Creativity is a remix | Kirby Ferguson

Translator: Joseph Geni Reviewer: Morton Bast

Translator: Anders Finn Jørgensen Reviewer: Jesper Laugesen

We're going to begin in 1964.

Vi begynder tilbage i 1964.

Bob Dylan is 23 years old, and his career

Bob Dylan er 23 år gammel og hans karriere

is just reaching its pinnacle.

er netop ved at nå dets højdepunkt.

He's been christened the voice of a generation,

Han har været døbt talerør for en generation

and he's churning out classic songs

og han sprøjter klassiske sange ud

at a seemingly impossible rate,

en tilsyneladende umulig hastighed.

but there's a small minority of dissenters, and they claim

Men der er et lille mindretal mener noget andet, og de hævder

that Bob Dylan is stealing other people's songs.

at Bob Dylan stjæler andre folks sange.

2004. Brian Burton, aka Danger Mouse,

2004. Brian Burton, aka Danger Mouse,

takes the Beatles' "White Album,"

tager Beatles' "Det hvide album"

combines it with Jay-Z's "The Black Album"

kombinerer det med Jay-Z "The Black Album"

to create "The Grey Album."

og laver "Det grå Album."

"The Grey Album" becomes an immediate sensation online,

"Det grå Album" bliver en øjeblikkelig sensation online,

and the Beatles' record company sends out countless

og Beatles' pladeselskab udsender utallige

cease-and-desist letters for "unfair competition

trusselsbreve for "illoyal konkurrence

and dilution of our valuable property."

og forvanskning af vores værdifulde ejendom."

Now, "The Grey Album" is a remix.

Nu er "Det Grå Album" et remix.

It is new media created from old media.

Det er nye medier oprettet fra gamle medier.

It was made using these three techniques:

Det blev gjort brug af disse tre teknikker:

copy, transform and combine.

Kopiere, omdanne og kombinere.

It's how you remix. You take existing songs,

Det er sådan du remixer. Du tage eksisterende sange,

you chop them up, you transform the pieces,

Du klipper dem itu, du omdanner delene,

you combine them back together again,

du kombinerer dem sammen igen,

and you've got a new song, but that new song

og du har en ny sang, men denne nye sang

is clearly comprised of old songs.

består klart af gamle sange.

But I think these aren't just the components of remixing.

Men jeg tror ikke, at remix bare er summen af delene.

I think these are the basic elements of all creativity.

Jeg tror at de er de grundlæggende elementer i alt kreativitet.

I think everything is a remix,

Jeg mener, alt er et remix

and I think this is a better way to conceive of creativity.

og jeg tror, dette er en bedre måde at forstå kreativitet.

All right, let's head back to 1964, and let's hear

Okay, lad os gå tilbage til 1964 og lad os høre

where some of Dylan's early songs came from.

hvor nogle af Dylan's tidlige kom sange fra.

We'll do some side-by-side comparisons here.

Vi vil lave nogle sammenligninger her.

All right, this first song you're going to hear

Okay, den første sang I skal høre

is "Nottamun Town." It's a traditional folk tune.

er "Nottamun town." Det er en traditionel folkemusik melodi.

After that, you'll hear Dylan's "Masters of War."

Efter det vil skal I høre Dylans "Masters og war."

Jean Ritchie: ♫ In Nottamun Town, not a soul would look out, ♫

Jean Ritchie: ♫ I Nottamun Town, not a soul would look out, ♫

♫ not a soul would look up, not a soul would look down. ♫

♫ not a soul would look out, not a soul would look out. ♫

Bob Dylan: ♫ Come you masters of war, ♫

Bob Dylan: ♫ Come you masters of war, ♫

♫ you that build the big guns, you that build the death planes, ♫

♫ you that build the big guns, you that build the death planes, ♫

♫ You that build all the bombs. ♫

♫ you that builds all the bombs. ♫

Kirby Ferguson: Okay, so that's the same basic melody

Kirby Ferguson: Okay, så det er den samme grundlæggende melodi

and overall structure. This next one is "The Patriot Game,"

og overordnede struktur. Denne næste her er "The Patriot Game"

by Dominic Behan. Alongside that,

af Dominic Behan. Sideløbende hermed

you're going to hear "With God on Our Side," by Dylan.

kommer du til at høre "With God on our side" af Dylan.

