Charles Limb: Your brain on improv

Prevoditelj: Tilen Pigac - EFZG Recezent: Mislav Ante Omazić - EFZG

Ja sam kirurg koji proučava kreativnost,

So I am a surgeon who studies creativity,

and I have never had a patient tell me,

i nikad nisam imao pacijenta koji bi mi rekao,

"I really want you to be creative during surgery,"

"Doista želim da budete kreativni tijekom operacije."

and so I guess there's a little bit of irony to it.

I vjerujem kako u tome ima malo ironije.

I will say though that, after having done surgery a lot,

Ali reći ću vam, nakon toliko obavljenih operacija,

it's similar to playing a musical instrument.

to vam je pomalo nalik sviranju glazbenog instrumenta.

And for me, this deep and enduring fascination with sound

A za mene, ta vrsta duboke i dugotrajne fascinacije sa zvukom

is what led me to both be a surgeon

je ono što me navelo da budem i kirurg

and to study the science of sound, particularly music.

te da ujedno proučavam znanost zvuka, naročito glazbe.

I stoga ću vam kroz idućih nekoliko minuta pokušati ispričati

I'm going to talk over the next few minutes

o svojoj karijeri

about my career

in terms of how I'm able to study music

u smislu kako zapravo pokušavam proučavati glazbu

and try to grapple with all these questions

i doista se uhvatiti u koštac s tim pitanjima

of how the brain is able to be creative.

o tome kako mozak može biti kreativan.

I've done most of this work at Johns Hopkins University,

Većinu tog posla sam napravio na Sveučilištu Johns Hopkins,

and at the National Institute of Health where I was previously.

ali ujedno i u Nacionalnom zdravstvenom institutu gdje sam prije bio.

Proći ću kroz neke znanstvene eksperimente

I'll go over some science experiments and cover three musical experiments.

i pokušati obuhvatiti tri glazbena instrumenta.

Počet ću sa prikazivanjem jednog videa.

I will start off by playing a video for you.

A ovaj video je video Keitha Jarretta, koji je jako poznati jazz improvizator

This video is of Keith Jarrett, who's a well-known jazz improviser

i vjerojatno najpoznatiji, ikonski primjer

and probably the most well-known, iconic example

nekoga tko uzdiže improvizaciju na doista višu razinu.

of someone who takes improvisation to a higher level.

I on će improvizirati čitave koncerte

And he'll improvise entire concerts off the top of his head,

iz svoje glave,

and he'll never play it exactly the same way again,

i nikad ih više neće svirati na potpuno isti način.

I stoga, kao oblik intenzivne kreativnosti,

so as a form of intense creativity,

mislim da je ovo odličan primjer.

I think this is a great example.

And so why don't we go and click the video.

I stoga, zašto ne bismo uključili video.

(Music)

(Glazba)

(Music ends)

Doista je izvanredna, nevjerojatna stvar ovo što se događa ovdje.

It's really a remarkable thing that happens there.

Uvijek sam -- samo kao slušatelj, samo kao obožavatelj --

I've always as a listener, as a fan,

slušao, i jednostavno sam zapanjen.

I listen to that, and I'm astounded.

I think -- how can this possibly be?

Razmišljam: kako je to moguće?

How can the brain generate that much information,

Kako mozak može generirati toliko mnogo informacija,

toliko mnogo glazbe spontano?

that much music, spontaneously?

And so I set out with this concept, scientifically,

I tako sam krenuo s tim konceptom, znanstveno,

that artistic creativity, it's magical, but it's not magic,

kako je umjetnička kreativnost, magična, ali nije to magija.

Što znači da je proizvod mozga.

meaning that it's a product of the brain.

Nema puno ljudi bez moždanih aktivnosti koji stvaraju umjetnost.

There's not too many brain-dead people creating art.

I stoga s tom idejom kako je umjetnička kreativnost

With this notion that artistic creativity is in fact a neurologic product,

zapravo neurološki proizvod,

I took this thesis that we could study it

uzeo sam tu tezu koju smo mogli proučavati

just like we study any other complex neurologic process,

kao što možemo proučavati bilo koji drugi kompleksni neurološki proces.

and there are subquestions that I put there.

