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 svih pet čula, čulo vida je ono koje najviše cenim, i najmanje uzimam zdravo za gotovo. Mislim da je ovo delom zbog mog oca, koji je bio slep. To je bila činjenica oko koje on obično nije pravio mnogo buke. Jednom kada smo išli u Novu Škotsku, da vidimo totalno pomračenje Sunca -
(Laughter)
da, isto ono koje se pominje u pesmi Karli Sajmon,
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 možda, a možda i ne, odnosi na Džejmsa Tejlora, Vorena Bitija ili Mika Džegera, nismo sigurni. Delili su one tamne plastične folije koje su nam omogućavale da gledamo direktno u sunce, a da pritom ne oštetimo oči. Ali otac se veoma uplašio: nije želeo da to uradimo. Umesto toga, hteo je da koristimo one jeftine kartonske okvire tako da nije bilo šanse da nam se oštete oči. U to vreme 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 je da je moj otac zapravo rođen sa perfektnim vidom. Kada su on i njegova sestra Marta bili veoma mali, njihova mama ih je povela napolje da vide totalno pomračenje - odnosno pomračenje sunca - i ne zadugo posle toga, oboje su počeli da gube vid. Decenijama kasnije, ispostavilo se da je uzrok njihovog gubitka vida najverovatnije bila neka vrsta bakterijske infekcije. Koliko možemo da zaključimo, to nije imalo apsolutno nikakve veze sa pomračenjem sunca, ali do tada je moja baka već otišla na onaj svet misleći da 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 da je otac diplomirao na Harvardu 1946. oženio se mojom majkom, i kupio kuću u Leksingtonu, u Masačusetsu, gde su ispaljeni prvi hici protiv Britanaca u 1775, iako nismo pogodili nijednog od njih pre Konkorda. Zaposlio se u Rejtionu, projektujući sisteme za navođenje, koji je bio deo Rute 128, tehnološke ose u to doba - ekvivalenta Silikonske Doline iz '70-ih. Tata nije bio pravi vojnički tip, samo mu je bilo stvarno žao što nije mogao da se bori u Drugom svetskom ratu zbog svog hendikepa, iako su mu dozvolili da prođe višečasovni vojni test fizičke spremnosti pre nego što su došli do poslednjeg testa, koji je bio test vida.
(Laughter)
(Smeh)
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 da smišlja raznorazne patente i dobio reputaciju slepog genijalca, naučnika, pronalazača. Ali za nas je bio samo tata, i život u našem domu je bio prilično normalan. Kao mali, puno sam gledao televiziju i imao dosta štreberskih hobija kao što su mineralogija i mikrobiologija i svemirski program i pomalo politika. Puno sam igrao šah. Ali kada mi je bio 14 godina, jedan moj drug me je zainteresovao za stripove, i odlučio sam da je to ono što bih želeo da radim.
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 naučnik, inženjer i radi za vojsku. I on ima četvoro dece, je l' tako? Jedno odraste i postane informatičar, jedno odraste i ode u mornaricu, jedno odraste i postane inženjer, i onda imate mene:
(Laughter)
ctrač 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.
(Smeh) Što me, sasvim slučajno, čini suprotnim od Dina Kamena, jer sam crtač stripova, sin pronalazača, dok je on pronalazač, sin crtača stripova. (Smeh)
(Laughter)
Tako je.
Right? It's true.
(Aplauz)
(Applause)
Interesantno je da je otac imao puno vere 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.
Verovao je u moje sposobnosti kao crtača, iako nije imao konkretnih dokaza da sam ja iole dobar u tome: sve što je on video bilo je mutno. To sad daje pravo značenje izrazu 'slepa vera', koji za mene nema onu negativnu konotaciju koju ima za druge ljude. Vera u stvari koje su nevidljive, koje se ne mogu dokazati nije tip vere sa kojom sam ja ikada mogao previše da se poistovetim. Ja ipak volim nauku, gde ono što vidimo i što možemo da potvrdimo predstavljaju 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 imenitelj. Njega čine ljudi poput sirotog Čarlsa Bebidža, i njegovih računara na vodenu paru koji nikada nisu napravljeni. Niko nije u potpunosti shvatao šta je on zamislio, osim Ade Lavlejs, i on je umro pokušavajući da ostvari taj san. Venavar Buš sa svojim Memeksom - ta ideja da se svo ljudsko znanje nađe na dohvat ruke - to je bila njegova ideja. I mislim da su mnogi u njegovo vreme verovatno smatrali da je bio pomalo čudak. I da, možemo pogledati unazad i reći, da, nja-nja, jeste - to je sve na mikrofilmu. Ali nije -
(Laughter)
nije u tome poenta.