Dominic Behan: ♫ Come all ye young rebels, ♫

Dominic Behan: ♫ Come all ya young rebels, ♫

♫ and list while I sing, ♫

♫ and list while I sing, ♫

♫ for the love of one's land is a terrible thing. ♫

♫ for the love of one's land is a terribel thing. ♫

BD: ♫ Oh my name it is nothin', ♫

BD: ♫ Oh my name it is nothin', ♫

♫ my age it means less, ♫

♫ my age it means less, ♫

♫ the country I come from is called the Midwest. ♫

♫ the country i come from is called the Midwest. ♫

KF: Okay, so in this case, Dylan admits

KF: Okay, så i dette tilfælde indrømmer Dylan

he must have heard "The Patriot Game," he forgot about it,

at han må have hørt "The Patriot Game", men glemt det,

then when the song kind of bubbled back up

hvorefter sangen er dukket op

in his brain, he just thought it was his song.

i hans hjerne og han troede at det var hans sang.

Last one, this is "Who's Going To Buy You Ribbons,"

Den sidste er "Whos's Going to boy your ribbons"

another traditional folk tune.

en anden traditionel folkemusiksang.

Alongside that is "Don't Think Twice, It's All Right."

Som svarer til "Don't think twice, it's all right"

This one's more about the lyric.

Denne her er mere om teksterne.

Paul Clayton: ♫ It ain't no use to sit and sigh now, ♫

Paul Clayton: ♫ It ain't use sit and sigh now, ♫

♫ darlin', and it ain't no use to sit and cry now. ♫

♫ darlin', and it ain't use sit and cry now. ♫

BD: ♫ It ain’t no use to sit and wonder why, babe, ♫

BD: ♫ It ain't use to sit and wonder why, babe, ♫

♫ if you don't know by now, ♫

♫ if you don't now by now, ♫

♫ and it ain't no use to sit and wonder why, babe, ♫

♫ and it ain't use to sit and wonder why, babe, ♫

♫ it'll never do somehow. ♫

♫ it'll never do somehow. ♫

KF: Okay, now, there's a lot of these.

KF: Okay, nu, er der masser eksempler.

It's been estimated that two thirds of the melodies

Det er blevet anslået, at to tredjedele af melodierne

Dylan used in his early songs were borrowed.

Dylan brugte i hans tidlige sange var lånt.

This is pretty typical among folk singers.

Det er temmelig typisk blandt folkemusiksangere.

Here's the advice of Dylan's idol, Woody Guthrie.

Her er rådet fra Dylans idol, Woody Guthrie.

"The worlds are the important thing.

"Ordene er det vigtigste.

Don't worry about tunes. Take a tune,

Bekymre dig ikke om melodier. Tag en melodi,

sing high when they sing low,

syng højt når de synger lavt,

sing fast when they sing slow, and you've got a new tune."

syng hurtigt når de synger langsomt, og du har en ny melodi."

(Laughter) (Applause)

(Latter) (Bifald)

And that's, that's what Guthrie did right here,

Og det er hvad Guthrie gjorde

and I'm sure you all recognize the results.

og jeg er sikker på, du alle genkender resultaterne.

(Music)

(Musik)

We know this tune, right? We know it?

Vi kender denne melodi, ikke sandt? Vi kender den?

Actually you don't.

Faktisk gør I det ikke.

That is "When the World's on Fire," a very old melody,

Det er "When the World's on Fire" en meget gammel melodi,

in this case performed by the Carter Family.

i dette tilfælde spillet af the Carter family.

Guthrie adapted it into "This Land Is Your Land."

Guthrie tilpassede den til "This Land is your Land."

So, Bob Dylan, like all folk singers, he copied melodies,

Så, Bob Dylan, som alle andre folkemusiksangere, kopierede melodier,

he transformed them, he combined them with new lyrics

Han omdannede dem, han kombinerede dem med nye sangtekster

which were frequently their own concoction

som var ofte selv var sammenkogt

of previous stuff.

af tidligere materiale.

Now, American copyright and patent laws run counter

I dag er amerikansk ophavsrets- og patentretlove i modstrid

to this notion that we build on the work of others.

med forestillingen om, at vi bygger på arbejde udført af andre.

Instead, these laws and laws around the world

I stedet bruger disse love og love i andre lande,

use the rather awkward analogy of property.

den lidt akavede analogi med fast ejendom.

Now, creative works may indeed be kind of like property,

Nu, kreative værker kan faktisk være en slags ejendom,

but it's property that we're all building on,

men det er en ejendom, som vi alle bygger på

and creations can only take root and grow

og skabelse kan kun tage rod og vokse

once that ground has been prepared.

når jorden er blevet forberedt.

