. So, the different elements of comics, like pictures and words, and the different symbols and everything in between that comics presents, are all funneled through the single conduit, a vision. So we have things like resemblance, where something which resembles the physical world can be abstracted in a couple of different directions: abstracted from resemblance, but still retaining the complete meaning, or abstracted away from both resemblance and meaning towards the picture plane.
Dakle što "znanstveni um" radi u umjetnosti? Pa, počeo sam raditi stripove, ali sam također i počeo pokušavati da ih razumijem, skoro odmah. I jedna od najvažnijih stvari sa stripovima, otkrio sam, jest da su stripovi vizualni medij, ali pokušavaju obuhvatiti sva čula u sebi. Tako različiti elementi stripa, poput slika i riječi, i različiti simboli i sve između toga što strip predstavlja su potaknuti kroz jedinstven kanal - čulo vida. Tako da imate stvari kao što je sličnost, gdje nešto što ima sličnost sa stvarnim svijetom može biti sažeto u nekoliko različitih pravaca: sažeto iz sličnosti, ali i dalje zadržavajući svoje puno značenje, ili kao apstrakcija koja se udaljava i od sličnosti i od značenja i pretvara u sliku. Kada sve ovo uzmete u obzir, dobijete lijepu malu mapu
Put all these three together, and you have a nice little map of the entire boundary of visual iconography, which comics can embrace. And if you move to the right you also get language, because that's abstracting even further from resemblance, but still maintaining meaning. Vision is called upon to represent sound and to understand the common properties of those two and their common heritage as well; also, to try to represent the texture of sound to capture its essential character through visuals. There's also a balance between the visible and the invisible in comics. Comics is a kind of call and response, in which the artist gives you something to see within the panels, and then gives you something to imagine between the panels.
cjelokupnog obuhvata vizualne ikonografije koju strip može prikazati. I ako krenete dalje desno, imate također jezik, jer je to sažimanje još dalje od sličnosti, ali i dalje zadržavajući značenje. Slika je angažirana da predstavlja zvuk da pojasni zajedničke karakteristike to dvoje kao i njihovo zajedničko naslijeđe. Također, treba predstavljati teksturu zvuka; i da zadrži njegovo esencijalni karakter kroz vizuale. I tu je također ravnoteža između vidljivog i nevidljivog u stripovima. Strip je na neki način poziv i odgovor koji vam umjetnik daje nešto da vidite u okviru prizora, i onda vam da nešto da zamislite između njih.
Also, another sense which comics' vision represents, and that's time. Sequence is a very important aspect of comics. Comics presents a kind of temporal map. And this temporal map was something that energizes modern comics, but I was wondering if perhaps it also energizes other sorts of forms, and I found some in history. You can see this same principle operating in these ancient versions of the same idea. What's happening is, an art form is colliding with a given technology, whether it's paint on stone, like the Tomb of Menna the Scribe in ancient Egypt, or a bas-relief sculpture rising up a stone column, or a 200-foot-long embroidery, or painted deerskin and tree bark running across 88 accordion-folded pages.
Također, postoji još jedan pojam koje 'stripovsko oko' predstavlja, a to je vrijeme. Ritam je jako važan aspekt stripa. Strip predstavlja neku vrstu vremenske mape. I ta vremenska mapa je ono što daje energiju modernom stripu, ali ja sam se zapitao daje li možda energiju i drugim formama, i pronašao sam neke u povijesti. I možete ovdje vidjeti ovaj isti princip kako se primjenjuje u ovim antičkim verzijama iste ideje. Ono što se zapravo događa jest da se umjetnička forma sudara s tehnologijom koja joj je na raspolaganju, bilo da je to boja na kamenu, kao grobnica u starom Egiptu, ili plitki reljef koji se uzdiže po kamenom stubu, ili vez dugačak 60 metara, ili oslikana jelenska koža i kora drveta koja se prostire na 88 naizmjenično presavijenih stranica.