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" --
On je razumeo kako će budućnost izgledati. Kao i J.C.R. Liklajder i njegove predstave o interakciji između kompjutera i ljudi. Ista stvar: on je razumeo kako će budućnost izgledati, iako je to bilo nešto što će ljudi primeniti mnogo kasnije. Ili Pol Baron i njegova ideja za preusmeravanje paketa informacija. Jedva da ga je iko slušao u njegovo vreme. Pa čak ni ljudi koji su kasnije to zapravo izveli, ljudi u Bolt, Beranek i Njumanu u Bostonu, koji su jednostavno skicirali tu strukturu nečega što će na kraju postati svetska mreža, i skicirali stvari na salvetama i listovima iz beležnice i svađali se uz večeru u Hauard Džonsonu na Ruti 128 u Leksingtonu u Masačusetsu, samo dve milje od mesta na kome sam ja proučavao kraljičin gambit i slušao Gledis Najt i Pipse koji su pevali "Midnight Train to Georgia" - (Smeh)
(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 da, postoje tri načina gledanja, je l' tako? Vizija bazirana na onome što neko ne može da vidi: slika nevidljivog i nepojmljivog. Zatim 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, videli smo mnogo primera ljudi koji su sledili ovaj tip vizije u nauci, ali smatram da ih ima i u umetnosti, i u politici, pa čak i u našim ličnim 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 principa: uči od svakoga nemoj slediti nikoga, obrati pažnju na obrasce, i radi kao lud. Mislim da su to četiri principa koji su sadržani u ovome. I to naročito ovaj treći, u kome vizije budućnosti počinju da se manifestuju. Ono što je zanimljivo je da je ovaj način posmatranja sveta, po mom mišljenju, samo jedan od četiri različita načina koji se manifestuju u različitim poljima ljudskog delovanja. U stripu se, po mom mišljenju, on izražava u formalističkom pristupu koji pokušava da shvati kako nešto funkcioniše. Onda tu je drugi, klasičniji stav koji pre svega ceni lepotu i veštinu. Onda sledeći, koji veruje 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 veoma različita načina gledanja na svet. Čak sam im dao i nazive. Klasičan, animistički, i formalistički i ikonoklastični. Zanimljivo je da to manje-više odgovara Jungovskoj podeli ljudske misli. I oni izražavaju dualizam umetnosti i života po vertikali; tradicije i revolucije po horizontali. A ako posmatrate po dijagonali, imate sadržaj i formu - i onda lepotu i istinu. I ovo se verovatno isto tako može primeniti na muziku i film i lepe umetnosti, što nema baš nikakve veze sa vizijom, ili, kad smo već kod toga, sa temom naše konferencije 'Inspirisano prirodom' - osim ako to primenite na basnu o žabi koja pristane da na leđima prenese škorpiju preko reke jer je škorpija obećala da je neće ubosti, ali onda je ipak ubode i obe uginu ali pre toga žaba upita zašto i škorpija kaže: 'Zato što je to moja priroda' - u tom smislu, da. (Smeh)
(Laughter)
Tako da - ovo je bila moja priroda.
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.
Stvar je u tome, da sam ja video da je taj put kojim sam krenuo ka pronalaženju tog fokusa u mom radu i toga ko sam, video sam to samo kao put ka spoznaji. U stvari, ja sam samo prihvatao svoju prirodu što znači da u suštini i nisam pao tako daleko od 'klade'.
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.
