The first idea I'd like to suggest is that we all love music a great deal. It means a lot to us. But music is even more powerful if you don't just listen to it, but you make it yourself. So, that's my first idea. And we all know about the Mozart effect -- the idea that's been around for the last five to 10 years -- that just by listening to music or by playing music to your baby [in utero], that it'll raise our IQ points 10, 20, 30 percent.
Inicijalna ideja koju bih predložio je da mi svi jako volimo muziku. Puno nam znači. Ali muzika je još moćnija ako je ne slušate, već je stvarate. To je moja prva ideja. I svi znamo za Mozart efekt -- ideju koja postoji proteklih pet do deset godina -- da se samo slušajući ili svirajući muziku svom djetetu u trbuhu može povećati IQ za 10, 20, 30 posto.
Great idea, but it doesn't work at all. So, you can't just listen to music, you have to make it somehow. And I'd add to that, that it's not just making it, but everybody, each of us, everybody in the world has the power to create and be part of music in a very dynamic way, and that's one of the main parts of my work. So, with the MIT Media Lab, for quite a while now, we've been engaged in a field called active music. What are all the possible ways that we can think of to get everybody in the middle of a musical experience, not just listening, but making music?
Sjajna ideja, ali ona uopće ne radi. Dakle, ne možete samo slušati muziku, morate ju nekako i proizvoditi. I dodao bih tome, kako nije stvar samo u proizvodnji, već svatko, svatko od nas, svatko na svijetu ima moć stvaranja i odluke da bude dio muzike na vrlo diamičan način, i to je jedan od najvažnijih dijelova mog posla. S MIT-evim Media Lab-om već neko vrijeme, uključeni smo u područje zvano aktivna muzika. Koji su mogući načini za razmišljati o tome da se svi privuku u središte glazbenog iskustva, ne samo slušanja, već rađenja muzike?
And we started by making instruments for some of the world's greatest performers -- we call these hyperinstruments -- for Yo-Yo Ma, Peter Gabriel, Prince, orchestras, rock bands. Instruments where they're all kinds of sensors built right into the instrument, so the instrument knows how it's being played. And just by changing the interpretation and the feeling, I can turn my cello into a voice, or into a whole orchestra, or into something that nobody has ever heard before.
I krenuli smo s izradom instrumenata za neke velike izvođače -- njih smo nazvali "Hiper instrumenti" -- za Yo-Yo Ma, Petera Gabriela, Princea, orkestre, rok grupe. Instrumente koji imaju ugrađene sve vrste senzora, tako da instrument zna kako se njime svira. I samo kroz izmjenu interpretacije i osjećaja, mogu pretvoriti svoj violončelo u glas, ili u cijeli orkestar, ili u nešto što nitko nikada nije prije čuo.
When we started making these, I started thinking, why can't we make wonderful instruments like that for everybody, people who aren't fantastic Yo-Yo Mas or Princes? So, we've made a whole series of instruments. One of the largest collections is called the Brain Opera. It's a whole orchestra of about 100 instruments, all designed for anybody to play using natural skill. So, you can play a video game, drive through a piece of music, use your body gesture to control huge masses of sound, touch a special surface to make melodies, use your voice to make a whole aura. And when we make the Brain Opera, we invite the public to come in, to try these instruments and then collaborate with us to help make each performance of the Brain Opera. We toured that for a long time. It is now permanently in Vienna, where we built a museum around it.
Kada smo ih započeli praviti, počeo sam razmišljati zašto ne bismo radili takve prekrasne instrumente za sve, ljude koji nisu fantastični poput Yo-Yo Ma ili Princea? Tako smo napravili cijelu seriju instrumenata. Jedna od najvećih kolekcija se zove "Opera mozga". To je cijeli orkestar od 100 instrumenata, koji su dizajnirani tako da ih svatko može svirati koristeći prirodne vještine. Tako možete igrati video igricu, voziti se kroz glazbeni komad, koristiti pokrete tijela za kontrolu velike količine zvukova, dodirivati posebne površine za stvaranje melodija, koristiti svoj glas za cijelu auru. I kada radimo "Operu mozga", pozovemo publiku da nam se pridruži kako bi isprobali te instrumente i surađivali s nama i pomogli nam izvesti svaku "Operu mozga". S time smo obilazili razna mjesta jako dugo. Sada se stalno nalazi u Beču, gdje smo sagradili muzej oko toga.
