Julian Treasure: The 4 ways sound affects us

381,035 views ใƒป 2009-10-16

TED


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืžืชืจื’ื: Shlomo Adam ืžื‘ืงืจ: Ido Dekkers
ื‘ืžืฉืš ื—ืžืฉ ื”ื“ืงื•ืช ื”ื‘ืื•ืช,
00:16
Over the next five minutes,
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00:17
my intention is to transform your relationship with sound.
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ื‘ื›ื•ื•ื ืชื™ ืœืฉื ื•ืช ืืช ื”ื”ืชื™ื™ื—ืกื•ืช ืฉืœื›ื ืœืฆืœื™ืœื™ื.
00:21
Let me start with the observation
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ืืคืชื— ื‘ืงื‘ื™ืขื” ืฉืจื•ื‘ ื”ืฆืœื™ืœื™ื ืฉืกื‘ื™ื‘ื ื• ื”ื ืืงืจืื™ื™ื.
00:22
that most of the sound around us is accidental;
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ื•ืžืจื‘ื™ืชื ืœื ื ืขื™ืžื™ื. [ืฆืœื™ืœื™ ืชื—ื‘ื•ืจื”]
00:25
much of it is unpleasant. (Traffic noise)
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ืื ื• ืขื•ืžื“ื™ื ื‘ืงืจืŸ ื”ืจื—ื•ื‘ ื•ืฆื•ืขืงื™ื ืžืขืœ ืจืขืฉ ื›ื–ื”,
00:27
We stand on street corners, shouting over noise like this,
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ื•ืžืชื ื”ื’ื™ื ื›ืื™ืœื• ื”ื•ื ืื™ื ื ื• ืงื™ื™ื.
00:30
pretending it doesn't exist.
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00:31
This habit of suppressing sound has meant
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ื›ืš ืฉื”ื”ืจื’ืœ ืฉืœ ื”ื“ื—ืงืช ื”ืฆืœื™ืœื™ื ืžืฉืžืขื•
00:33
that our relationship with sound has become largely unconscious.
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ืฉื™ื—ืกื ื• ืœืฆืœื™ืœ ื ืขืฉื” ื‘ืจื•ื‘ื• ื‘ืœืชื™-ืžื•ื“ืข.
00:36
There are four major ways sound is affecting you all the time,
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ื™ืฉ 4 ื“ืจื›ื™ื ืขื™ืงืจื™ื•ืช ื‘ื”ืŸ ื”ืฆืœื™ืœื™ื ืžืฉืคื™ืขื™ื ืขืœื™ื ื• ื›ืœ ื”ื–ืžืŸ,
00:39
and I'd like to raise them in your consciousness today.
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ื•ื”ื™ื•ื ื‘ืจืฆื•ื ื™ ืœืขื•ืจืจ ืืช ืžื•ื“ืขื•ืชื›ื ืœื’ื‘ื™ื”ืŸ.
00:42
The first is physiological.
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ื”ืจืืฉื•ื ื” ื”ื™ื ืคื™ื–ื™ื•ืœื•ื’ื™ืช [ืฉืขื•ื ื™ื™ื ืžืขื•ืจืจื™ื ืงื•ืœื ื™ื™ื]
00:44
(Alarm clocks ring)
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00:47
Sorry about that.
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ืžืฆื˜ืขืจ. ื›ืจื’ืข ื ืชืชื™ ืœื›ื ื–ืจื™ืงืช ืงื•ืจื˜ื™ื–ื•ืœ, ื”ื•ืจืžื•ืŸ ื”ื™ืœื—ื/ื‘ืจื—.
00:48
I just gave you a shot of cortisol, your fight-flight hormone.
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ื”ืฆืœื™ืœื™ื ืžืฉืคื™ืขื™ื ื›ืœ ื”ื–ืžืŸ ืขืœ ื”ืคืจืฉืช ื”ื”ื•ืจืžื•ื ื™ื ืฉืœื›ื.
