The mad scientist of music | Mark Applebaum

Translator: Joseph Geni Reviewer: Thu-Huong Ha

Prevodilac: Tijana Mihajlović Lektor: Mile Živković

I thought if I skipped it might help my nerves,

Mislio sam da će mi poskakivanje pomoći sa nervozom,

but I'm actually having a paradoxical reaction to that,

ali u stvari imam paradoksalnu reakciju na to,

so that was a bad idea. (Laughter)

pa je to bila loša ideja. (Smeh)

Anyway, I was really delighted to receive the invitation

Kako god, zaista mi je bilo drago da primim pozivnicu

to present to you some of my music and some of my work

da predstavim deo svoje muzike i svog rada

as a composer, presumably because it appeals

kao kompozitora, verovatno zato što to odgovara

to my well-known and abundant narcissism. (Laughter)

mom dobro poznatom i obilnom narcisizmu. (Smeh)

And I'm not kidding, I just think we should just

Ne šalim se; samo mislim da bi trebalo to da kažemo

say that and move forward. (Laughter)

i krenemo napred. (Smeh)

So, but the thing is, a dilemma quickly arose,

Stvar je u tome da se brzo javila dilema,

and that is that I'm really bored with music,

a to je da mi je muzika stvarno dosadila

and I'm really bored with the role of the composer,

i da mi je stvarno dosadila uloga kompozitora,

and so I decided to put that idea, boredom,

pa sam odlučio da stavim tu ideju - dosadu -

as the focus of my presentation to you today.

u središte moje današnje prezentacije.

And I'm going to share my music with you, but I hope

Podeliću svoju muziku sa vama, ali se nadam

that I'm going to do so in a way that tells a story,

da ću to uraditi na način koji priča priču,

tells a story about how I used boredom as a catalyst

priču o tome kako sam koristio dosadu kao katalizator

for creativity and invention, and how boredom

za kreativnost i inventivnost i kako me je dosada

actually forced me to change the fundamental question

u stvari naterala da promenim osnovno pitanje

that I was asking in my discipline,

koje sam postavljao u svojoj disciplini

and how boredom also, in a sense,

i kako me je dosada u nekom smislu

pushed me towards taking on roles beyond the sort of

pogurala da prihvatim uloge van najtradicionalnije,

most traditional, narrow definition of a composer.

uske definicije kompozitora.

What I'd like to do today is to start with an excerpt

Želeo bih da danas započnem odlomkom

of a piece of music at the piano.

iz muzičkog dela na klaviru.

(Music)

(Muzika)

Okay, I wrote that. (Laughter)

OK. Ja sam to napisao. (Smeh)

No, it's not — (Applause) Oh, why thank you.

Ne, nisam. (Aplauz) Oh, pa hvala vam.

No, no, I didn't write that.

Ne, ne, ja to nisam napisao.

In fact, that was a piece by Beethoven,

U stvari, to je bilo Betovenovo delo,

and so I was not functioning as a composer.

te nisam funkcionisao kao kompozitor.

Just now I was functioning in the role of the interpreter,

Upravo sam bio izvođač

and there I am, interpreter.

i eto me - izvođač.

So, an interpreter of what? Of a piece of music, right?

Izvođač čega? Muzičkog dela, zar ne?

But we can ask the question, "But is it music?"

Međutim, možemo postaviti pitanje: „Da li je to muzika?"

And I say this rhetorically, because of course

Kažem ovo retorički jer, naravno,

by just about any standard we would have to concede

prema svakom standardu se moramo složiti

that this is, of course, a piece of music,

da je ovo, naravno, muzičko delo,

but I put this here now because,

ali stavio sam ovo ovde sada,

just to set it in your brains for the moment,

čisto da ga imate na umu na trenutak,

because we're going to return to this question.

jer ćemo se vraćati na ovo pitanje.

It's going to be a kind of a refrain

Biće to neka vrsta refrena

as we go through the presentation.

kako budemo išli kroz prezentaciju.