I mislim kako postoje neka podpitanja koja sam stavio tamo.

Is it possible to study creativity scientifically?

Je li doista moguće proučavati kreativnost na znanstven način?

And I think that's a good question.

I mislim kako je to dobro pitanje.

And I'll tell you that most scientific studies of music,

I reći ću vam kako su najznanstvenija istraživanja glazbe,

they're very dense,

vrlo neprozirna.

and when you go through them,

I kada prolazite kroz njih, veoma je teško prepoznati glazbu u njima.

it's very hard to recognize the music in it.

In fact, they seem to be unmusical entirely

U biti, čini se kao da su u potpunosti neglazbena

and to miss the point of the music.

i da su promašila cijelu bit glazbe.

This brings the second question:

I to dovodi do drugog pitanja:

Why should scientists study creativity?

Zašto bi znanstvenici proučavali kreativnost?

Maybe we're not the right people to do it.

Možda nismo prave osobe za to.

(Laughter)

To je moguće,

Well it may be, but I will say that, from a scientific perspective,

ali reći ću, iz znanstvene perspektive --

we talked a lot about innovation today,

da smo danas puno pričali o inovativnosti --

the science of innovation,

znanosti o inovativnosti,

how much we understand about how the brain is able to innovate

koliko razumijemo o tome kako je mozak sposoban inovirati

u ranom djetinjstvu.

is in its infancy,

and truly, we know very little about how we are able to be creative.

Doista, znamo jako malo o tome kako biti kreativni.

I think that we're going to see,

I stoga mislim kako ćemo vidjeti

over the next 10, 20, 30 years,

kroz idućih 10, 20, 30 godina

a real science of creativity that's burgeoning

istinsku znanost kreativnosti koja ekspanzivno raste i koja će procvjetati.

and is going to flourish,

Because we now have new methods that can enable us

Jer sada imamo nove metode koje nam omogućavaju

da uzmemo neki proces poput ovog,

to take this process like complex jazz improvisation,

kompleksnu jazz improvizaciju, i rigorozno ju proučavamo.

and study it rigorously.

I stoga se svodi na mozak.

So it gets down to the brain.

I svi mi imamo taj izvanredan mozak,

All of us have this remarkable brain,

koji je slabo shvaćen, u najmanju ruku.

which is poorly understood, to say the least.

I think that neuroscientists have more questions than answers,

Mislim kako neuroznanstvenici

imaju puno više pitanja nego odgovora.

and I'm not going to give you answers today,

A ja vam neću danas dati mnogo odgovora,

just ask a lot of questions.

već ću postaviti mnogo pitanja.

And that's what I do in my lab.

I to je, u osnovi, ono što ja radim u svom laboratoriju.

I ask questions about what is the brain doing to enable us to do this.

Postavljam pitanja o tome što taj mozak radi a da nam omogućava da uradimo to.

To je glavna metoda koju koristim. Ovo je funkcionalni uređaj za magnetsku organizaciju.

This is the main method that I use. This is functional MRI.

Ukoliko ste bili na skeniranju u uređaju za magnetsku rezonanciju, prilično je isto,

If you've been in an MRI scanner, it's very much the same,

but this one is outfitted in a special way to not just take pictures of your brain,

samo što je ovaj opremljen na poseban način

ne samo da uzima slika vašeg mozga,

but to also take pictures of active areas of the brain.

već da i uzima slike aktivnih područja u mozgu.

The way that's done is by the following:

Način na koji se to radi, je slijedeći.

There's something called BOLD imaging,

Postoji nešto što se zove BOLD prikaz,

which is Blood Oxygen Level Dependent imaging.

što označava prikaz razine kisika u krvi.

Kada ste u funkcionalnom uređaju za magnetsku rezonanciju,

When you're in an fMRI scanner, you're in a big magnet

vi ste u velikom magnetu

that's aligning your molecules in certain areas.

koji poravnava vaše molekule u određenim područjima.

When an area of the brain is active, meaning a neural area is active,

Kada je područje mozga aktivno, što znači kada je neuralno područje aktivno,

dobiva protok krvi koji je paralelno povezan s tim područjem.

it gets blood flow shunted to that area.