What's interesting is, once you hit "print" -- and this is from 1450, by the way -- all of the artifacts of modern comics start to present themselves: rectilinear panel arrangements, simple line drawings without tone, and a left-to-right reading sequence. And within 100 years, you already start to see word balloons and captions, and it's really just a hop, skip and a jump from here to here. So I wrote a book about this in '93, but as I was finishing the book, I had to do a little bit of typesetting, and I was tired of going to my local copy shop to do it, so I bought a computer. And it was just a little thing -- it wasn't good for much except text entry -- but my father had told me about Moore's law back in the '70s, and I knew what was coming. And so, I kept my eyes peeled to see if the sort of changes that happened when we went from pre-print comics to print comics would happen when we went beyond, to post-print comics.
Ono što je interesantno je, jednom kada ga počnete štampati -- inače ovo je iz 145o. godine, samo da vam napomenem -- sve karakteristike modernog stripa počinju bivati vidljive: pravokutni linearni raspored okvira, jednostavni linearni crteži bez tona i redoslijed čitanja s lijeva na desno. I već 100 godina nakon toga, već imate balone s tekstom i scene, i u stvari samo je korak od ovog ka ovom. Napisao sam knjigu o ovome 1993., ali dok sam završavao knjigu morao sam malo raditi na prijelomu, i dosadilo mi je svaki puta ići u lokalnu kopiraonicu to raditi, pa sam kupio računalo. I to je bila samo malena stvar -- bio je dobar samo za unošenje teksta i ništa drugo -- ali otac mi je nekada pričao o Mooreovom zakonu, o Mooreovom zakonu davnih '70-ih, i znao sam što dolazi. Tako da sam držao otvorene oči da vidim hoće li se promjene koje su se dogodile kada smo prešli s pred-tiskanih stripova na tiskane stripove dogoditi kada odemo dalje, na post-tiskane stripove.
So, one of the first things proposed was that we could mix the visuals of comics with the sound, motion and interactivity of the CD-ROMs being made in those days. This was even before the Web. And one of the first things they did was, they tried to take the comics page as is and transplant it to monitors, which was a classic McLuhanesque mistake of appropriating the shape of the previous technology as the content of the new technology. And so, what they would do is have these comic pages that resemble print comics pages, and they would introduce all this sound and motion. The problem was that if you go with this basic idea that space equals time in comics, what happens is that when you introduce sound and motion, which are temporal phenomena that can only be represented through time, they break with that continuity of presentation.
Tako je jedna od stvari koje su predložene bila da možemo miješati vizuale stripova sa zvukom, kretnjama i interaktivnošću CD-ROM-ova koji su bili tada rađeni. Ovo je bilo i prije Interneta. I jedna od prvih stvari koje su napravili bila je, da probaju napraviti stranice stripa kao što su ranije bile, i prebace ih na zaslone, što je bila klasična McLuhanesque greška prisvajanja forme koju je koristila prethodna tehnologija kako bi se stvorio sadržaj za novu tehnologiju. I tako, ono što bi oni napravili je da bi uzeli stranice stripa koje sliče na štampane stranice stripa i dodavali bi zvuk i pokret. Problem je u tome da, ukoliko se vratite ideji -- osnovnoj ideji gdje je prostor jednak kao i vrijeme u stripu -- što će se dogoditi kada uvedete zvuk i pokret, koji su vremenski fenomeni i mogu se prikazati samo kroz vrijeme, onda oni prekidaju kontinuitet prezentacije.
Interactivity was another thing. There were hypertext comics, but the thing about hypertext is that everything in hypertext is either here, not here, or connected to here; it's profoundly nonspatial. The distance from Abraham Lincoln to a Lincoln penny to Penny Marshall to the Marshall Plan to "Plan 9" to nine lives: it's all the same.
Interakcija je bila nešto drugo. Postojali su stripovi u hipertekstu. Ali ono što je problem s hipertekstom jest da je sve u hipertekstu ili ovdje, ili nije ovdje ili je povezano s nečim ovdje; on je suštinski ne-prostoran. Razmak između Abrahama Lincolna do Lincolnova penija, Penny Marshall do Marshallovog plana do "Plana 9" do devet života: sve je to isto.
(Laughter)
(Smijeh)
But in comics, every aspect of the work, every element of the work, has a spatial relationship to every other element at all times.