00:51
Sounds are affecting your hormone secretions all the time,
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00:53
but also your breathing, heart rate -- which I just also did --
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ืืš ื’ื ืขืœ ื ืฉื™ืžืชื›ื ื•ืงืฆื‘ ืœื™ื‘ื›ื, ื›ืคื™ ืฉืขืฉื™ืชื™ ื›ืจื’ืข,
ื•ืขืœ ื’ืœื™ ื”ืžื•ื— ืฉืœื›ื.
00:57
and your brainwaves.
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00:58
It's not just unpleasant sounds like that that do it.
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ืœื ืจืง ืฆืœื™ืœื™ื ืœื-ื ืขื™ืžื™ื ื›ืืœื” ื’ื•ืจืžื™ื ืœื›ืš.
ืืœื• ื”ื ื’ืœื™ื. [ื’ืœื™-ื™ื]
01:01
This is surf. (Ocean waves)
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01:02
It has the frequency of roughly 12 cycles per minute.
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ื™ืฉ ืœื”ื ืชื“ื™ืจื•ืช ืฉืœ ื›-12 ืžื—ื–ื•ืจื™ื ืœื“ืงื”.
ืจื•ื‘ ื”ืื ืฉื™ื ืžื•ืฆืื™ื ืฉื–ื” ืžืื“ ืžืจื’ื™ืข.
01:05
Most people find that very soothing,
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01:06
and, interestingly, 12 cycles per minute is roughly the frequency
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ื•ืžืขื ื™ื™ืŸ ืฉ-12 ืžื—ื–ื•ืจื™ื ืœื“ืงื”
ื”ื ื‘ืขืจืš ืชื“ื™ืจื•ืช ื”ื ืฉื™ืžื” ืฉืœ ืื“ื ื™ืฉืŸ.
01:09
of the breathing of a sleeping human,
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01:11
so there is a deep resonance with being at rest.
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ื™ืฉ ื›ืืŸ ืชื”ื•ื“ื” ืขืžื•ืงื” ืœืžืฆื‘ ืฉืœ ืžื ื•ื—ื”.
ืื ื• ื’ื ืžืงืฉืจื™ื ื–ืืช ืœืžืฆื‘ ืฉืœ ื”ืขื“ืจ-ืžืชื—,
01:14
We also associate it with being stress-free and on holiday.
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ื•ืœื”ื™ื•ืช ื‘ื—ื•ืคืฉื”.
01:17
The second way in which sound affects you is psychological.
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ื”ื“ืจืš ื”ืฉื ื™ื” ื‘ื” ื”ืฆืœื™ืœื™ื ืžืฉืคื™ืขื™ื ืขืœื™ื ื• ื”ื™ื ืคืกื™ื›ื•ืœื•ื’ื™ืช.
01:20
Music is the most powerful form of sound that we know
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ืžื•ืกื™ืงื” ื”ื™ื ืฆื•ืจืช ื”ืฆืœื™ืœ ื”ื—ื–ืงื” ื‘ื™ื•ืชืจ ื”ืžื•ื›ืจืช ืœื ื•
01:23
that affects our emotional state. (Albinoni's Adagio)
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ืฉืžืฉืคื™ืขื” ื›ืœ ืžืฆื‘ื ื• ื”ืจื’ืฉื™. [ื”ืื“ื’'ื™ื• ืฉืœ ืืœื‘ื™ื ื•ื ื™]
01:25
This is guaranteed to make most of you feel pretty sad if I leave it on.
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ื‘ื˜ื•ื— ืฉื–ื” ื™ื’ืจื•ื ืœืจื•ื‘ื›ื ืœื”ืจื’ื™ืฉ ื“ื™ ืขืฆื•ื‘ื™ื
ืื ืืžืฉื™ืš ืœื”ืฉืžื™ืข ืืช ื–ื”.
01:29
Music is not the only kind of sound, however, which affects your emotions.
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ืืš ืžื•ืกื™ืงื” ืื™ื ื” ืกื•ื’ ื”ืฆืœื™ืœ ื”ื™ื—ื™ื“ ืฉืžืฉืคื™ืข ืขืœ ื”ืจื’ืฉื•ืช.
01:32
Natural sound can do that, too.
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ื’ื ืฆืœื™ืœื™ ื”ื˜ื‘ืข ื™ื›ื•ืœื™ื ืœืขืฉื•ืช ื–ืืช.