That blood flow causes an increase in local blood to that area

Taj protok krvi uzrokuje povećanje

lokalne krvi u to područje

with a deoxyhemoglobin change in concentration.

sa promjenom u koncentraciji deoksihemoglobina.

Deoxyhemoglobin can be detected by MRI,

Deoksihemoglobin se može detektirati pomoću uređaja za magnetsku rezonanciju,

dok se oksihemoglobin ne može.

whereas oxyhemoglobin can't.

So through this method of inference --

Kroz tu metodu zaključivanja -

and we're measuring blood flow, not neural activity --

a mjerimo protok krvi, ne neuralnu aktivnost -

možemo reći da područje mozga koje dobiva više krvi

we say that an area of the brain that's getting more blood

je bilo aktivno tijekom određenog zadatka.

was active during a particular task, and that's the crux of how fMRI works.

A to je srž načina rada funkcionalnog uređaja za magnetsku rezonanciju.

I koristi se još od 90-ih

And it's been used since the '90s to study really complex processes.

kako bi se proučavali doista kompleksni procesi.

I'm going to review a study that I did, which was jazz in an fMRI scanner.

Otkrit ću osvrt istraživanja koje sam proveo,

a koje se odnosi na jazz u funkcionalnom uređaju za magnetsku rezonanciju.

It was done with a colleague, Alan Braun, at the NIH.

A njega sam proveo s mojim kolegom, Alanom Braunom, u NIH-u.

This is a short video of how we did this project.

Ovo je kratak video o tome kako smo napravili taj projekt.

(Video) Charles Limb: This is a plastic MIDI piano keyboard

(Video) Chrales Limb: Ovo su plastične MIDI klavijature

koje koristimo kod jazz eksperimenata.

that we use for the jazz experiments.

And it's a 35-key keyboard

A to su klavijeture s 35 tipki

designed to fit both inside the scanner,

koje su dizajnirane da stanu u skener,

da budu magnetski sigurne,

be magnetically safe,

have minimal interference that would contribute to any artifact,

da proizvode minimalne smetnje

koje bi mogle doprinijeti bilo kakvom artefaktu

and have this cushion so that it can rest on the players' legs

i koje imaju jastuk tako da mogu biti položene na noge osobe koja ih svira

while they're lying down in the scanner, playing on their back.

kada ta osoba leži u skeneru, svirajući ih ležeći na leđima.

It works like this -- this doesn't actually produce any sound.

A rade na sljedeći način -- one ne produciraju zapravo nikakav zvuk.

It sends out what's called a MIDI signal --

Šalju van ono što se naziva MIDI signal --

ili glazbeni instrument digitalno sučelje --

or a Musical Instrument Digital Interface --

kroz ove žice u kutiju a zatim u računalo,

through these wires into the box and then the computer,

which then trigger high-quality piano samples like this.

koje zatim aktivira uzorke klavira visoke kvalitete poput ovog.

(Music)

(Glazba)

(Glazba)

(Music)

(Music ends)

OK, so it works.

CL: U redu, dakle radi.

And so through this piano keyboard,

I kroz te klavijature,

we have the means to take a musical process and study it.

mi sada imamo mogućnosti preuzeti glazbeni proces i proučavati ga.

Dakle, što radite sada kada imate te super klavijature?

So what do you do now that you have this cool piano keyboard?

You can't just say, "It's great we have a keyboard."

Ne možete samo pomisliti -- "Super je što imamo te klavijature."

Mi, zapravo, moramo osmisliti znanstveni eksperiment.

We have to come up with a scientific experiment.

A eksperiment doista počiva na sljedećem.

The experiment really rests on the following:

What happens in the brain during something that's memorized and over-learned,

Što se događa u mozgu tijekom nečeg što je memorizirano i naučeno više puta,

and what happens in the brain during something

i što se događa u mozgu tijekom nečeg

što je spontano generirano ili improvizirano,

that is spontaneously generated, or improvised,

na način da je motorički vezano

in a way that's matched motorically

te u terminima osjetilnih motoričkih značajki niže razine?

and in terms of lower-level sensory motor features?

I stoga, imamo ovdje ono što mi nazivamo paradigmama.

I have here what we call the paradigms.