I šta zapravo traži 'naučnički um' u umetnosti? Pa, počeo sam da pravim stripove, ali sam takođe počeo i da pokušavam da ih razumem, skoro odmah. I otkrio sam da je jedna od najvažnijih stvari u vezi sa stripovima to da je strip vizuelni medij, ali trudi se da time obuhvati sva čula. Tako da različiti elementi stripa, kao što su slike i reči, i različiti simboli i sve ono što se nalazi između što vam prikazuje strip svi protiču kroz jedinstven kanal - čulo vida. Tako da imate stvari kao što je sličnost, gde nešto što liči na fizičku stvarnost može biti apstrahovano u nekoliko različitih pravaca: apstrahovano 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.
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.
Kada sve ovo uzmete u obzir, dobijete lepu malu mapu celokupnog obuhvata vizuelne ikonografije koju stripovi mogu da prikažu. I ako krenete dalje na desno, imate jezik, što je apstrakcija još dalja od sličnosti, koja, međutim, i dalje zadržava značenje. Slika je angažovana da predstavlja zvuk da pojasni zajedničke karakteristike ta dva kao i njihovo zajedničko nasleđe. Takođe, treba da predstavi teksturu zvuka; i da vizuelno prikaže njegov osnovni karakter. Onda, tu je takođe i ravnoteža između vidljivog i nevidljivog u stripovima. Strip je na neki način i pitanje i odgovor gde vam umetnik daje nešto da vidite u okviru prozora, 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.
Takođe, postoji još jedan pojam koje stripovsko 'oko' predstavlja, a to je vreme. Ritam je veoma 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 da li možda daje energiju i drugim formama, i pronašao sam neke u istoriji. I možete ovde videti ovaj isti princip kako se primenjuje u ovim antičkim verzijama iste ideje. Ono što se zapravo dešava je to da se umetnička forma sudara sa 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 naizmenično 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 da, jednom kada počnete da ga štampate - inače, ovo je iz 1450. godine, samo da napomenem - sve karakteristike modernog stripa počnu bivati vidljive: pravougaoni linearni raspored panela, jednostavni linearni crteži bez tona i redosled čitanja sa leva na desno. I već 100 godina posle toga, već počinjete da viđate balone sa tekstom i scene, i u stvari samo je korak od ovoga do ovoga. Napisao sam knjigu o ovome u '93. ali dok sam završavao knjigu, morao sam malo da radim na prelomu, i dosadilo mi je sa svaki put idem u svoju lokalnu kopirnicu da to radim, pa sam kupio računar. I to je bila samo mala stvar - bio je dobar samo za unošenje teksta i nizašta drugo - ali otac mi je nekada pričao o Murovom zakonu, o Murovom zakonu davnih '70-ih, i znao sam šta dolazi. Tako da sam držao otvorene oči da vidim da li će se one promene koje su se dogodile kada smo prešli sa pre-štampanih stripova na štampane stripove dogoditi i kada budemo prešli u novu oblast, u post-štampane 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.
Jedna od prvih stvari koja je bila predložena je da možemo da kombinujemo vizuelni aspekt stripova sa zvukom, pokretom i interaktivnošću CD-ROM-ova koji su se proizvodili u to vreme. Ovo je bilo i pre interneta. I jedna od prvih stvari koje su uradili bila je, da probaju da naprave stranice stripa kao što su ranije bile, i prebace ih na monitore, što je bila klasična MekLuaneskna greška prisvajanja forme koju je koristila prethodna tehnologija kako bi se stvorio sadržaj za novu tehnologiju. I tako, ono što bi oni uradili je da uzmu stranice stripa koje liče na štampane stranice stripa, i uvodili bi zvuk i pokret. Problem je u tome da, ukoliko se vratite ideji - osnovnoj ideji da je prostor isto što i vreme u stripu - šta će se desiti kada uvedete zvuk i pokret, koji su vremenski fenomeni i mogu se prikazati samo kroz vreme, 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 sa hipertekstom je da je sve u hipertekstu ili ovde ili nije ovde ili je povezano sa nečim ovde; on je suštinski ne-prostoran. Rastojanje od Abrahama Linkolna do Linkolnovog penija, Peni Maršal do Maršal Plana do ''Plana 9'' do devet života: sve je to isto.
(Laughter)
(Smeh)
But in comics, every aspect of the work, every element of the work, has a spatial relationship to every other element at all times.