So here we have this piece of music by Beethoven,

Dakle, ovde imamo Betovenovo muzičko delo,

and my problem with it is, it's boring.

a moj problem s njim je - dosadno je.

I mean, you — I'm just like, a hush, huh -- It's like -- (Laughter)

Mislim, vi - ja samo - ššš, ššš - to je kao - (Smeh)

It's Beethoven, how can you say that?

To je Betoven.

Kako možeš da kažeš nešto tako?

No, well, I don't know, it's very familiar to me.

Pa, ne znam. Poznato mi je.

I had to practice it as a kid, and I'm really sick of it. So -- (Laughter)

Morao sam da ga vežbam kao dete

i muka mi je od njega, pa - (Smeh)

I would, so what I might like to try to do is to change it,

Možda bi mi se dopalo da ga promenim,

to transform it in some ways, to personalize it,

transformišem na neki način, da ga učinim ličnim,

so I might take the opening, like this idea --

pa bih mogao uzeti uvod, kao ovu ideju -

(Music)

(Muzika)

and then I might substitute -- (Music)

a onda bih mogao da zamenim - (Muzika)

and then I might improvise on that melody

a onda da improvizujem

that goes forward from there -- (Music)

sa tom melodijom koja ide odatle -

(Music)

(Muzika)

So that might be the kind of thing -- Why thank you.

Dakle, to bi mogla biti stvar - Oh, pa hvala.

(Applause)

(Aplauz)

That would be the kind of thing that I would do,

To bi bilo ono što bih uradio

and it's not necessarily better than the Beethoven.

i to ne mora da bude bolje od Betovena.

In fact, I think it's not better than it. The thing is -- (Laughter) --

U stvari, mislim da nije bolja. Stvar je u tome - (Smeh)

it's more interesting to me. It's less boring for me.

da je meni interesantnija. Manje mi je dosadna.

I'm really leaning into me, because I, because I have

Moram se osloniti na sebe, jer ja moram da mislim

to think about what decisions I'm going to make on the fly

o tome koje ću odluke doneti u trenutku

as that Beethoven text is running in time through my head

dok taj Betovenov tekst teče kroz vreme u mojoj glavi

and I'm trying to figure out what kinds of transformations

i ja pokušavam da shvatim

I'm going to make to it.

kakve ću promene da primenim.

So this is an engaging enterprise for me, and

To je, dakle, poduhvat koji me angažuje,

I've really leaned into that first person pronoun thing there,

a zaista sam se oslonio na zamenicu prvog lica ovde,

and now my face appears twice, so I think we can agree

pa se sada moje lice pojavljuje dvaput,

that this is a fundamentally solipsistic enterprise. (Laughter)

da ćemo se složiti da je ovo u osnovi solipsističan poduhvat, (Smeh)

But it's an engaging one, and it's interesting to me

ali zahteva angažovanje, pa mi je neko vreme interesantan,

for a while, but then I get bored with it, and by it,

ali mi i to onda dosadi,

I actually mean, the piano, because it becomes,

a pod tim podrazumevam klavir, zato što postane -

it's this familiar instrument, it's timbral range is actually

to je poznat instrument. Domet boje njegovog zvuka je

pretty compressed, at least when you play on the keyboard,

u stvari prilično zbijen, bar kada svirate na klavijaturama,

and if you're not doing things like listening to it

osim ako ga ne slušate

after you've lit it on fire or something like that, you know.

pošto ste ga zapalili ili nešto slično, znate.

It gets a little bit boring, and so pretty soon

Postane dosadnjikav i prilično brzo se okrećem

I go through other instruments, they become familiar,

drugim instrumentima, pa oni postanu poznati

and eventually I find myself designing and constructing

i na kraju zateknem sebe da dizajniram i gradim

my own instrument, and I brought one with me today,

sopstveni instrument, a ovaj sam danas doneo sa sobom

and I thought I would play a little bit on it for you

i mislio da vam malo sviram na njemu

so you can hear what it sounds like.

da biste mogli da čujete kako zvuči.