There's a scale paradigm, which is playing a scale up and down, memorized,

Postoji paradigma ljestvice, što je zapravo sviranje ljestvice gore, dolje, memorizirano.

A zatim, tu je je improvizacija na ljestvici --

then there's improvising on a scale,

quarter notes, metronome, right hand --

četvrtinke, metronom, desna ruka --

scientifically very safe,

znanstveno vrlo sigurno,

but musically really boring.

ali glazbeno uistinu dosadno.

Then there's the bottom one, which is called the jazz paradigm.

A zatim, tu je i posljednja, koju nazivamo jazz paradigma.

Ono što smo učinili jest, da smo doveli profesionalne jazz glazbenike u NIH,

So we brought professional jazz players to the NIH,

i dali smo im da memoriraju ovaj komad glazbe lijevo, lijevo dolje --

and we had them memorize this piece of music on the lower-left,

što je ono što sam ja svirao --

which is what you heard me playing --

a zatim smo im dali da improviziraju na osnovi identičnih promjena akorda.

and we had them improvise to the same chord changes.

A ako možete kliknuti tu ikonu zvuka u donjem desnog uglu,

And if you can hit that lower-right sound icon,

to je primjer što je snimljeno u skeneru.

that's an example of what was recorded in the scanner.

(Glazba)

(Music)

(Music ends)

Na kraju krajeva, nije najprirodnije okruženje,

In the end, it's not the most natural environment,

ali mogli su svirati pravu glazbu.

but they're able to play real music.

I slušao sam tu solo dionicu 200 puta,

And I've listened to that solo 200 times,

i još uvijek mi se sviđa.

and I still like it.

And the musicians were comfortable in the end.

A glazbenici su se osjećali ugodno na kraju.

Prvo smo izmjerili broj nota.

We first measured the number of notes.

Were they playing more notes when they were improvising?

Jesu li, zapravo, svirali puno više nota kada su improvizirali?

To nije bilo ono što se događalo.

That was not what was going on.

Zatim smo gledali moždanu aktivnost.

And then we looked at the brain activity.

Pokušat ću sažeti to za vas.

I will try to condense this for you.

Ovo su kontrastne mape koje prikazuju oduzimanje

These are contrast maps that are showing subtractions between what changes

između promjena kada improvizirate

when you're improvising vs. when you're doing something memorized.

i kada radite nešto memorirano.

In red is an area that's active in the prefrontal cortex,

Crveno je područje koje je aktivno u prefrontalnom korteksu,

prednjem režnju mozga.

the frontal lobe of the brain,

and in blue is this area that was deactivated.

A plavo je područje koje je bilo deaktivirano.

I tako smo imali to žarišno područje zvano središnji prefrontalni korteks

So we had this focal area called the medial prefrontal cortex

kojem je aktivnost narasla.

that went way up in activity.

Imali smo široki sloj područja zvan lateralni prefrontalni korteks

We had this broad patch of area called the lateral prefrontal cortex

kojem je aktivnost pala, i sažet ću to za vas.

that went way down in activity,

I'll summarize that for you.

To su multifunkcionalna područja mozga.

These are multifunctional areas of the brain,

Kao što volim reći, to nisu jazz područja mozga.

these are not the jazz areas of the brain.

Rade mnogo stvari

They do a whole host of things

koje su povezane sa samo-refleksijom,

that have to do with self-reflection,

introspection, working memory etc.

introspekcijom, radnom memorijom i tako dalje.

Doista, svijest je locirana u frontalnom režnju.

Really, consciousness is seated in the frontal lobe.

But we have this combination

Ali imamo i kombinaciju

of an area that's thought to be involved in self-monitoring, turning off,

područja za koje se smatra da je uključeno u samo-nadgledanje, a koje se gasi,

i područja za koje se smatra da je autobiografsko,

and this area that's thought to be autobiographical,

ili samo-izražavajuće, a koje se pali.

or self-expressive, turning on.

I mislimo, barem u ovom preliminarnom --

We think, at least in this preliminary --

To je jedno istraživanje. Vjerojatno je pogrešno.

it's one study; it's probably wrong, but it's one study --

Ali to je jedno istraživanje.