01:34
Birdsong, for example, is a sound which most people find reassuring.
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ืฉื™ืจืช ืฆื™ืคื•ืจื™ื, ืœืžืฉืœ, ื”ื™ื ืฆืœื™ืœ ืฉืจื•ื‘ ื”ืื ืฉื™ื
ืžื•ืฆืื™ื ื‘ื” ื‘ื˜ื—ื•ืŸ. [ืฆื™ื•ืฅ ืฆื™ืคื•ืจื™ื]
01:38
There's a reason: over hundreds of thousands of years
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ื™ืฉ ืœื›ืš ืกื™ื‘ื”. ื‘ืžืฉืš ืžืื•ืช ืืœืคื™ ืฉื ื™ื
01:40
we've learned that when the birds are singing, things are safe.
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ืœืžื“ื ื• ืœื“ืขืช ืฉื›ืืฉืจ ื”ืฆื™ืคื•ืจื™ื ืฉืจื•ืช, ื”ืžืฆื‘ ื‘ื˜ื•ื—.
01:43
It's when they stop you need to be worried.
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ื›ืฉื”ืŸ ืžืฉืชืชืงื•ืช - ืื– ืฆืจื™ืš ืœื“ืื•ื’.
01:45
The third way in which sound affects you is cognitively.
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ื”ื“ืจืš ื”ืฉืœื™ืฉื™ืช ื‘ื” ืฆืœื™ืœื™ื ืžืฉืคื™ืขื™ื ืขืœื™ื ื• ื”ื™ื ืงื•ื’ื ื™ื˜ื™ื‘ื™ืช.
01:48
You can't understand two people talking at once (Voice-over)
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ืื™ ืืคืฉืจ ืœื”ื‘ื™ืŸ ืฉื ื™ื™ื ืฉืžื“ื‘ืจื™ื ื‘ื•-ื–ืžื ื™ืช ["ืื ืืชื” ืžืงืฉื™ื‘ ืœื’ื™ืจืกื” ื–ื•"]
["ืฉืœื™ ืืชื” ื‘ืขืจื•ืฅ ื”ืœื ื ื›ื•ืŸ"] ืื• ื‘ืžืงืจื” ื–ื”, ืœืื—ื“ ืฉืžื“ื‘ืจ ื›ืคื•ืœ.
01:51
or in this case, one person talking twice.
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ื ืกื• ืœื”ืงืฉื™ื‘ ืœืฉื ื™. ["ืขืœื™ืš ืœื‘ื—ื•ืจ ืœืื™ื–ื” ืื ื™ ืชืงืฉื™ื‘"]
01:53
You have to choose which me you're going to listen to.
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01:55
We have a very small amount of bandwidth for processing auditory input,
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ื™ืฉ ืœื ื• ืจื•ื—ื‘ ืคืก ืงื˜ืŸ ืžืื“ ืœืฆื•ืจืš ืขื™ื‘ื•ื“ ื”ืงืœื˜ ื”ืฉืžื™ืขืชื™,
ื•ืœื›ืŸ ืจืขืฉ ื›ื–ื” - [ืจืขืฉื™ ืžืฉืจื“] --
01:59
which is why noise like this ...
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02:00
(Office noise)
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ืžื–ื™ืง ืžืื“ ืœืคืจื™ื•ืŸืฅ
02:01
is extremely damaging for productivity.
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02:03
If you have to work in an open-plan office like this,
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ืื ืขืœื™ื›ื ืœืขื‘ื•ื“ ื‘ื—ืœืœ ืžืฉืจื“ื™ ืคืชื•ื— ื›ื–ื”,
02:06
your productivity is greatly reduced.
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ื”ืคืจื™ื•ืŸ ืฉืœื›ื ืžืฆื˜ืžืฆื ืžืื“.
02:08
And whatever number you're thinking of, it probably isn't as bad as this.
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ื•ื›ื›ืœ ืฉื”ืžืกืคืจ ืฉืขื•ืœื” ื‘ื“ืขืชื ื’ืจื•ืข, ื”ื•ื ื•ื“ืื™ ืœื ืจืข ื›ืžื• ื–ื”.