I -- ali u stripu, u stripu, svaki aspekt posla, svaki element posla ima spacijalni odnos sa svakim drugim elementom cijelo vrijeme.
So the question was: Was there any way to preserve that spatial relationship while still taking advantage of all of the things that digital had to offer us? And I found my personal answer for this in those ancient comics that I was showing you. Each of them has a single unbroken reading line, whether it's going zigzag across the walls or spiraling up a column or just straight left to right, or even going in a backwards zigzag across those 88 accordion-folded pages, the same thing is happening; that is, that the basic idea that as you move through space you move through time, is being carried out without any compromise, but there were compromises when print hit. Adjacent spaces were no longer adjacent moments, so the basic idea of comics was being broken again and again and again and again.
Dakle pitanje je bilo: postoji li ikakav način očuvanja spacijalnog odnosa dok se istovremeno iskorištavaju sve prednosti koje nam nudi digitalna tehnologija? I pronašao sam svoj osobni odgovor na ovo pitanje u onim prastarim stripovima koje sam vam pokazivao. Svaki od njih ima jedinstvenu neprekidnu liniju čitanja, bilo da se prostire cik-cak preko zidova, ili se spiralno penje uz stub ili ide s lijeva na desno, ili čak cik-cak unazad preko svih onih 88 presavijenih stranica. Ista stvar se događa i osnovna ideja da se, krećući kroz prostor, krećete kroz vrijeme, se ovdje događa bez ikakvog kompromisa, ali do kompromisa je došlo kada su se počeli tiskati. Prostori koji se nadovezuju više nisu trenuci koji se nadovezuju, tako da je osnovna ideja stripa bila izlomljena opet i opet i opet i opet. I ja sam pomislio, OK, dobro,
And I thought, OK, well, if that's true, is there any way, when we go beyond today's print, to somehow bring that back? Now, the monitor is just as limited as the page, technically, right? It's a different shape, but other than that, it's the same basic limitation. But that's only if you look at the monitor as a page, but not if you look at the monitor as a window.
ako je to istina, postoji li ikakav način da, kada se odmaknemo od današnjeg tiska, kako bismo to nekako vratili nazad? Sada, zaslon je jednako tehnički ograničen kao i stranica, točno? To je drugačija forma, ali osim toga ima ista osnovna ograničenja. Ali to je tako samo ako gledate na zaslon kao na stranicu, ali nije ako gledate na zaslon kao na prozor.
And that's what I propose, that perhaps we could create these comics on an infinite canvas, along the X axis and the Y axis and staircases. We could do circular narratives that were literally circular. We could do a turn in a story that was literally a turn. Parallel narratives could be literally parallel. X, Y and also Z. So I had all these notions. This was back in the late '90s, and other people in my business thought I was pretty crazy, but a lot of people then went on and actually did it. I'm going to show you a couple now.
I to je ono što sam ja predložio: da možda možemo kreirati te stripove na neograničenim platnima: preko osi X i osi Y i stepenica. Možemo raditi kružnu naraciju, koja je u pravom smislu te riječi kružna. Možemo raditi zaokret u priči koji je doslovan zaokret. Paralelne radnje mogu biti zaista paralelene. X, Y, kao i Z. Tako da sam imao sve te zamisli. To je bilo još u kasnim '90-ima, i ostali ljudi u mom poslu su mislili kako sam poprilično lud, ali dosta ljudi je onda zaista krenulo i sve promijenilo. Sada ću vam pokazati nekoliko primjera.
This was an early collage comic by a fellow named Jasen Lex. And notice what's going on here. What I'm searching for is a durable mutation -- that's what all of us are searching for. As media head into this new era, we are looking for mutations that are durable, that have some sort of staying power. Now, we're taking this basic idea of presenting comics in a visual medium, and we're carrying it through all the way from beginning to end. That's that entire comic you just saw, up on the screen right now. But even though we're only experiencing it one piece at a time, that's just where the technology is right now. As the technology evolves, as you get full immersive displays and whatnot, this sort of thing will only grow; it will adapt. It will adapt to its environment; it's a durable mutation.