(Laughter)

Mislimo kako je barem razumna hipoteza

we think that at least a reasonable hypothesis

da, za kreativnost,

is that, to be creative,

you should have this weird dissociation in your frontal lobe.

morate imati tu čudnu pregradu u vašem frontalnom režnju.

Jedno područje se aktivira, a jedno veliko područje se ugasi,

One area turns on, and a big area shuts off,

tako da niste inhibirani, tako da ste voljni raditi pogreške,

so that you're not inhibited, you're willing to make mistakes,

tako da neprestano ne gasite

so that you're not constantly shutting down

sve te nove generativne impulse.

all of these new generative impulses.

Now a lot of people know that music is not always a solo activity --

Puno ljudi zna kako glazba nije uvijek samostalna aktivnost --

nekad je izvedena pomoću komunikacije.

sometimes it's done communicatively.

I stoga je sljedeće pitanje bilo:

The next question was:

What happens when musicians are trading back and forth,

Što se događa kada glazbenici improviziraju naizmjence,

something called "trading fours,"

nešto zvano improvizacijska četvorka,

which is something they do normally in a jazz experiment.

što je nešto što oni normalno rade u jazz eksperimentu?

Ovo je bluz sa skalom od dvanaest.

So this is a 12-bar blues,

and I've broken it down into four-bar groups,

A ja sam ga razbio u grupe skala od po četiri ovdje,

so you would know how you would trade.

kako biste znali kako ćete trgovati.

We brought a musician into the scanner, same way,

Ono što smo napravili jest da smo stavili glazbenika u skener -- na isti način --

oni su morali memorirati tu melodiju

had them memorize this melody

then had another musician out in the control room

i zatim smo imali drugog glazbenika u kontrolnoj sobi

koji bi naizmjence interaktivno improvizirao.

trading back and forth interactively.

So this is a musician, Mike Pope,

Ovo je glazbenik, Mike Pope,

one of the world's best bassists and a fantastic piano player.

jedan od najboljih svjetskih basista i fantastičan svirač klavira.

(Music)

Sada svira komad

He's now playing the piece that we just saw

koji smo upravo vidjeli

a little better than I wrote it.

malo bolje nego što sam ga ja napisao.

(Video) CL: Mike, come on in.

(Video) CL: Mike, uđi. (Čovjek: Neka sila bude s tobom.)

Mike Pope: May the force be with you.

Sestra: Ništa nemate u džepovima, je li točno Mike?

Nurse: Nothing in your pockets, Mike?

Mike Pope: Ne. Nemam ništa u džepovima. (Sestra: U redu.)

MP: No. Nothing's in my pockets.

CL: You have to have the right attitude to agree to do it.

CL: Morate imati pravi stav da se složite s ovime.

(Smijeh)

(Laughter)

It's kind of fun, actually.

Zapravo je, na neki način, zabavno.

(Music)

I tako sada sviramo naizmjence.

Now we're playing back and forth.

On je tamo unutra. Možete vidjeti njegove noge tamo gore.

He's in there. You can see his legs up there.

(Music)

And then I'm in the control room here, playing back and forth.

A ja sam ovdje u kontrolnoj sobi, svirajući naizmjence.

(Music)

(Glazba)

(Music ends)

(Video) Mike Pope: This is a pretty good representation

(Video) Mike Pope: Ovo je prilično dobar prikaz

of what it's like.

onoga čemu je to nalik.

And it's good that it's not too quick.

I dobro je što nije prebrzo.

The fact that we do it over and over again

Činjenica da možemo to raditi opet i isponova

dozvoljava vam da se aklimatizirate na vaše okruženje.

lets you acclimate to your surroundings.

Najteža stvar za mene je bila kinestetička stvar,

So the hardest thing for me was the kinesthetic thing,

looking at my hands through two mirrors,

gledajući svoje ruke

kroz dva ogledala,

laying on my back,

ležeći na leđima

and not able to move at all except for my hand.

i nemogućnosti micanja ičega osim svojih ruku.

That was challenging.

To je bilo izazovno.

But again --

Ali opet,

postojali su trenuci, sigurno,

there were moments, for sure --

postojali su trenuci

(Laughter)

there were moments of real, honest-to-God musical interplay, for sure.

istinskog, najiskrenijeg uzajamnog sviranja, sigurno.