02:11
[Open-plan offices productivity down 66%]
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[ืžื•ืกื™ืงื” ืžืื™ื™ืžืช]
02:15
You are one-third as productive in open-plan offices as in quiet rooms.
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ื”ืคืจื™ื•ืŸ ื‘ืžืฉืจื“ ืคืชื•ื— ื”ื•ื ืฉืœื™ืฉ ืžืืฉืจ ื‘ื—ื“ืจ ืฉืงื˜.
02:18
I have a tip for you:
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ื•ื™ืฉ ืœื™ ืขืฆื” ืขื‘ื•ืจื›ื. ืื ืขืœื™ื›ื ืœืขื‘ื•ื“ ื‘ื—ืœืœื™ื ื›ืืœื”,
02:20
if you work in spaces like that, carry headphones with you,
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ื”ืจื›ื™ื‘ื• ืื•ื–ื ื™ื•ืช ืขื ืฆืœื™ืœื™ื ืžืจื’ื™ืขื™ื ื›ืžื• ืฉื™ืจืช ืฆื™ืคื•ืจื™ื.
02:22
with a soothing sound like birdsong.
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02:24
Put them on, and your productivity goes back up to triple what it would be.
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ื”ืจื›ื™ื‘ื• ืื•ืชืŸ, ื•ื”ืคืจื™ื•ืŸ ืฉืœื›ื ื™ื’ื“ืœ ืฉื•ื‘ ืคื™ ืฉืœื•ืฉ.
ื”ื“ืจืš ื”ืจื‘ื™ืขื™ืช ื‘ื” ื”ืฆืœื™ืœื™ื ืžืฉืคื™ืขื™ื ืขืœื™ื ื• ื”ื™ื ื”ืชื ื”ื’ื•ืชื™ืช.
02:28
The fourth way in which sound affects us is behaviorally.
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02:31
With all that other stuff going on,
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ืขื ื›ืœ ืžื” ืฉืงื•ืจื” ืžืกื‘ื™ื‘, ื–ื” ื”ื™ื” ืžื“ื”ื™ื
02:33
it would be amazing if our behavior didn't change.
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ืื™ืœื• ื”ืชื ื”ื’ื•ืชื ื• ืœื ื”ื™ืชื” ืžืฉืชื ื”.
02:35
(Techno music)
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[ืžื•ืกื™ืงืช ื˜ื›ื ื• ื‘ืžื›ื•ื ื™ืช]. ื”ืื ื ืจืื” ืœื›ื ืฉืื“ื ื–ื” ื™ื ื”ื’
02:36
So ask yourself: Is this person ever going to drive
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ื‘ืžื”ื™ืจื•ืช ืงื‘ื•ืขื” ืฉืœ 45 ืงืž"ืฉ? ืœื ื ืจืื” ืœื™.
02:39
at a steady 28 miles per hour?
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02:40
I don't think so.
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02:41
At the simplest, you move away from unpleasant sound
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ื‘ื“"ื› ื”ื ื˜ื™ื” ื”ื™ื ืœื”ืชืจื—ืง ืžืฆืœื™ืœ ืœื ื ืขื™ื
02:44
and towards pleasant sounds.
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ื•ืœื”ืชืงืจื‘ ืœืฆืœื™ืœื™ื ื ืขื™ืžื™ื.
02:46
So if I were to play this ...
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ืื– ืื ืืฉืžื™ืข ืืช ื–ื” -- [ืคื˜ื™ืฉ ืื•ื•ื™ืจ] --
02:47
(Jackhammer)
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02:48
for more than a few seconds, you'd feel uncomfortable;
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ืœืžืฉืš ื™ื•ืชืจ ืžืฉื ื™ื•ืช ืกืคื•ืจื•ืช, ืชืจื’ื™ืฉื• ืื™-ื ื•ื—ื•ืช;
02:51
for more than a few minutes, you'd be leaving the room in droves.
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ืื—ืจื™ ื›ืžื” ื“ืงื•ืช, ืชืฆืื• ื›ื•ืœื›ื ืžื”ืื•ืœื.