And that led to something which you probably do know. Guitar Hero came out of our lab, and my two teenage daughters and most of the students at the MIT Media Lab are proof that if you make the right kind of interface, people are really interested in being in the middle of a piece of music, and playing it over and over and over again.
I to nas je dovelo do nečega što vjerojatno znate. Guitar Hero je izašao iz našeg laboratorija, i moje dvije kćerke adolescentice i većina studenata MIT Media Lab-a su dokaz da ako napravite pravi oblik sučelja, ljudi su stvarno zainteresirani biti u središtu glazbenog komada i svirati sve više i više.
So, the model works, but it's only the tip of the iceberg, because my second idea is that it's not enough just to want to make music in something like Guitar Hero. And music is very fun, but it's also transformative. It's very, very important. Music can change your life, more than almost anything. It can change the way you communicate with others, it can change your body, it can change your mind. So, we're trying to go to the next step of how you build on top of something like Guitar Hero. We are very involved in education. We have a long-term project called Toy Symphony, where we make all kinds of instruments that are also addictive, but for little kids, so the kids will fall in love with making music, want to spend their time doing it, and then will demand to know how it works, how to make more, how to create. So, we make squeezy instruments, like these Music Shapers that measure the electricity in your fingers, Beatbugs that let you tap in rhythms -- they gather your rhythm, and like hot potato, you send your rhythm to your friends, who then have to imitate or respond to what your doing -- and a software package called Hyperscore, which lets anybody use lines and color to make quite sophisticated music. Extremely easy to use, but once you use it, you can go quite deep -- music in any style. And then, by pressing a button, it turns into music notation so that live musicians can play your pieces.
Dakle, model radi, ali to je tek vrh ledenog brijega jer moja druga ideja je kako nije dovoljno samo željeti stvarati glazbu na nečemu poput Guitar Hero-a. A muzika je jako zabavna, ali je i transformativna. To je jako, jako važno. Glazba vam može promijeniti život, više od bilo čega drugoga. Može promijeniti način na koji komunicirate s drugima, može vam promijeniti tijelo, može vam promijeniti um. Tako mi pokušavamo otići korak dalje i izgraditi nešto povrh nečega kao Guitar Hero. Jako smo uključeni u edukaciju. Imamo dugoročni projekt koji se zove "Simfonija igračaka" gdje radimo sve vrste instrumenata koji su također i ovisni, ali za malu djecu, tako će se djeca zaljubiti u skladanje muzike, htjeti će provesti više vremena radeći to, i onda će htjeti znati kako to radi, kako raditi više toga, kako stvarati. Tako radimo stiskave instrumente, poput ovih Muzičkih oblikovatelja koji mjere elektricitet u vašim prstima, Taktnih buba koji vam dozvoljavaju da lupkate ritam -- one skupljaju vaš ritam, i poput vrućeg krumpira, šaljete svoj ritam prijateljima koji onda moraju imitirati ili odgovoriti na ono što radite -- a softverski paket "Hipernote", koji dozvoljava svakome korištenje linija i boja za stvaranje prilično profinjene muzike. Ekstremno jednostavan za korištenje, ali jednom kada krenete, možete ići prilično duboko -- muzički u bilo kojem stilu. I onda dodirom na gumb pretvara to u muzičke note tako da glazbenik može svirati ono što ste skladali.