CL: U ovoj točki, uzet ću par trenutaka.

CL: At this point, I'll take a few moments.

Ono što vidite ovdje --

So what you're seeing here --

and I'm doing a cardinal sin in science,

A ja sam počinio glavni grijeh u znanosti,

što vam pokazujem preliminarne podatke.

which is to show you preliminary data.

This is one subject's data.

Ovo su podaci jednog subjekta.

This is, in fact, Mike Pope's data.

Ovo su, zapravo, podaci Mike Popea.

So what am I showing you here?

Što vam ja pokazujem ovdje?

When he was trading fours with me, improvising vs. memorized,

Kada smo naizmjence improvizirali, improvizacija nasuprot memoriranju,

njegovo područje za jezik je zasvjetlilo, njegovo Broca područje,

his language areas lit up, his Broca's area,

in the inferior frontal gyrus on the left.

koje čine inferiorne frontalne vijuge na lijevoj strani.

He had it also homologous on the right.

Imao je odgovarajuće reakcije i s desne strane.

This is an area thought to be involved in expressive communication.

Ovo je područje za koje se smatra da je zaduženo za ekspresivnu komunikaciju.

Ta cijela ideja da je glazba jezik,

This whole notion that music is a language --

možda, u biti, postoji neurološka baza za to naposljetku,

maybe there's a neurologic basis to it after all,

and we can see it when two musicians are having a musical conversation.

i možemo to vidjeti kada dvoje glazbenika vode glazbeni razgovor.

So we've done this on eight subjects now,

I zapravo smo to napravili na osam subjekata do sada,

and we're getting all the data together,

i sada sakupljamo sve podatke zajedno.

hopefully we'll have something to say about it meaningfully.

I nadam se kako ćemo imati nešto smisleno za reći.

Kada razmišljam o improvizaciji i jeziku, pa, što je sljedeće?

Now when I think about improvisation and the language, what's next?

Rap, naravno, rap --

Rap, of course, rap -- freestyle.

slobodni stil.

I've always been fascinated by freestyle.

I uvijek sam bio fasciniran slobodnim stilom.

I pokrenimo ovaj video ovdje.

And let's play this video.

(Video) Mos Def: Brown skin I be, standing five-ten I be

(Video) Mos Def: ♫... smeđa koža ja sam, stojeći na 1.80 ja sam ♫

♫ Svirati gdje jesam, u tvojoj blizini sam ♫

Rockin' it when I be, in your vicinity

Whole-style synergy, recognize symmetry

♫ Sinergija cijelog stila, poznata simetrija ♫

♫ Dođi i probaj me raniti, razbijem ih kemijski ♫

Go and try to injure me, broke 'em down chemically

Ain't the number 10 MC, talk about how been I be

♫ Nije broj 10 M.C., pričaj o tome kako jesi ♫

♫ Stiliran poput Kennedya, kasnim poput 10 do trija ♫

Styled it like Kennedy, late like a 10 to three

When I say when I be, girls say bend that key cut

♫ Kada kažem kada tu sam, cure kažu savij tu ogrebotinu od ključa ♫

CL: So there's a lot of analogy

CL: I postoji mnogo analogije

between what takes place in freestyle rap and jazz.

između rapa slobodnim stilom i jazza.

There are a lot of correlates between the two forms of music,

Postoji, zapravo, mnogo korelacija između ta dva oblika glazbe

u različitim vremenskim periodima.

I think, in different time periods, in lot of ways,

U mnogo pogleda, rap služi istoj društvenoj funkciji

rap serves the same social function that jazz used to serve.

kojoj je jazz nekada služio.

Dakle, kako proučavate rap znanstvenim putem?

So how do you study rap scientifically?

I moji kolege, na neki način, misle kako sam lud,

And my colleagues think I'm crazy, but I think it's very viable.

ali ja mislim da je to vrlo izvedivo.

This is what you do:

A ovo je što morate učiniti: imate umjetnika za slobodan stil

You have a freestyle artist come and memorize a rap

koji dođe i memorira rap koji vi napišete za njega,

that you write for them,

a koji nikada prije nisu čuli,

that they've never heard before, and then you have them freestyle.

i zatim im dopustite da izvedu to slobodnim stilom.