(Music)

(Muzika)

You gotta have doorstops, that's important. (Laughter)

Morate da imate šarke; to je važno. (Smeh)

I've got combs. They're the only combs that I own. (Music)

Imam češljeve. To su jedini češljevi koje posedujem. (Smeh)

They're all mounted on my instruments. (Laughter)

Svi su montirani na mojim instrumentima. (Smeh)

(Music)

(Muzika)

I can actually do all sorts of things. I can play

Mogu da radim različite stvari; mogu da sviram gudalom violine.

with a violin bow. I don't have to use the chopsticks.

Ne moram da koristim štapiće za jelo.

So we have this sound. (Music)

Imamo ovaj zvuk. (Muzika)

And with a bank of live electronics,

A sa bankom žive elektronike,

I can change the sounds radically. (Music)

mogu radikalno da promenim zvukove.

(Music)

(Muzika)

Like that, and like this. (Music)

Ovako i ovako, (Muzika)

And so forth.

i tako dalje.

So this gives you a little bit of an idea of the sound world

Ovo vam donekle daje predstavu o svetu zvukova

of this instrument, which I think is quite interesting

ovog instrumenta, za koji mislim da je prilično interesantan,

and it puts me in the role of the inventor, and the nice thing about —

a što me stavlja u ulogu pronalazača, a lepa stvar u vezi -

This instrument is called the Mouseketeer ... (Laughter)

Ovaj instrument se zove „Mišketar" - (Smeh)

and the cool thing about it is

a super stvar u vezi sa tim je

I'm the world's greatest Mouseketeer player. (Laughter)

da sam najbolji svetski svirač „Mišketara" na svetu. (Smeh)

Okay? (Applause)

U redu? (Aplauz)

So in that regard, this is one of the things,

U tom pogledu, ovo je jedna stvar,

this is one of the privileges of being,

jedna od privilegija,

and here's another role, the inventor, and by the way,

a evo i druge uloge, izumitelja, a uzgred budi rečeno,

when I told you that I'm the world's greatest,

kada sam vam rekao da sam najbolji na svetu,

if you're keeping score, we've had narcissism and solipsism

ako neko vodi evidenciju, imali smo narcisizam i solisizam,

and now a healthy dose of egocentricism.

a sada i zdravu dozu egocentrizma.

I know some of you are just, you know, bingo! Or, I don't know. (Laughter)

Znam da su neki od vas rekli - bingo! Ili, ne znam. (Smeh)

Anyway, so this is also a really enjoyable role.

Dakle, ovo je vrlo prijatna uloga.

Treba da priznam da sam

I should concede also that I'm the world's worst Mouseketeer player,

i najgori svetski svirač „Mišketara"

and it was this distinction that I was most worried about

i zbog te odlike sam najviše brinuo

when I was on that prior side of the tenure divide.

dok sam bio na prethodnoj strani podele mesta.

I'm glad I'm past that. We're not going to go into that.

Drago mi je da se to završilo, Nećemo više zalaziti u to.

I'm crying on the inside. There are still scars.

Plačem iznutra; još imam ožiljke.

Anyway, but I guess my point is that all of these enterprises

Pretpostavljam da je moja poenta da me svi ovi poduhvati okupiraju

are engaging to me in their multiplicity, but as I've presented them

svojom raznovrsnošću, ali kako sam vam ih danas i predstavio,

to you today, they're actually solitary enterprises,

oni su u stvari usamljeni poduhvati

and so pretty soon I want to commune with other people, and so

te uskoro želim da komuniciram sa ljudima,

I'm delighted that in fact I get to compose works for them.

pe sam oduševljen što mogu da komponujem dela za njih.