We've had good enough, really, very powerful effects with kids around the world, and now people of all ages, using Hyperscore. So, we've gotten more and more interested in using these kinds of creative activities in a much broader context, for all kinds of people who don't usually have the opportunity to make music. So, one of the growing fields that we're working on at the Media Lab right now is music, mind and health. A lot of you have probably seen Oliver Sacks' wonderful new book called "Musicophilia". It's on sale in the bookstore. It's a great book. If you haven't seen it, it's worth reading. He's a pianist himself, and he details his whole career of looking at and observing incredibly powerful effects that music has had on peoples' lives in unusual situations.
Imali smo prilično dobrih, stvarno, jako snažnih utjecaja na djecu širom svijeta i sada ljudi svih godina koriste "Hipernotu". Postajali smo sve zainteresiraniji za korištenje tih kreativnih aktivnosti u puno širem kontekstu, za sve vrste ljudi koji obično nemaju priliku stvarati muziku. Jedno od rastućih polja na kojem radimo u Media Labu upravo sada je muzika, um i zdravlje. Većina vas je vrlo vjerojatno vidjela prekrasnu novu knjiu Olivera Sacksa pod naslovom "Muzikofilija". Na rasprodaji je u knjižarama. To je sjajna knjiga. Ako je niste vidjeli, vrijedi je pročitati. On je pijanist, i detaljno piše o cijeloj svojoj karijeri gledanja i promatranja nevjerojatno snažnog utjecaja kojeg muzika ima na ljudske živote u neobičnim situacijama.
So we know, for instance, that music is almost always the last thing that people with advanced Alzheimer's can still respond to. Maybe many of you have noticed this with loved ones, you can find somebody who can't recognize their face in the mirror, or can't tell anyone in their family, but you can still find a shard of music that that person will jump out of the chair and start singing. And with that you can bring back parts of people's memories and personalities. Music is the best way to restore speech to people who have lost it through strokes, movement to people with Parkinson's disease. It's very powerful for depression, schizophrenia, many, many things.
Sada znamo, na primjer, kako je muzika gotovo uvijek zadnja stvar na koju ljudi s uznapredovalim Alzheimerom mogu odgovoriti. Možda su mnogi od vas to primjetili sa svojim voljenima, postoje ljudi koji ne mogu prepoznati vlastiti odraz u ogledalu, ili ne prepoznaju nikoga iz obitelji, ali mogu još uvijek pronaći komadić pjesme koji će ih podići iz stolice i natjerati da plešu. I s time možete vratiti nazad komadiće ljudskih sjećanja i osobnosti. Muzika je najbolji način za vraćanje govora ljudima koji su to izgubili nakon udara, ili kretanja ljudima s Parkinsonovom bolesti. Jako je moćna kod depresije, šizofrenije, puno puno stvari.
So, we're working on understanding those underlying principles and then building activities which will let music really improve people's health. And we do this in many ways. We work with many different hospitals. One of them is right near Boston, called Tewksbury Hospital. It's a long-term state hospital, where several years ago we started working with Hyperscore and patients with physical and mental disabilities. This has become a central part of the treatment at Tewksbury hospital, so everybody there clamors to work on musical activities. It's the activity that seems to accelerate people's treatment the most and it also brings the entire hospital together as a kind of musical community. I wanted to show you a quick video of some of this work before I go on. Video: They're manipulating each other's rhythms. It's a real experience, not only to learn how to play and listen to rhythms, but to train your musical memory and playing music in a group. To get their hands on music, to shape it themselves, change it, to experiment with it, to make their own music. So Hyperscore lets you start from scratch very quickly. Everybody can experience music in a profound way, we just have to make different tools.