Ovo je kolaž strip koji je nastao u ranoj fazi od strane Jason Lexa. I pogledajte što se ovdje događa. Ono što tražim ovdje je trajna mutacija -- to je ono što svi tražimo. Dok mediji ulaze u novu eru, mi tražimo promjene koje su trajne, koje imaju održivost. Uzeli smo osnovnu ideju prikazivanja stripa kao vizualnog medija, i istrajali u njoj od početka do kraja. Ovo što ste upravo vidjeli je cijeli strip upravo sada na ekranu. Međutim, iako ga doživljavamo samo dio po dio, to je samo zbog razine na kojoj se trenutno tehnologija nalazi. Kako će tehnologija evoluirati, kako se budu pojavljivali puni sveobuhvatni displeji i tko zna što još ne, ova ideja će samo rasti. Prilagođavat će se. Prilagođavat će se svom okruženju: to je trajna mutacija.
Here's another one. This is by Drew Weing; this is called "'Pup' Ponders the Heat Death of the Universe." See what's going on here as we draw these stories on an infinite canvas is you're creating a more pure expression of what this medium is all about. We'll go by this a little quickly. You get the idea. I just want to get to the last panel.
Evo, pokazati ću vam još jedan. Ovaj je napravio Drew Weing; ova se naziva, "Psić razmišlja o smrti svemira". Vidite što se ovdje događa dok iscrtavamo ove priče na neograničenom platnu mi zapravo stvaramo čistiji izraz onoga što je suština ovog medija. Proći ćemo kroz ovo malo brže -- već ste shvatili ideju. Hoću samo doći do posljednjeh okvira.
[Cat 1: Pup! Earth to Pup! Cat 2: Come play baseball with us!]
(Smijeh)
(Laughter)
Evo ga.
[Pup: Did either of you realize that eventually the universe will be nothing but a thin, cold gas spread across infinite, lonely space?]
(Smijeh) (Smijeh)
[Cat 1: Oh ... Cat 2: We'd better hurry, then!]
(Laughter)
Just one more. Talk about your infinite canvas. It's by a guy named Daniel Merlin Goodbrey, in Britain.
Samo još jedan. Kada smo već kod beskonačnog platna. Ovo je napravio čovjek po imenu Daniel Merlin Goodbrey u Britaniji.
Why is this important? I think this is important because media -- all media -- provide us a window back into our world. Now, it could be that motion pictures and eventually, virtual reality, or something equivalent to it, some sort of immersive display, is going to provide us with our most efficient escape from the world that we're in. That's why most people turn to storytelling, to escape. But media provides us with a window back into the world we live in. And when media evolve so that the identity of the media becomes increasingly unique -- because what you're looking at is comics cubed, you're looking at comics that are more comics-like than they've ever been before -- when that happens, you provide people with multiple ways of reentering the world through different windows. And when you do that, it allows them to triangulate the world they live in and see its shape. That's why I think this is important. One of many reasons, but I've got to go now. Thank you for having me.
Zašto je ovo važno? Mislim kako je važno zbog medija, svi mediji, za nas predstavljaju prozor u naš svijet. Sada, može se dogoditi da će nam filmovi -- i konačno, virtualna stvarnost, ili nešto ekvivalentno njoj -- neka vrsta sveobuhvatnog prikaza, omogućiti učinkovit bijeg iz svijeta u kojem jesmo. Zato se većina ljudi okreće pričanju priča, kako bi pobjegli. Ali mediji nam stvaraju prozor nazad u svijet u kojem živimo. I kada mediji evoluiraju tako da njihov identitet postane sve više jedinstven. Jer ono što vidite predstavlja stripove na kub: ovo što vidite su stripovi koji su više stripovski, nego što su to ikada bili. Kada se to dogodi, pružate ljudima više načina da ponovo uđu u svijet kroz različite prozore, i kada to uradite, omogućavate im da prouče svijet u kojem žive i sagledaju njegovu formu. I zato mislim da je ovo značajno. Ovo je zapravo jedan od mnogo razloga, ali sada moram ići. Hvala vam na pažnji.