I get to write, sometimes for soloists and I get to work with one person,

Mogu pisati, nekada za soliste, te radim sa jednom osobom,

sometimes full orchestras, and I work with a lot of people,

a nekada sa čitavim orkestrima, pa radim sa puno ljudi.

and this is probably the capacity, the role creatively

Ovo je verovatno kapacitet, kreativna uloga

for which I'm probably best known professionally.

po kojoj sam verovatno najbolje poznat u poslu.

Now, some of my scores as a composer look like this,

Neki od mojih kompozitorskih tonova izgledaju ovako,

and others look like this,

drugi ovako,

and some look like this,

a neki ovako.

and I make all of these by hand, and it's really tedious.

Sve ih ručno zapisujem, a to je stvarno dosadno.

It takes a long, long time to make these scores,

Treba puno, puno vremena da se ovi tonovi zapišu,

and right now I'm working on a piece

a trenutno radim na delu

that's 180 pages in length,

koje ima 180 strana.

and it's just a big chunk of my life, and I'm just pulling out hair.

To je dobar deo mog života i jednostavno mi dođe da počupam kosu.

I have a lot of it, and that's a good thing I suppose. (Laughter)

Imam je puno, a to je, pretpostavljam, dobra stvar.

So this gets really boring and really tiresome for me,

Dakle, ovo postaje stvarno dosadno i zamorno za mene.

Posle nekog vremena, proces zapisivanja nota

so after a while the process of notating is not only boring,

nije samo dosadan,

but I actually want the notation to be more interesting,

već u stvari poželim da zapisivanje postane zanimljivije.

and so that's pushed me to do other projects like this one.

To me je navelo da radim projekte kao što je ovaj.

This is an excerpt from a score called

Ovo je odlomak iz notnog zapisa koji se zove

"The Metaphysics of Notation."

„Metafizika zapisivanja nota".

The full score is 72 feet wide.

Celokupni notni zapis širok je 22 metra.

It's a bunch of crazy pictographic notation.

To je gomila ludih piktografskih notnih zapisa.

Let's zoom in on one section of it right here. You can see

Hajde da uvećamo jedan deo ovde, Možete da vidite

it's rather detailed. I do all of this with drafting templates,

da je prilično detaljno. Sve ovo radim preko skiciranih obrazaca,

with straight edges, with French curves, and by freehand,

pravih uglova, francuskih krivih linija i slobodnom rukom,

and the 72 feet was actually split

a tih 22 metra bilo je podeljeno

into 12 six-foot-wide panels that were installed

na 12 ploča širine 1,8 metara koje su postavljene

around the Cantor Arts Center Museum lobby balcony,

oko balkona u predvorju muzeja Centra Kantorove umetnosti,

and it appeared for one year in the museum,

a bili su izloženi godinu dana u tom muzeju.

and during that year, it was experienced as visual art

Tokom te godine, doživljavani su kao vizuelna umetnost

most of the week, except, as you can see in these pictures,

većim delom nedelje, osim, kao što vidite na slikama,

on Fridays, from noon til one, and only during that time,

petkom, od podneva do jedan, i samo tokom tog perioda

various performers came and interpreted these strange

dolazili su različiti izvođači i izvodili ove čudne

and undefined pictographic glyphs. (Laughter)

i nedefinisane piktografske znakove. (Smeh)

Now this was a really exciting experience for me.

Ovo je za mene bilo veoma uzbudljivo iskustvo.