Tako sada radimo na razumjevanju tih suptilnih principa i onda izgradnje aktivnosti koji će dozvoliti muzici da poboljša ljudsko zdravlje. I radimo to na puno načina. Radimo s puno različitih bolnica. Jedna od njih je odmah pored Bostona, bolnica "Tewksbury". To je dugogodišnja javna bolnica gdje smo prije nekoliko godina, krenuli raditi s "Hipernotom" i pacijentima s fizičkim i mentalnim poteškoćama. To je postao središnji dio liječenja u bolnici Tewksbury, tako da svi tamo zahtjevaju rad na muzičkim aktivnostima. To je aktivnost koja, čini se, najviše ubrzava oporavak. I također stvara od cijele bolnice neki oblik skladne muzičke zajednice. Želio bih vam prikazati kratki video nekih od tih aktivnosti prije nego što nastavim. Video: Oni manipuliraju s ritmovima jedni drugih. To je stvarno iskustvo, iz kojeg ne samo da učite kako proizvoditi i slušati ritam, već trenirate vlastitu muzičku memoriju i svirate u grupi. Svojim rukama oblikujete glazbu, mjenjate ju, eksperimentirate s njom, činite ju svojom. Tako vam "Hipernota" omogućuje da krenete jako brzo od ničega. Svatko može osjetiti muziku na dubok način, samo moramo napraviti različite alate.
The third idea I want to share with you is that music, paradoxically, I think even more than words, is one of the very best ways we have of showing who we really are. I love giving talks, although strangely I feel more nervous giving talks than playing music. If I were here playing cello, or playing on a synth, or sharing my music with you, I'd be able to show things about myself that I can't tell you in words, more personal things, perhaps deeper things.
Treća ideja koju bih želio s vama podijeliti jest da je muzika paradoksalno, mislim više od riječi, jedan od najboljih načina koje imamo za prikazivanje onoga što stvarno jesmo. Volim držati govore, premda se čudom osjećam bitno nervozijim dok držim govore nego kada stvaram muziku. Kada bih ovdje svirao violončelo, ili sintisajzer, ili dijelio muziku s vama, mogao bih pokazati stvari o sebi koje ne mogu pretvoriti u riječi, osobnije stvari, možda dublje stvari.
I think that's true for many of us, and I want to give you two examples of how music is one of the most powerful interfaces we have, from ourselves to the outside world. The first is a really crazy project that we're building right now, called Death and the Powers. And it's a big opera, one of the larger opera projects going on in the world right now. And it's about a man, rich, successful, powerful, who wants to live forever. So, he figures out a way to download himself into his environment, actually into a series of books. So this guy wants to live forever, he downloads himself into his environment. The main singer disappears at the beginning of the opera and the entire stage becomes the main character. It becomes his legacy.
Mislim kako je to točno za mnoge od nas, i htio bih vam dati dva primjera kako je muzika jedno od najmoćnijih sučelja koje imamo od nas prema vanjskom svijetu. Prvo je stvarno ludi projekt koji stvaramo sada pod imenom "Smrt i moći". I to je velika opera, jedan od većih opernih projekata koji se događaju u svijetu danas. I radi se o čovjeku, bogatom, uspješnom, moćnom, koji želi živjeti vječno. Tako on spozna način putem kojeg se može prebaciti u svoje okruženje, u stvari u seriju knjiga. Tako taj čovjek želi živjeti zauvijek, prebaci sebe u svoje okruženje. Glavni pjevač nestane početkom opere i cijela pozornica postane glavni lik. Postaje njegova ostavština.
And the opera is about what we can share, what we can pass on to others, to the people we love, and what we can't. Every object in the opera comes alive and is a gigantic music instrument, like this chandelier. It takes up the whole stage. It looks like a chandelier, but it's actually a robotic music instrument. So, as you can see in this prototype, gigantic piano strings, each string is controlled with a little robotic element -- either little bows that stroke the strings, propellers that tickle the strings, acoustic signals that vibrate the strings. We also have an army of robots on stage. These robots are the kind of the intermediary between the main character, Simon Powers, and his family. There are a whole series of them, kind of like a Greek chorus. They observe the action. We've designed these square robots that we're testing right now at MIT called OperaBots. These OperaBots follow my music. They follow the characters. They're smart enough, we hope, not to bump into each other. They go off on their own. And then they can also, when you snap, line up exactly the way you'd like to. Even though they're cubes, they actually have a lot of personality.