Henry Ford once said, "I invented nothing new.

Henry Ford sagde engang: "Jeg opfandt ikke noget nyt.

I simply assembled the discoveries of other men

Jeg samlede blot opdagelser af andre mænd

behind whom were centuries of work.

bag hvem, der var århundredevis af arbejde.

Progress happens when all the factors that make for it

Fremskridt sker, når alle nødvendige faktorer for det

are ready and then it is inevitable."

er klar og herefter er det uundgåeligt."

2007. The iPhone makes it debut.

2007. IPhone gør sin debut.

Apple undoubtedly brings this innovation to us early,

Apple var utvivlsomt de første med denne nyskabelse,

but its time was approaching because its core technology

men dens tid nærmede sig fordi dens kerne-teknologi

had been evolving for decades.

havde været under udvikling i årtier.

That's multi-touch, controlling a device

Det er multi-touch, det at styre en enhed

by touching its display.

ved at røre ved dens skærm.

Here is Steve Jobs introducing multi-touch

Her er Steve Jobs som introducerer multi-touch

and making a rather foreboding joke.

og siger en temmelig ildevarslende vits.

Steve Jobs: And we have invented a new technology

Steve Jobs: Og vi har opfundet en ny teknologi

called multi-touch.

kaldet multi-touch.

You can do multi-fingered gestures on it,

Du kan bruge flerfingerede håndbevægelser

and boy have we patented it. (Laughter)

og drenge, vi har patenteret det. (Latter)

KF: Yes. And yet, here is multi-touch in action.

KF: Ja. Men her er multi-touch i aktion.

This is at TED, actually, about a year earlier.

Dette er faktisk på TED, ca et år tidligere.

This is Jeff Han, and, I mean, that's multi-touch.

Dette er Jeff Han, og jeg mener, der er multi-touch.

It's the same animal, at least.

Det er det samme dyr, mindst.

Let's hear what Jeff Han has to say about this

Lad os høre hvad Jeff Han har at sige om denne

newfangled technology.

nymodens teknologi.

Jeff Han: Multi-touch sensing isn't anything --

Jeff Han: Multi-touch sensing er ikke noget--

isn't completely new. I mean, people like Bill Buxton

er ikke helt nyt. Jeg mener, folk som Bill Buxton

have been playing around with it in the '80s.

har leget med det i 80'erne.

The technology, you know, isn't the most exciting thing here

Teknologien, er ikke den mest spændende ting her

right now other than probably its newfound accessibility.

bortset fra sin nyfundne tilgængelighed.

KF: So he's pretty frank about it not being new.

KF: Så han er temmelig åbenhjertig om, at det ikke er nyt.

So it's not multi-touch as a whole that's patented.

Det er altså ikke multi-touch som helhed, der er patenteret.

It's the small parts of it that are,

Det er de små dele af det, som er,

and it's in these small details where

og det er i disse små detaljer hvor

we can clearly see patent law contradicting its intent:

vi tydeligt kan se patentretten er i modstrid med dens hensigtserklæring:

to promote the progress of useful arts.

At fremme fremskridt af nyttige kundskaber.

Here is the first ever slide-to-unlock.

Her er det første til stryg-til-oplåsning nogensinde.

That is all there is to it. Apple has patented this.

Det er alt hvad der er i det. Apple har patenteret det.

It's a 28-page software patent, but I will summarize

Det er et 28-sider langt softwarepatent, som jeg vil opsummere

what it covers. Spoiler alert: Unlocking your phone

hvad omfatter. Spoiler advarsel: oplåsning telefonen

by sliding an icon with your finger. (Laughter)

ved at stryge et ikon med din finger. (Latter)

I'm only exaggerating a little bit. It's a broad patent.

Jeg overdriver kun en smule. Det er et bredt patent.

Now, can someone own this idea?

Nå, kan en person eje denne idé?

Now, back in the '80s, there were no software patents,

Tilbage i 80'erne var der ingen softwarepatenter,

and it was Xerox that pioneered the graphical user interface.

og det var Xerox, som var banebrydende med den grafiske brugergrænseflade.

What if they had patented pop-up menus,

Hvad nu, hvis de havde patenteret pop op-menuer,

scrollbars, the desktop with icons that look like folders

rullepaneler, skrivebordet med ikoner, som ligner mapper

and sheets of paper?

og papirark?