02:54
For people who can't get away from noise like that,
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ืœื’ื‘ื™ ืื ืฉื™ื ืฉืœื ื™ื›ื•ืœื™ื ืœื”ืชืจื—ืง ืžืจืขืฉ ื›ื–ื”,
ื”ื•ื ืžื–ื™ืง ื‘ื™ื•ืชืจ ืœื‘ืจื™ืื•ืชื.
02:57
it's extremely damaging for their health.
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ื•ื–ื” ืœื ื”ื ื–ืง ื”ื™ื—ื™ื“ ืฉืœ ืฆืœื™ืœ ืจืข.
02:59
And that's not the only thing that bad sound damages.
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03:01
Most retail sound is inappropriate and accidental, even hostile,
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ืจื•ื‘ ืฆืœื™ืœื™ ื”ืžื›ื™ืจื•ืช ืื™ื ื ืžืชืื™ืžื™ื, ืืงืจืื™ื™ื ื•ืืฃ ืขื•ื™ื ื™ื,
03:04
and it has a dramatic effect on sales.
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ื•ื™ืฉ ืœื”ื ื”ืฉืคืขื” ื“ืจืžื˜ื™ืช ืขืœ ื”ืžื›ื™ืจื•ืช.
03:07
For you retailers, you may want to look away before I show this slide.
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ืœืื ืฉื™ ื”ืžื›ื™ืจื•ืช ืฉื‘ื›ื, ืื•ืœื™ ืœื ืชืจืฆื• ืœืจืื•ืช
ืืช ื”ืฉื™ืงื•ืคื™ืช ื”ื‘ืื”.
03:10
[Inappropriate retail soundscapes sales down 28%]
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03:12
They're losing up to 30 percent of their business
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ื”ื ืžืคืกื™ื“ื™ื 30 ืื—ื•ื– ืžื”ืžื›ื™ืจื•ืช ืฉืœื”ื
ื›ื™ ืื ืฉื™ื ืžืžื”ืจื™ื ืœืฆืืช ืžื”ื—ื ื•ืช, ืื• ืžืกืชื•ื‘ื‘ื™ื ื›ื‘ืจ ื‘ืคืชื—.
03:15
with people leaving shops faster, or just turning around at the door.
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ื›ื•ืœื ื• ืขืฉื™ื ื• ืืช ื–ื”, ืขื–ื‘ื ื• ืืช ื”ืžืงื•ื
03:18
We've all done it, left the area,
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ืžืคื ื™ ืฉื”ืฆืœื™ืœื™ื ืฉื ื›ื” ืื™ื•ืžื™ื.
03:20
because the sound in there is so dreadful.
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03:22
I want to spend just a moment talking about the model we've developed,
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ืื ื™ ืจื•ืฆื” ืœืฉื•ื—ื— ืื™ืชื›ื ืœืจื’ืข
ืขืœ ื”ืžื•ื“ืœ ืฉืคื™ืชื—ื ื•, ืฉืžืืคืฉืจ ืœื ื• ืœื”ืชื—ื™ืœ ืžื”ื”ืชื—ืœื”
03:25
which allows us to start at the top and look at the drivers of sound,
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ื•ืœื‘ื—ื•ืŸ ืืช ืžืงื•ืจื•ืช ื”ืฆืœื™ืœ, ืœื ืชื— ืืช ื”ื ื•ืฃ ื”ืฆืœื™ืœื™,
03:28
analyze the soundscape
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03:29
and then predict the four outcomes I just talked about.
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ื•ืœื—ื–ื•ืช ืืช ืืจื‘ืข ื”ืชื•ืฆืื•ืช ืฉื–ื” ืขืชื” ื”ื–ื›ืจืชื™.
ืื• ืœื”ืชื—ื™ืœ ื‘ืกื•ืฃ,
03:32
Or start at the bottom and say what outcomes we want,
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ืœืงื‘ื•ืข ืžื” ื”ื”ืฉืคืขื•ืช ื”ืจืฆื•ื™ื•ืช ืœื ื•,
03:35
and then design a soundscape to have a desired effect.
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ื•ืื– ืœืขืฆื‘ ืืช ื”ื ื•ืฃ ื”ืฆืœื™ืœื™ ื›ื“ื™ ืœืงื‘ืœ ืืช ื”ืืคืงื˜ ื”ืจืฆื•ื™.