I opera je o tome što možemo podijeliti, što možemo prenijeti drugima, ljudima koje volimo, i ono što ne možemo. Svaki objekt u operi oživi i postane gigantski muzički instrument, poput ovog lustera. On zauzima cijelu pozornicu. Izgleda poput lustera, ali je u stvari robotizirani muzički instrument. Tako, kao što možete vidjeti kod ovog prototipa, gigantskih žica klavira, svaka žica je kontrolirana s jednim malim robotiziranim elementom -- bilo da je to mašna koja udara žicu, propeler koji golica žicu, ili akustični signal koji vibrira žicu. Također imamo vojsku robota na pozornici. Ti roboti su neki oblik posrednika između glavnog lika, Simona Powersa, i njegove obitelji. Postoji cijela serija njih, poput grčkog zbora. Oni promatraju akciju. Dizajnirali smo te kockaste robote koje upravo testiramo na MIT-u i zovemo ih "Operaboti". Ti operaboti prate moju muziku. Oni prate znakove. Dovoljno su pametni, nadamo se, da se ne sudaraju jedni s drugima. Oni se kreću slobodno. I mogu se također, kada pucnete prstima, poredati točno kako želite. Premda su kocke, oni u stvari imaju osobnost.
The largest set piece in the opera is called The System. It's a series of books. Every single book is robotic, so they all move, they all make sound, and when you put them all together, they turn into these walls, which have the gesture and the personality of Simon Powers. So he's disappeared, but the whole physical environment becomes this person. This is how he's chosen to represent himself. The books also have high-packed LEDs on the spines. So it's all display. And here's the great baritone James Maddalena as he enters The System. This is a sneak preview. This premieres in Monaco -- it's in September 2009. If by any chance you can't make it, another idea with this project -- here's this guy building his legacy through this very unusual form, through music and through the environment. But we're also making this available both online and in public spaces, as a way of each of us to use music and images from our lives to make our own legacy or to make a legacy of someone we love. So instead of being grand opera, this opera will turn into what we're thinking of as personal opera.
Najveći postavljeni komad u operi se zove "Sustav". To je niz knjiga. Svaka knjiga je robot, tako da se svi kreću, svi proizvode zvuk, i kada ih stavite zajedno, pretvore se u te zidove koji imaju geste i osobnost Simona Powersa. Dakle on je nestao, ali cijelo fizičko okruženje postaje ta osoba. To je način na koji je on odlučio predstaviti se. Knjige također imaju veliki broj gusto poredanih LED dioda na koricama. Tako da sve predstavljaju ekran. A ovdje je veliki bariton James Maddalena dok ulazi u sustav. Ovo je mala pretpremijera. Ova premijera će biti u Monaku, u rujnu 2009. Ako nekim slučajem ne možete doći, još jedna ideja s ovim projektom. Tu je taj čovjek koji gradi svoju ostavštinu s ovom neuobičajenom formom, kroz muziku i kroz okruženje. Ali omogućiti ćemo pristup ovome on-line i na javnim prostorima na način na koji svatko od nas koristi muziku i slike naših života kako bismo stvorili našu ostavštinu ili ostavštinu nekoga koga volimo. Umjesto da bude grandiozna opera, ova opera će se pretvoriti u nešto o ćemu razmišljamo kao o osobnoj operi.
And, if you're going to make a personal opera, what about a personal instrument? Everything I've shown you so far -- whether it's a hyper-cello for Yo-Yo Ma or squeezy toy for a child -- the instruments stayed the same and are valuable for a certain class of person: a virtuoso, a child. But what if I could make an instrument that could be adapted to the way I personally behave, to the way my hands work, to what I do very skillfully, perhaps, to what I don't do so skillfully? I think that this is the future of interface, it's the future of music, the future of instruments.
I ako ćete napraviti osobnu operu, što je s osobnim instrumentom? Sve što sam vam pokazao do sada -- bilo da je hiper violončelo za Yo-Yo Ma ili stiskava igračka za djecu -- instrumenti ostaju isti i vrijedni su za određenu vrstu osobe, ili virtuoza, ili djeteta. Ali što ako mogu napraviti instrument koji će se prilagoditi načinu na koji se osoba ponaša, načinu na koji moje ruke rade, onome što radim vješto, možda, onome što ne radim toliko vješto? Mislim kako je to budućnost sučelja, to je budućnost muzike, budućnost instrumenata.