It was gratifying musically, but I think

Bilo je muzički prijatno, ali mislim

the more important thing is it was exciting because I got to take on

da je važnija stvar da je bilo uzbudljivo jer sam preuzeo

another role, especially given that it appeared in a museum,

drugu ulogu, posebno zato što je izloženo u muzeju,

and that is as visual artist. (Laughter)

a to znači - vizuelni umetnik. (Smeh)

We're going to fill up the whole thing, don't worry. (Laughter)

Popunićemo celu stvar; ne brinite. (Smeh)

I am multitudes. (Laughter)

Ja sam mnogostruk. (Smeh)

So one of the things is that, I mean, some people

Pa, jedna od stvari je - mislim, neki ljudi bi rekli

would say, like, "Oh, you're being a dilettante,"

nešto kao: „Oh, ponašaš se kao diletant",

and maybe that's true. I can understand how, I mean,

a možda je to i istina. Mogu to da razumem

because I don't have a pedigree in visual art

jer nemam diplomu iz vizuelne umetnosti

and I don't have any training, but it's just something

i nisam prošao obuku, ali je to nešto

that I wanted to do as an extension of my composition,

što sam želeo da uradim kao proširenje svoje kompozicije,

as an extension of a kind of creative impulse.

kao proširenje kreativnog impulsa.

I can understand the question, though. "But is it music?"

Ipak, mogu da razumem pitanje: „Ali, da li je to muzika?"

I mean, there's not any traditional notation.

Tu ne postoji tradicionalno zapisivanje nota.

I can also understand that sort of implicit criticism

Takođe mogu da razumem i implicitnu kritiku

in this piece, "S-tog," which I made when I was living in Copenhagen.

u delu „S-tog" koje sam stvorio dok sam živeo u Kopenhagenu.

I took the Copenhagen subway map and

Uzeo sam mapu kopenhaškog metroa

I renamed all the stations to abstract musical provocations,

i preimenovao sve stanice u apstraktne muzičke provokacije,

and the players, who are synchronized with stopwatches,

a izvođači, koji su sinhronizovani sa štopericama

follow the timetables, which are listed in minutes past the hour.

prate rasporede, koji su izlistani po minutama tokom jednog časa.

So this is a case of actually adapting something,

Ovo je, dakle, slučaj adaptiranja nečega

or maybe stealing something,

ili možda krađe nečega,

and then turning it into a musical notation.

a zatim njegovog pretvaranja u zapisivanje nota.

Another adaptation would be this piece.

Druga adaptacija bi bila ovo delo.

I took the idea of the wristwatch, and I turned it into a musical score.

Uzeo sam ideju ručnog sata i pretvorio je u muzičko delo.

I made my own faces, and had a company fabricate them,

Napravio sam sopstvena lica i dao kompaniji da ih proizvede,

and the players follow these scores.

a izvođači prate ove note.

They follow the second hands, and as they pass over

Prate kazaljke za minute i dok prelaze

the various symbols, the players respond musically.

preko različitih simbola, izvođači reaguju kroz muziku.

Here's another example from another piece,

Evo još jednog primera dela

and then its realization.

i njegove realizacije.

So in these two capacities, I've been scavenger,

Dakle, u ova dva slučaja, bio sam skupljač otpada

in the sense of taking, like, the subway map, right,

u smislu uzimanja, recimo, mape metroa

or thief maybe, and I've also been designer,

i možda lopov, a bio sam i dizajner

in the case of making the wristwatches.

u slučaju stvaranja ovih satova.

And once again, this is, for me, interesting.

Ponovo, ovo je za mene bilo zanimljivo.

Another role that I like to take on is that of the performance artist.

Još jedna uloga koju volim da preuzmem je uloga izvođača performansa.

Some of my pieces have these kind of weird theatric elements,

Neka od mojih dela imaju čudne pozorišne elemente,

and I often perform them. I want to show you a clip

a ja ih često izvodim. Želim da vam pokažem snimak

from a piece called "Echolalia."

iz dela pod imenom „Ekolalia".

This is actually being performed by Brian McWhorter,

Izvodi ga Brajan MekVorter,

who is an extraordinary performer.

koji je izuzetan izvođač.

Let's watch a little bit of this, and please notice the instrumentation.

Pogledajmo malo ovo i molim vas, primetite instrumentaciju.