ืกื•ืฃ ืกื•ืฃ ืื ื• ื™ื›ื•ืœื™ื ืœื™ื™ืฉื ื™ื“ืข ืžื“ืขื™.
03:38
At last we've got some science we can apply.
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ื•ืื ื• ืขื•ืกืงื™ื ื‘ืขื™ืฆื•ื‘ ื ื•ืคื™ ืฆืœื™ืœื™ื.
03:40
And we're in the business of designing soundscapes.
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03:42
Just a word on music.
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ืžื™ืœื” ืขืœ ืžื•ืกื™ืงื”. ื”ืžื•ืกื™ืงื” ื”ื™ื ื”ืฆืœื™ืœ ื‘ื›ืœ ื”ื”ืฉืคืขื” ื”ืจื‘ื” ื‘ื™ื•ืชืจ,
03:43
Music is the most powerful sound there is, often inappropriately deployed.
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ื•ืœืจื•ื‘ ืžืฉืชืžืฉื™ื ื‘ื” ื‘ืฆื•ืจื” ืฉื’ื•ื™ื”.
03:47
It's powerful for two reasons:
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ื”ื™ื ืจื‘ืช-ืขื•ืฆืžื” ืžืฉืชื™ ืกื™ื‘ื•ืช. ืžื–ื”ื™ื ืื•ืชื” ืžื”ืจ.
03:49
you recognize it fast, and you associate it very powerfully.
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ื•ืžืงืฉืจื™ื ืื•ืชื” ืžืื“ ื—ื–ืง.
03:52
I'll give you two examples.
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ืืชืŸ 2 ื“ื•ื’ืžืื•ืช. [ื”ืืงื•ืจื“ ื”-1 ืž-"ืœื™ืœื” ืฉืœ ื™ื•ื ืžืคืจืš" ืฉืœ ื”ื‘ื™ื˜ืœืก]
03:53
(First chord of "A Hard Day's Night")
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03:55
Most of you recognize that immediately.
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ืžืจื‘ื™ืชื›ื ืžื›ื™ืจื™ื ืืช ื–ื” ืžื™ื“.
03:57
The younger, maybe not.
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ืื•ืœื™ ืœื ื”ืฆืขื™ืจื™ื ื™ื•ืชืจ. [ืฆื—ื•ืง]
03:58
(Laughter)
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04:00
(First notes of "Jaws" theme)
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[ืฉื ื™ ื”ืชื•ื•ื™ื ื”ืจืืฉื•ื ื™ื ืžื ืขื™ืžืช "ืžืœืชืขื•ืช"] ื•ืžืจื‘ื™ืชื›ื ื•ื“ืื™ ืžืงืฉืจื™ื ืืช ื–ื” ืขื ืžืฉื”ื•!
04:01
Most of you associate that with something!
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04:03
Now, those are one-second samples of music.
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ื•ืืœื” ื“ื’ื™ืžื•ืช ืžื•ืกื™ืงื” ื‘ืื•ืจืš ืฉืœ ืฉื ื™ื” ืื—ืช.
04:05
Music is very powerful,
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ืœืžื•ืกื™ืงื” ื™ืฉ ืขื•ืฆืžื” ืจื‘ื”, ื•ืœืžืจื‘ื” ื”ืฆืขืจ
04:06
and unfortunately, it's veneering commercial spaces, often inappropriately.
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ื”ื™ื ืžืฉืžืฉืช ืœืฆื™ืคื•ื™ ื—ืœืœื™ ืคืจืกื•ื. ื‘ื“"ื› ืฉืœื ื›ืจืื•ื™.
04:10
I hope that's going to change over the next few years.
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ืื ื™ ืžืงื•ื•ื” ืฉื–ื” ื™ืฉืชื ื” ืชื•ืš ื›ืžื” ืฉื ื™ื.
04:13
Let me talk about brands for a moment, since some of you run brands.
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ื”ื‘ื” ื•ืื•ืžืจ ืžืฉื”ื• ืขืœ ืžื•ืชื’ื™ื,
ื›ื™ ื›ืžื” ืžื›ื ืžื ื”ืœื™ื ืžื•ืชื’ื™ื. ื›ืœ ืžื•ืชื’ ื‘ืขื•ืœื
04:16
Every brand is out there making sound right now.