And I'd like now to invite two very special people on the stage, so that I can give you an example of what personal instruments might be like. So, can you give a hand to Adam Boulanger, Ph.D. student from the MIT Media Lab, and Dan Ellsey. Dan, thanks to TED and to Bombardier Flexjet, Dan is here with us today all the way from Tewksbury. He's a resident at Tewksbury Hospital. This is by far the farthest he's strayed from Tewksbury Hospital, I can tell you that, because he's motivated to meet with you today and show you his own music. So, first of all, Dan, do you want to say hi to everyone and tell everyone who you are?
I sada bih volio pozvati dvoje posebnih ljudi na pozornicu, kako bih vam mogao pokazati kakav bi osobni instrument mogao biti. Molim vas pljesak za Adama Boulangera doktorskog studenta iz MITovog Laba i Dana Ellseya. Dan, je zahvaljujući TEDu i Bombardier Flexjetu, ovdje s nama danas, skroz iz Tewksburya. On je rezident u bolnici Tewksbury. Ovo je daleko najviše što je ostao izvan bolnice Tewksbury, to vam mogu reći, jer je motiviran time da vas danas upozna i pokaže vam svoju muziku. Dakle prije svega, Dan, želiš li pozdraviti sve i reći svima tko si?
Dan Ellsey: Hello. My name is Dan Ellsey. I am 34 years old and I have cerebral palsy. I have always loved music and I am excited to be able to conduct my own music with this new software.
Dan Ellsey: Bok. Moje ime je Dan Ellsey. Imam 34 godine i imam cerebralnu paralizu. Oduvijek sam volio muziku i jako sam uzbuđen što mogu izvesti svoju vlastitu muziku s novim softverom.
Tod Machover: And we're really excited to have you here, really Dan. (Applause)
Tod Machover: I jako smo uzbuđeni što si s nama ovdje, stvarno Dan. (Pljesak)
So we met Dan about three years ago, three and a half years ago, when we started working at Tewksbury. Everybody we met there was fantastic, did fantastic music. Dan had never made music before, and it turned out he was really fantastic at it. He's a born composer. He's very shy, too. So, turned out he's a fantastic composer, and over the last few years has been a constant collaborator of ours. He has made many, many pieces. He makes his own CDs. Actually, he is quite well known in the Boston area -- mentors people at the hospital and children, locally, in how to make their own music. And I'll let Adam tell you. So, Adam is a Ph.D. student at MIT, an expert in music technology and medicine. And Adam and Dan have become close collaborators. What Adam's been working on for this last period is not only how to have Dan be able easily to make his own pieces, but how he can perform his piece using this kind of personal instrument. So, you want to say a little bit about how you guys work?
Sreli smo Dana prije tri godine, tri i pol godine, kada smo počeli raditi u Tewksburyu. Svi koje smo tamo sreli su sjajni, rade sjajnu muziku. Pokazalo se kako Dan prije toga nikada nije skladao i bio je sjajan u tome. On je rođeni kompozitor. Također je jako sramežljiv. Ispalo je da je sjajan skladatelj i kroz proteklih nekoliko godina on je naš stalni suradnik. Napravio je jako, jako puno skladbi. Radi svoj vlastiti CD. U stvari, on je prilično poznat na području Bostona, mentorira ljude u bolnici i lokalnu djecu u tome kako napraviti vlastitu muziku. I pustiti ću Adama da vam kaže više. Adam je doktorski student tehnologije i medicine. I Adam i Dan su postali bliski suradnici. Ono na čemu Adam u posljednje vrijeme radi nije samo kako pomoći Danu da lakše sklada vlastita djela, već kako on može izvesti svoja djela koristeći tu vrstu osobnog instrumenta. Dakle, hoćeš li malo reći o tome kako vas dvojica radite?