Would a young and inexperienced Apple

Ville et ungt og uerfarent Apple

have survived the legal assault from a much larger

have overlevet det juridiske angreb fra et meget større

and more mature company like Xerox?

og mere modent selskab som Xerox?

Now, this idea that everything is a remix might sound

Nu lyder denne idé om at alt er et remix måske

like common sense until you're the one getting remixed.

ganske fornuftigt indtil du er den som bliver remixet.

For example ...

For eksempel...

SJ: I mean, Picasso had a saying.

SJ: Jeg mener, Picasso havde et ordsprog.

He said, "Good artists copy. Great artists steal."

Han sagde: "Gode kunstnere kopier. Store kunstnere stjæler."

And we have, you know,

Og vi har, I ved,

always been shameless about stealing great ideas.

altid været skamløse med at stjæle store ideer.

KF: Okay, so that's in '96. Here's in 2010.

KF: Okay, så det var i ' 96. Nu i 2010.

"I'm going to destroy Android because it's a stolen product."

"Jeg vil ødelægge Android, fordi det er et stjålet produkt."

(Laughter)

(Latter)

"I'm willing to go thermonuclear war on this." (Laughter)

"Jeg er villig til at føre termonuklear krig for det." (Latter)

Okay, so in other words, great artists steal, but not from me.

Okay, så med andre ord, store kunstnere stjæler, men ikke fra mig.

(Laughter)

(Latter)

Now, behavioral economists might refer to this sort of thing as loss aversion

Nu, adfærdsøkonomer kan henvise til denne slags ting som modvilje mod tab.

We have a strong predisposition towards protecting

Vi er stærkt prædispositionerede til at beskytte ting

what we feel is ours.

vi føler er vores.

We have no such aversion towards copying

Vi har ikke en sådan modvilje mod kopiering

what other people have, because we do that nonstop.

af hvad andre mennesker har, fordi vi gør det nonstop.

So here's the sort of equation we're looking at.

Så her er den slags ligning kigger vi på.

We've got laws that fundamentally treat creative works as property,

Vi har love, der fundamentalt behandler kreative værker som ejendom,

plus massive rewards or settlements

plus massiv belønninger eller erstatninger

in infringement cases, plus huge legal fees

i overtrædelsessager, plus enorme juridiske udgifter

to protect yourself in court,

for at beskytte dig selv i retten,

plus cognitive biases against perceived loss.

samt en kognitiv modstand mod formodede tab.

And the sum looks like this.

Og resultatet er dette .

That is the last four years of lawsuits

Det er de sidste fire års retssager

in the realm of smartphones.

i forbindelse med smartphones.

Is this promoting the progress of useful arts?

Er dette at fremme udvikling af nyttige kundskaber?

1983. Bob Dylan is 42 years old, and his time

1983. Bob Dylan er 42 år gamle, og hans tid

in the cultural spotlight is long since past.

i den kulturelle spotlight har varet forbi længe.

He records a song called "Blind Willie McTell,"

Han indspiller en sang kaldet "Blind Willie McTell"

named after the blues singer, and the song

opkaldt efter blues-sangeren, og sangen

is a voyage through the past, through a much darker time,

er en rejse gennem tidligere tider, en meget mørkere tid,

but a simpler one, a time when musicians like Willie McTell

men en enklere. En tid hvor musikere et Willie McTell

had few illusions about what they did.

ikke gjorde sig illusioner om hvad de har gjorde.

"I jump 'em from other writers

"Jeg snuppede dem fra andre sangskrivere

but I arrange 'em my own way."

men jeg arrangerer dem på min egen måde".

I think this is mostly what we do.

Jeg tror, dette er for det meste hvad vi gør.

Our creativity comes from without, not from within.

Vores kreativitet kommer fra omverdenen, ikke fra vores indre.

We are not self-made. We are dependent on one another,

Vi er ikke self-made. Vi er afhængige af hinanden,

and admitting this to ourselves isn't an embrace

og at indrømme dette er ikke en omfavnelse

of mediocrity and derivativeness.

af middelmådighed og afledninger.

It's a liberation from our misconceptions,

Det er en befrielse fra vores misforståelser,

and it's an incentive to not expect so much from ourselves

og det er et incitament til at ikke forvente så meget fra vores indre

and to simply begin.

og bare begynde.

Thank you so much. It was an honor to be here.

Mange tak. Det var en ære at være her.

Thank you. (Applause)

Tak. (Bifald)

Thank you. Thank you. (Applause)

Tak. Tak. (Bifald)

Thank you. (Applause)

Tak. (Bifald)