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ืžืฉืžื™ืข ื‘ื–ื” ื”ืจื’ืข ืฆืœื™ืœ ื›ืœืฉื”ื•.
04:19
There are eight expressions of a brand in sound; they're all important.
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ืœื›ืœ ืžื•ืชื’ ื™ืฉ ืฉืžื•ื ื” ื‘ื™ื˜ื•ื™ื™ ืฆืœื™ืœ.
ื•ื›ื•ืœื ื—ืฉื•ื‘ื™ื. ื•ื›ืœ ืžื•ืชื’ ืฆืจื™ืš ืฉื™ื”ื™ื• ื‘ืžืจื›ื–ื• ืงื•ื•ื™ื ืžื ื—ื™ื.
04:22
And every brand needs to have guidelines at the center.
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ืื ื™ ืฉืžื— ืœืฆื™ื™ืŸ ืฉื–ื” ืžืชื—ื™ืœ ืœืงืจื•ืช.
04:25
I'm glad to say that is starting to happen now.
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[ื”ื–ืžืจื™ืจ ืฉืœ 'ืื™ื ื˜ืœ']
04:27
(Intel ad jingle)
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04:29
You all recognize that one.
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ื›ื•ืœื›ื ืžื›ื™ืจื™ื ืืช ื–ื”. [ื ืขื™ืžื•ืŸ ืฉืœ 'ื ื•ืงื™ื”']. ื–ื”ื• ื”ืฆืœื™ืœ
04:30
(Nokia ringtone)
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04:31
This is the most-played tune in the world today --
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ื”ื›ื™ ืžื•ืฉืžืข ื›ื™ื•ื ื‘ืขื•ืœื.
ื”ืžื ื’ื™ื ื” ื”ื–ื• ืžื•ืฉืžืขืช 1.8 ืžื™ืœื™ืืจื“ ืคืขื ื‘ื™ื•ื.
04:34
1.8 billion times a day, that tune is played.
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04:36
(Laughter)
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04:37
And it cost Nokia absolutely nothing.
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ื•ื–ื” ืœื ืขื•ืœื” ื›ืœื•ื ืœื ื•ืงื™ื”.
04:40
I'll leave you with four golden rules, for those of you who run businesses,
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ืืฉืื™ืจ ืœื›ื ืืจื‘ืข ื›ืœืœื™ ื–ื”ื‘, ืœืืœื” ืžื›ื ืฉืžื ื”ืœื™ื ืขืกืง,
ืœื’ื‘ื™ ื”ืฆืœื™ืœ ื”ืžืกื—ืจื™.
04:43
for commercial sound.
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04:44
First, make it congruent,
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ืจืืฉื™ืช, ืขืฉื• ืื•ืชื• ืขื•ืงื‘,
04:46
pointing in the same direction as your visual communication.
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ื›ืš ืฉื™ื•ืจื” ืœืื•ืชื• ื›ื™ื•ื•ืŸ ื›ืžื• ื”ืชืงืฉื•ืจืช ื”ื•ื™ื–ื•ืืœื™ืช ืฉืœื›ื.
ื–ื” ื™ื’ื‘ื™ืจ ืืช ื”ื”ืฉืคืขื” ื‘ื™ื•ืชืจ ืž-1,100 ืื—ื•ื–.
04:49
That increases impact by over 1,100 percent.
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ืื ื”ืฆืœื™ืœ ืฉืœื›ื ืžืฆื‘ื™ืข ืœื›ื™ื•ื•ืŸ ื”ื”ืคื•ืš, ื‘ืœืชื™-ืขื•ืงื‘,
04:52
If your sound is pointing the opposite direction, incongruent,
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04:55
you reduce impact by 86 percent.
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ื”ื”ืฉืคืขื” ืคื•ื—ืชืช ื‘-86 ืื—ื•ื–.
04:57
That's an order of magnitude, up or down.
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ื–ื” ืกื“ืจ ื”ื’ื•ื“ืœ, ืœืžืขืœื” ืื• ืœืžื˜ื”.
04:59
This is important.
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ื–ื” ื—ืฉื•ื‘.