(Music)

(Muzika)

Okay, I hear you were laughing nervously because

OK, čujem da se nervozno smejete

you too could hear that the drill was a little bit sharp,

jer ste i vi čuli da je bušilica previše oštra;

the intonation was a little questionable. (Laughter)

intonacija je malo upitna. (Smeh)

Let's watch just another clip.

Hajde da odgledamo još jedan snimak.

(Music)

(Muzika)

You can see the mayhem continues, and there's, you know,

Možete videti da se haos nastavlja.

there were no clarinets and trumpets

Nema klarineta i truba,

and flutes and violins. Here's a piece that has

flauta i violina. Evo dela koje ima

an even more unusual, more peculiar instrumentation.

još neobičniju, čudniju instrumentaciju.

This is "Tlön," for three conductors and no players. (Laughter)

Ovo je „Tlön" za tri dirigenta i bez izvođača. (Smeh)

This was based on the experience of actually watching

Bazirano je na iskustvu posmatranja

two people having a virulent argument in sign language,

dvoje ljudi koji se žestoko svađaju na znakovnom jeziku,

which produced no decibels to speak of,

što ne proizvodi decibele,

but affectively, psychologically, was a very loud experience.

ali je afektivno, psihološki, bilo veoma glasno iskustvo.

So, yeah, I get it, with, like, the weird appliances

Da, kontam, sa svim tim čudnim uređajima

and then the total absence of conventional instruments

i potpunim odsustvom konvencionalnih instrumenata

and this glut of conductors, people might, you know,

i gomilom dirigenata, ljudi bi se mogli zapitati:

wonder, yeah, "Is this music?"

„Da li je ovo muzika?"

But let's move on to a piece where clearly I'm behaving myself,

Hajde da nastavimo sa delom gde se lepo ponašam,

and that is my "Concerto for Orchestra."

a to je moj „Koncert za orkestar".

You're going to notice a lot of conventional instruments

Primetićete puno konvencionalnih instrumenata

in this clip. (Music)

u snimku.

(Music)

(Muzika)

This, in fact, is not the title of this piece.

U stvari, ovo nije naziv ovog dela.

I was a bit mischievous. In fact, to make it more interesting,

Malo sam bio nestašan. Da bi bilo interesantnije,

I put a space right in here, and this is the actual title of the piece.

ostavio sam prazno mesto ovde, a ovo je pravi naslov dela.

Let's continue with that same excerpt.

Nastavimo sa istim isečkom.

(Music)

(Muzika)

It's better with a florist, right? (Laughter) (Music)

Bolje je sa cvećarom, zar ne? (Smeh) (Muzika)

Or at least it's less boring. Let's watch a couple more clips.

Bar je manje dosadno. Hajde da odgledamo još par snimaka.

(Music)

(Muzika)

So with all these theatric elements, this pushes me in another role,

Sa svim pozorišnim elementima, ovo me stavlja u još jednu ulogu,

and that would be, possibly, the dramaturge.

a to je, moguće, dramaturg.

I was playing nice. I had to write the orchestra bits, right?

Lepo sam se ponašao. Morao sam da napišem delove za orkestar, zar ne?

Okay? But then there was this other stuff, right?

OK? Međutim, postojale su i ove druge stvari, zar ne?

There was the florist, and I can understand that,

Tu je cvećar i mogu razumeti

once again, we're putting pressure on the ontology of music

da, ponovo, stavljamo pritisak na ontologiju muzike

as we know it conventionally,

kakvu tradicionalno poznajemo.

but let's look at one last piece today I'm going to share with you.

Pogledajmo poslednje delo za danas koje ću podeliti sa vama.

This is going to be a piece called "Aphasia,"

Ovo je delo pod nazivom „Afazija"

and it's for hand gestures synchronized to sound,

za pokrete ruke koji su usinhronizovani sa zvukom,

and this invites yet another role, and final one

a ovo predstavlja još jednu ulogu,

I'll share with you, which is that of the choreographer.

poslednju koju ću podeliti sa vama, a to je koreograf.