Adam Boulanger: Yes. So, Tod and I entered into a discussion following the Tewksbury work and it was really about how Dan is an expressive person, and he's an intelligent and creative person. And it's in his face, it's in his breathing, it's in his eyes. How come he can't perform one of his pieces of music? That's our responsibility, and it doesn't make sense.
Adam Boulanger: Da. Dakle, Tod i ja smo ušli u diskusiju prateći rad u Tewksburyu i to je bilo u stvari o tome kako je Dan ekspresivna, inteligentna i kreativna osoba. I to se vidi na njegovom licu, na načinu na koji diše, u njegovim očima. Kako to da on ne može izvoditi jedno od svojih muzičkih djela? To je naša odgovornost i to nema smisla.
So we started developing a technology that will allow him with nuance, with precision, with control, and despite his physical disability, to be able to do that, to be able to perform his piece of music. So, the process and the technology -- basically, first we needed an engineering solution. So, you know, we have a FireWire camera, it looked at an infrared pointer. We went with the type of gesture metaphor that Dan was already used to with his speaking controller. And this was actually the least interesting part of the work, you know, the design process. We needed an input; we needed continuous tracking; in the software, we look at the types of shapes he's making.
Tako smo krenuli razvijati tehnologiju koja će mu omogućiti s nijansama, s preciznošću, s kontrolom i unatoč fizičkoj nesposobnosti, da bude moguć to napraviti, da bude u mogućnosti izvesti svoje muzičke djelo. Proces i tehnologija, u osnovi, prvo smo trebali inžinjersko riješenje. Znate, imamo FireWire kamere, gledalo je u infracrveni pokazivač. Krenuli smo s tipom gestnih metafora na koje je već navikao s njegovim kontrolorom govora. I to je u stvari bio najmanje zanimljiv dio posla, znate, proces dizajna. Trebali smo input, trebali smo stalno praćenje. Softver je pratio vrste gesta koje radi.
But, then was the really interesting aspect of the work, following the engineering part, where, basically, we're coding over Dan's shoulder at the hospital extensively to figure out, you know, how does Dan move? What's useful to him as an expressive motion? You know, what's his metaphor for performance? What types of things does he find important to control and convey in a piece of music? So all the parameter fitting, and really the technology was stretched at that point to fit just Dan. And, you know, I think this is a perspective shift. It's not that our technologies -- they provide access, they allow us to create pieces of creative work. But what about expression? What about that moment when an artist delivers that piece of work? You know, do our technologies allow us to express? Do they provide structure for us to do that? And, you know, that's a personal relationship to expression that is lacking in the technological sphere. So, you know, with Dan, we needed a new design process, a new engineering process to sort of discover his movement and his path to expression that allow him to perform. And so that's what we'll do today.
Ali onda je slijedio stvrano interesantan aspekt posla koji je slijedio nakon inžinjerskog dijela, gdje smo u osnovi kodirali preko Danovog ramena u bolnici intenzivno želeći spoznati, znate, način na koji se Dan miče? Što je korisno za njega kao ekspresivan pokret? Znate, koja je njegova metafora za izvedbu? Koje vrste stvari on pronalazi kao važne za kontrolu i prenošenje u muzičko djelo? Tako je svo baždarenje parametara i tehnologija, bilo usmjereno ka Danovim potrebama. I, znate, mislim kako je to važna promjena perspektive. Nije da su naše tehnologije, one omogućavaju pristup, one nam omogućavaju da stvaramo kreativna djela. Ali što je s ekspresijom? Što je s trenutkom kada umjetnik stvara taj djelić svog rada? Znate, dozvoljava li nam tehnologija da se izrazimo? Osiguravaju li nam strukturu za to? I, znate, taj osobni odnos za izražavanjem koji manjka u tehnološkim sferama. Znate, s Danom smo trebali novi proces dizajna, novi inžinjerski proces kako bismo otkrili njegove pokrete i njegove načine izražavanja koji mu omogućuju da izvodi. I to je ono što ćemo napraviti danas.