So I told my lab members that I would rap for TED,

I stoga sam rekao svojim članovima laboratorija kako ću rapati za TED,

a oni su rekli, "Ne, nećeš."

and they said, "No, you won't."

A zatim sam pomislio --

And then I thought --

(Laughter)

(Pljesak)

(Applause)

Evo o čemu se radi.

But here's the thing.

With this big screen, you can all rap with me. OK?

S ovim velikim zaslonom, svi možete rapati sa mnom. U redu?

So what we had them do

Ono što smo im dali da učine

was memorize this lower-left sound icon, please.

jest da memoriraju ovu donju lijevu ikonu zvuka, molim.

Ovo je kontrolna situacija. Ovo su memorirali.

This is the control condition. This is what they memorized.

Računalo: ♫ Memorija, udarac. ♫

Computer: Memory, thump.

CL: ♫ Udarac takta u poznatom ponavljanju ♫

CL: Thump of the beat in a known repeat

Rhythm and rhyme, they make me complete

♫ Ritam i rima, sa mnom sve štima ♫

The climb is sublime when I'm on the mic

♫ Uspon brojim kada za mikrofonom stojim ♫

Spittin' rhymes that hit you like a lightning strike

♫ Bacam rime i udarce munja brojim ♫

Computer: Search.

♫ Tražim istinu u ovom vječnom pohodu ♫

CL: I search for the truth in this eternal quest

♫ Moja strast nije moda, vidite s kakvom garderobom hoda ♫

My passion's not fashion, you can see how I'm dressed

♫ Psihopatske riječi u mojoj glavi se pojavljuju ♫

Psychopathic words in my head appear

Whisper these lyrics only I can hear

♫ Šapat tih pjesama samo kod mene odzvanja ♫

Computer: Art.

CL: The art of discovering and that which is hovering

♫ Lebdenja su djelovi umjetnosti otkrivanja ♫

♫ Unutar mozga bez pokrića ♫

Inside the mind of those unconfined

All of these words keep pouring out like rain

♫ Poput kiše izlaze iz mene ove riječi ♫

I need a mad scientist to check my brain

♫ Potreban mi je lud znanstvenik da moj mozak liječi ♫

Computer: Stop.

(Pljesak)

(Applause)

Garantiram vam, ovo se više nikad neće ponoviti.

I guarantee you that will never happen again.

(Laughter)

(Smijeh)

So now, what's great about these free-stylers,

Sada, ono što je super kod tih umjetnika slobodnim stilom,

they will get cued different words.

jest da će ubaciti druge riječi.

They don't know what's coming,

Ne znaju što im dolazi, ali čuti će nešto potpuno drugačije.

but they'll hear something off the cuff.

Dajte kliknite tu desnu ikonu zvuka.

Go hit that right sound icon,

Dobit će redoslijed od te tri riječi: 'kao', 'ne' i 'glava'.

there will be cued three square words: like, not and head.

On ne zna što dolazi.

He doesn't know what's coming. Computer: Like.

Umjetnik slobodnim stilom: ♫ Ja sam poput [nejasno] ♫

Freestyler: I'm like some kind of

♫ [nejasno] izvanzemaljska, nebeska scena ♫

extraterrestrial, celestial scene

Back in the days, I used to sit in pyramids and meditate

♫ Nekad davno, znao sam u piramidama sjediti i meditirati ♫

With two microphones -- Computer: Head

♫ S dva leteća mikrofona iznad moje glave ♫

hovering over my head

♫ Vidi mogu li i dalje slušati, taj zvuk van pljuvati ♫

See if I could still listen,

spittin' off the sound

See what you grinning

♫ Vidi kako se ceriš ♫

I teach the children in the back of the classroom

♫ Učim djecu u stražnjem dijelu učionice ♫

About the message of apocalyptical

♫ O apokaliptičnoj poruci ♫

Computer: Not.