And the score for the piece looks like this,

Note za delo izgledaju ovako,

and it instructs me, the performer, to make

što meni, izvođaču, daje instrukcije

various hand gestures at very specific times

o različitim pokretima ruku u određenim trenucima

synchronized with an audio tape, and that audio tape

koji su sinhronizovani sa audio trakom,

is made up exclusively of vocal samples.

a ona je napravljena isključivo

od vokalnih uzoraka.

I recorded an awesome singer,

Usnimio sam sjajnog pevača

and I took the sound of his voice in my computer,

i prebacio zvuk njegovog glasa u svoj kompjuter

and I warped it in countless ways to come up with

i izvitoperio ga na bezbrojne načine da bih dobio

the soundtrack that you're about to hear.

snimak koji ćete čuti.

And I'll perform just an excerpt of "Aphasia" for you here. Okay?

Izvešću samo deo „Afazije" za vas. U redu?

(Music)

(Muzika)

So that gives you a little taste of that piece. (Applause)

To vam daje mali uvid u to delo. (Aplauz)

Yeah, okay, that's kind of weird stuff.

Da, OK, to je malo uvrnuto.

Is it music? Here's how I want to conclude.

Da li je to muzika? Evo kako želim da zaključim.

I've decided, ultimately, that this is the wrong question,

Odlučio sam, na kraju, da je ovo pogrešno pitanje,

that this is not the important question.

da ovo nije važno pitanje.

The important question is, "Is it interesting?"

Važno pitanje je: „Da li je interesantno?",

And I follow this question, not worrying about "Is it music?" --

a ja pravim ovo pitanje, ne brinući o tome „Da li je muzika?" -

not worrying about the definition of the thing that I'm making.

o definiciji stvari koju kreiram.

I allow my creativity to push me

Dozvoljavam svojoj kreativnosti

in directions that are simply interesting to me,

da me pogura u pravcu koji mi je interesantan

and I don't worry about the likeness of the result

i ne brinem o tome da li rezultat liči

to some notion, some paradigm,

na neku ideju, paradigmu

of what music composition is supposed to be,

o tome šta bi muzička kompozicija trebalo da bude

and that has actually urged me, in a sense,

i to me je u određenom smislu podstaklo

to take on a whole bunch of different roles,

da preuzmem gomilu različitih uloga.

and so what I want you to think about is,

Ono o čemu bih voleo da razmislite je

to what extent might you change the fundamental question

dokle biste vi mogli da promenite

in your discipline, and, okay,

osnovno pitanje u vašoj disciplini.

I'm going to put one extra little footnote in here,

Staviću još jednu dodatnu belešku ovde

because, like, I realized I mentioned

jer sam shvatio da sam pomenuo

some psychological defects earlier, and we also,

neke psihološke defekte ranije

along the way, had a fair amount of obsessive behavior,

i da smo usput imali priličnu količinu opsesivnog ponašanja,

and there was some delusional behavior and things like that,

deluzionih poremećaja i sličnih stvari,

and here I think we could say that this is an argument

pa mislim da bismo mogli reći da je ovo argument

for self-loathing and a kind of schizophrenia,

za samopreziranje i vrstu šizofrenije,

at least in the popular use of the term,

bar u popularnoj upotrebi ovih termina,

and I really mean dissociative identity disorder, okay. (Laughter)

a stvarno mislim kad kažem

disocijativni poremećaj ličnosti. (Smeh)

Anyway, despite those perils, I would urge you

Uprkos tim opasnostima, zamolio bih vas

to think about the possibility that you might take on roles

da razmislite o tome

šta biste preuzeli od uloga

in your own work, whether they are neighboring

u vašem radu, bilo da su srodne

or far-flung from your professional definition.

ili daleke od vaše profesionalne definicije.

And with that, I thank you very much. (Applause)

Sa tim, hvala vam. (Aplauz)

(Applause)