Međutim, u stripu, u stripu, svaki njegov aspekt, svaki njegov element ima prostorni odnos sa bilo kojim drugim elementom u svakom trenutku.
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.
Tako da je osnovno pitanje bilo: postoji li način da se taj prostorni odnos sačuva, a da se istovremeno iskoriste sve prednosti koje digitalna tehnologija može da nam ponudi? I pronašao sam svoj lični 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 pravo sa leva na desno ili čak ide cik-cak unazad preko onih 88 presavijenih strana. Ista stvar se dešava i ta osnovna ideja da se, krećući se kroz prostor, krećete kroz vreme se ovde sprovodi bez ikakvog kompromisa, ali do kompromisa je došlo kada su se počeli štampati. Prostori koji se nadovezuju više nisu trenuci koji se nadovezuju, tako da je osnovna ideja stripa bila izlomljena iznova i iznova i iznova i iznova. 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 prevaziđemo današnju štampu, nekako povratimo to? E sad, ekran je u suštini isto tako ograničen kao i list papira, zar ne? Drugačijeg je oblika, ali osim toga, podjednako je ograničen. Ali to je samo ako posmatrate ekran kao stranicu, a ne ako ga posmatrate kao 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 da stvorimo ove stripove na beskonačnom platnu: po x osi i y osi i stepenicama. Možemo praviti kružnu naraciju, koja ja u pravom smislu te reči kružna. Možemo napraviti zaokret u priči koji je bukvalno zaokret. Paralelne radnje mogu biti zaista paralelne. X, Y, kao i Z. Tako da sam imao sve te zamisli. To je bilo još u kasnim '90, i ostali ljudi u mom poslu su mislili da sam prilično lud, ali dosta ljudi je onda krenulo i zaista to primenilo. Sada ću vam pokazati nekoliko primera.
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 rani kolaž strip koji je uradio momak po imenu Džejson Leks. I pogledajte šta se ovde dešava. Ono što ja tražim je trajna mutacija - to je ono što mi svi tražimo. Dok mediji ulaze u ovu novu eru, mi tražimo promene koje su trajne, koje imaju održivost. Uzeli smo sad osnovnu ideju prikazivanja stripa kao vizuelnog medija, i istrajali u njoj od početka do kraja. Ovo što ste upravo videli je ceo strip upravo sada na ekranu. Međutim, iako ga doživljavamo samo deo po deo, to je samo zbog nivoa na kome se tehnologija trenutno nalazi. Kako tehnologija bude evoluirala, kako se budu pojavljivali puni sveobuhvatni displeji i ko zna šta sve, ova ideja će samo rasti. Prilagođavaće se. Prilagođavaće 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 pokazaću vam još jedan. Ovaj je uradio Dru Vaing; ovaj se zove ''Kuca razmišlja o smrti svemira'' Vidite šta se ovde dešava dok iscrtavamo ove priče na neograničenom platnu mi zapravo stvaramo čistiji izraz onoga što je suština ovog medija. Proćićemo ovo malo brže - već ste shvatili ideju. Hoću samo da dođem do poslednjeg panela.
[Cat 1: Pup! Earth to Pup! Cat 2: Come play baseball with us!]
(Smeh)
(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?]
(Smeh) (Smeh)
[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. Kad smo već kod beskonačnog platna. Ovo je uradio tip po imenu Daniel Merlin Gudbri iz Velike Britanije.
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 tako važno? Mislim da je ovo važno jer mediji, svi mediji, za nas predstavljaju prozor u naš svet. Sad, može biti da će nam filmovi - i konačno, virtualna stvarnost ili nešto ekvivalentno njoj - neka vrsta sveobuhvatnog prikaza, omogućiti efikasniji beg iz sveta u kome smo. Zato se većina ljudi okreće pričanju priča, kako bi pobegla. Ali mediji nam stvaraju prozor nazad u svet u kome živimo. I kada mediji evoluiraju tako da njihov identitet postane sve više jedinstven. Jer ono što vidite su stripovi 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 svet kroz različite prozore, i kada to uradite, omogućavate im da prouče svet u kome žive i sagledaju njegov oblik. I zato mislim da je ovo značajno. Ovo je zapravo jedan od mnogo razloga, ali sada moram da idem. Hvala vam na pažnji.