05:01
Secondly, make it appropriate to the situation.
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ืฉื ื™ืช, ื”ืชืื™ืžื• ืื•ืชื• ืœื ืกื™ื‘ื•ืช.
05:04
Thirdly, make it valuable.
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ืฉืœื™ืฉื™ืช, ื”ืงื ื• ืœื• ืขืจืš. ืชื ื• ืœืื ืฉื™ื ืžืฉื”ื• ื™ื—ื“ ืขื ื”ืฆืœื™ืœ.
05:05
Give people something with the sound, don't just bombard them with stuff.
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ืœื ืกืชื ืœื”ืคืฆื™ืฅ ืื•ืชื ื‘ื•.
ื•ืœื‘ืกื•ืฃ, ื‘ื™ื“ืงื• ืื•ืชื• ืฉื•ื‘ ื•ืฉื•ื‘.
05:09
Finally, test and test it again.
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05:10
Sound is complex; there are many countervailing influences.
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ืฆืœื™ืœ ื”ื•ื ื“ื‘ืจ ืžื•ืจื›ื‘. ื™ืฉ ื”ืจื‘ื” ื”ืฉืคืขื•ืช ืกื•ืชืจื•ืช.
ื–ื” ืงืฆืช ื›ืžื• ืงืขืจืช ืกืคื’ื˜ื™:
05:13
It can be a bit like a bowl of spaghetti:
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ืœืคืขืžื™ื ืฆืจื™ืš ืคืฉื•ื˜ ืœืื›ื•ืœ ืืช ื–ื” ื•ืœืจืื•ืช ืžื” ืงื•ืจื”.
05:15
sometimes you just have to eat it and see what happens.
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05:18
So I hope this talk has raised sound in your consciousness.
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ืื– ืื ื™ ืžืงื•ื•ื” ืฉื”ื”ืจืฆืื” ื”ื–ื• ื”ื‘ื™ืื” ืืช ื”ืฆืœื™ืœ ืœืžื•ื“ืขื•ืชื›ื.
05:20
If you're listening consciously,
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ืื ืืชื ืžืงืฉื™ื‘ื™ื ื‘ืฆื•ืจื” ืžื•ื“ืขืช,
05:22
you can take control of the sound around you.
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ืชื•ื›ืœื• ืœืงื—ืช ืืช ื”ืฉืœื™ื˜ื” ืขืœ ื”ืฆืœื™ืœื™ื ืฉืžืกื‘ื™ื‘ื›ื.
05:24
It's good for your health and for your productivity.
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ื–ื” ื˜ื•ื‘ ืœื‘ืจื™ืื•ืช ื•ืœืคืจื™ื•ืŸ ืฉืœื›ื.
ืื ื›ื•ืœื ื• ื ืขืฉื” ื–ืืช, ื ื’ื™ืข ืœืžืฆื‘
05:27
If we all do that, we move to a state
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ืฉืื ื™ ื—ื•ืฉื‘ ืขืœื™ื• ื›ืขืœ ื—ื™ื™ื ื‘ืฆืœื™ืœ ื”ื ื›ื•ืŸ.
05:29
that I like to think will be sound living in the world.
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05:31
I'll leave you with more birdsong. (Birds chirping)
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ืืฉืื™ืจ ืืชื›ื ืขื ืขื•ื“ ืงืฆืช ืฉื™ืจืช ืฆื™ืคื•ืจื™ื. [ืฆื™ื•ืฅ ืฆื™ืคื•ืจื™ื]
ืื ื™ ืžืžืœื™ืฅ ืขืœ ื—ืžืฉ ื“ืงื•ืช ืœืคื—ื•ืช ืœื™ื•ื. ืื™ืŸ ืžื™ื ื•ืŸ ืžื™ืจื‘ื™.
05:34
I recommend at least five minutes a day, but there's no maximum dose.
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ืชื•ื“ื” ืขืœ ืฉื”ื™ื˜ื™ืชื ืœื™ ืื•ื–ืŸ ื”ื™ื•ื.
05:37
Thank you for lending me your ears today.
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[ืžื—ื™ืื•ืช ื›ืคื™ื™ื]
05:39
(Applause)
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ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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