Not really though, 'cause I've got to keep it simple

♫ Nije zapravo teško, jer moram se držat pravila jednostavnosti ♫

instrumental

♫ [nejasno] instrumental ♫

Detrimental playing Super Mario

♫ Štetnost igra Super Mario ♫

boxes [unclear] hip hop

♫ [nejasno] kutije [nejasno] hip hop ♫

Computer: Stop.

CL: It's an incredible thing that's taking place.

CL: Ponovno, nevjerojatna stvar se događa ovdje.

Radeći nešto što je, neurološki, izvanredno.

It's doing something neurologically remarkable.

Volite li glazbu ili ne je nevažno.

Whether or not you like the music is irrelevant.

Govoreći u terminima kreativnosti, to je jednostavno fenomenalna stvar.

Creatively speaking, it's just a phenomenal thing.

Ovo je kratak video kako to zapravo radimo u skeneru.

This is a short video of how we do this in a scanner.

(Smijeh)

[fMRI of Hip-Hop Rap]

(Laughter)

(Video) CL: Ovdje smo s Emmanuelom.

(Video) CL: We're here with Emmanuel.

CL: Ovo je, usput rečeno, snimljeno u skeneru.

CL: That was recorded in the scanner, by the way.

(Video) CL: Ovo je Emmanuel u skeneru.

(Video) CL: That's Emmanuel in the scanner.

On je za nas memorirao rimu.

He's just memorized a rhyme for us.

[Control Condition Memorized Verses]

Emmanuel: ♫ Od vrha udarca kažem bez repeticija ♫

Emmanuel: Top of the beat with no repeat

Rhythm and rhyme make me complete

♫ Ritam i rime me ispune ♫

Climb is sublime when I'm on the mic

♫ Uspon je uzvišen kada za mikrofonom stojim ♫

Spittin' rhymes that'll hit you like a lightning strike

♫ Pljujem rime i udarce munja brojim ♫

♫ Tražim istinu u ovom vječnom pohodu ♫

Computer: Search.

I search for the truth in this eternal quest

♫ Ostavljam modu, vidite me sa užasnom garderobom u hodu ♫

I'm passing on fashion; you can see how I'm dressed

CL: U redu. Stati ću ovdje. Dakle, što vidimo u njegovom mozgu?

CL: I'm going to stop that there; so what do we see in his brain?

Ovo su zapravo mozgovi četvorice rapera.

This is four rappers' brains.

And we do see language areas lighting up,

I ono što vidimo, vidimo kako su područja za jezik osvijetljena,

but then, eyes closed --

ali tada -- zatvorenih očiju --

when you are freestyling vs. memorizing,

kada izvodite komad slobodnim stilom nasuprot memoriranju,

you've got major visual areas lighting up.

imate glavna područja za vizualizaciju koja su osvijetljena.

You've got major cerebellar activity, which is involved in motor coordination.

Imate glavnu cerebelarnu aktivnost, koja je povezana s motoričkom koordinacijom.

Povisili ste moždanu aktivnost kada radite usporediv zadatak,

You have heightened brain activity when you're doing a comparable task,

kada je jedan zadatak kreativan a drugi zadatak obuhvaća memoriranje.

when that one task is creative and the other task is memorized.

It's very preliminary, but I think it's kind of cool.

Vrlo je preliminarno, ali mislim kako je, na neki način, super.

Samo da zaključim, imamo mnogo pitanja koje moramo postaviti.

To conclude, we've got a lot of questions to ask,

and like I said, we'll ask questions here, not answer them.

I kao što sam rekao, ovdje ćemo postavljati pitanja, a nećemo davati odgovore.

But we want to get at the root of what is creative genius neurologically,

Ali želimo doći do srži poimanja kreativnog genija, u neurološkom smislu.

I mislim, s tim metodama, približavamo se tome.

and I think, with these methods, we're getting close.

And I think, hopefully in the next 10, 20 years,

I mislim kako ćete u idućih 10, 20 godina

zapravo vidjeti stvarne, značajne studije

you'll see real, meaningful studies

koje kažu kako znanost mora dostići umjetnost,

that say science has to catch up to art,

and maybe we're starting now to get there.

i možda mi počinjemo sada ići u tom smjeru.

Thank you for your time, I appreciate it.

I stoga vam želim zahvaliti na vašem vremenu. Cjenim to.

(Applause)

(Pljesak)