TM: So let's do it. So Dan do you want to tell everyone about what you're going to play now?
TM: Idemo. Dan želiš li svima reći što ćeš sada izvesti?
DE: This is "My Eagle Song." TM: So Dan is going to play a piece of his, called "My Eagle Song". In fact, this is the score for Dan's piece, completely composed by Dan in Hyperscore. So he can use his infrared tracker to go directly into Hyperscore. He's incredibly fast at it, too, faster than I am, in fact.
DE: To je "Pjesma mog orla". TM: Dan će nam odsvirati svoje djelo koje se zove "Pjesma mog orla". U stvari, to su note Danovog djela, kompletno skladane od Dana u Hipernoti. Tako može iskoristiti taj infracrveni tragač kako bi direktno ušao u Hipernotu. Nevjerojatno je brz u tome, u stvari brži od mene.
(Laughter)
(Smijeh)
TM: He's really modest, too. So he can go in Hyperscore. You start out by making melodies and rhythms. He can place those exactly where he wants. Each one gets a color. He goes back into the composition window, draws the lines, places everything the way he wants to. Looking at the Hyperscore, you can see it also, you can see where the sections are, something might continue for a while, change, get really crazy and then end up with a big bang at the end.
TM: On je također skroman. Tako može ući u Hipernotu. Krene sa stvaranjem melodija i ritmova. Može ih staviti točno tamo gdje želi. Svaka dobije boju, ide nazad u skladateljski prozor, crta linije, stavlja sve na način na koji želi. Gledajući na Hipernote, možete također vidjeti, možete vidjeti gdje su sekcije, nešto se može nastaviti neko vrijeme, promijeniti, postati stvarno ludo i onda na kraju završiti velikim praskom.
So that's the way he made his piece, and as Adam says, we then figured out the best way to have him perform his piece. It's going to be looked at by this camera, analyze his movements, it's going to let Dan bring out all the different aspects of his music that he wants to. And you're also going to notice a visual on the screen. We asked one of our students to look at what the camera is measuring. But instead of making it very literal, showing you exactly the camera tracing, we turned it into a graphic that shows you the basic movement, and shows the way it's being analyzed.
To je način na koji je napravio svoje djelo, i kako Adam kaže, osmislili smo najbolji način za izvedbu njegova djela. Pratiti će se ovom kamerom, analizirati će se pokreti, omogućiti će Danu da izvede različite aspekte svojeg djela koje želi. I također ćete primjetiti vizualne prikaze toga na ekranu. Zamolili smo jednog našeg studenta da prati što kamera mjeri. Umjesto toga da to bude doslovno prikazano, praćenje kamere će se pretvoriti u grafiku koja vam prikazuje osnovne kretnje, i pokazuje način na koji se analizira.
I think it gives an understanding of how we're picking out movement from what Dan's doing, but I think it will also show you, if you look at that movement, that when Dan makes music, his motions are very purposeful, very precise, very disciplined and they're also very beautiful. So, in hearing this piece, as I mentioned before, the most important thing is the music's great, and it'll show you who Dan is. So, are we ready Adam?
Mislim da vam to daje razumijevanje načina praćenja kretnji onoga što Dan radi, ali ja mislim kako će vam to pokazati da su kretnje dok Dan stvara muziku, njegovi pokreti su jako svrsishodni, jako precizni, jako disciplinirani i oni su iznimno lijepi. Dakle, slušajući ovo djelo, kao što sam spomenuo ranije, najvažnija stvar je da je muzika sjajna, i pokazati će vam tko je u stvari Dan. Dakle, jesi li spreman Adame?
AB: Yeah.
AB: Jesam.
TM: OK, now Dan will play his piece "My Eagle Song" for you. (Applause)
TM: OK, sada će Dan odsvirati svoje djelo "Pjesma mog orla" za vas. (Pljesak)
TM: Bravo. (Applause)
TM: Bravo. (Pljesak)