Michael Tilson Thomas: Music and emotion through time

Translator: Timothy Covell Reviewer: Morton Bast

Prevodilac: Tatjana Jevdjic Lektor: Ivana Korom

Well when I was asked to do this TEDTalk, I was really chuckled,

Kad su me pitali da održim ovaj govor za TED, zagrcnuo sam se,

because, you see, my father's name was Ted,

jer, znate, moj otac se zvao Ted

and much of my life, especially my musical life,

i veliki deo svog života, posebno moj muzički život,

is really a talk that I'm still having with him,

je u stvari razgovor koji još uvek vodim sa njim,

or the part of me that he continues to be.

ili neki deo mene koji je njegov nastavak.

Now Ted was a New Yorker, an all-around theater guy,

Ted je bio Njujorčanin, čovek pozorišta,

and he was a self-taught illustrator and musician.

samouki ilustrator i muzičar.

He didn't read a note,

Nije znao da čita note

and he was profoundly hearing impaired.

i imao je veoma oštećen sluh.

Yet, he was my greatest teacher.

Ipak, on je bio moj najveći učitelj.

Because even through the squeaks of his hearing aids,

Čak i kroz škripu njegovih slušnih pomagala,

his understanding of music was profound.

njegovo razumevanje muzike je bilo suštinsko.

And for him, it wasn't so much the way the music goes

Za njega, nije bilo pitanje kuda muzika ide,

as about what it witnesses and where it can take you.

već o čemu ona svedoči i kuda može da te odvede.

And he did a painting of this experience,

Napravio je sliku ovog iskustva,

which he called "In the Realm of Music."

koju je nazvao "U carstvu muzike."

Now Ted entered this realm every day by improvising

Ted je svaki dan ulazio u ovo carstvo improvizujući

in a sort of Tin Pan Alley style like this.

u Tin Pen Eli stilu kao što je ovo.

(Music)

(Muzika)

But he was tough when it came to music.

Ali bio je oštar kad se radilo o muzici.

He said, "There are only two things that matter in music:

Rekao je: "Samo su dve stvari bitne u muzici:

what and how.

šta i kako.

And the thing about classical music,

Ta stvar kod klasične muzike

that what and how, it's inexhaustible."

to šta i kako, to je neiscrpno."

That was his passion for the music.

Takva je bila njegova strast prema muzici.

Both my parents really loved it.

Oba moja roditelja su je zaista voleli.

They didn't know all that much about it,

Nisu znali mnogo o njoj,

but they gave me the opportunity to discover it

ali su mi pružili mogućnost da je otkrijem

together with them.

zajedno sa njima.

And I think inspired by that memory,

Nadahnut tom uspomenom,

it's been my desire to try and bring it

želim da pokušam da je dam

to as many other people as I can,

što većem broju ljudi,

sort of pass it on through whatever means.

da je prenesem kroz sva sredstva.

And how people get this music, how it comes into their lives,

Kako ljudi primaju ovu muziku, kako ona dolazi u njihove živote,

really fascinates me.

zaista me očarava.

One day in New York, I was on the street

Jednog dana u Njujorku, bio sam na ulici

and I saw some kids playing baseball between stoops and cars and fire hydrants.

i video sam neke klince kako igraju bezbol između tremova, automobila i hidranata.

And a tough, slouchy kid got up to bat,

Snažni, lenji dečko je pošao da lupi palicom,

and he took a swing and really connected.

zamahnuo i zaista pogodio.

And he watched the ball fly for a second,

Sekund je gledao loptu kako leti,

and then he went, "Dah dadaratatatah.

a onda počeo: "Da da da ra ta ta.

Brah dada dadadadah."

Da dada dadadada."

And he ran around the bases.

I optrčao je oko baze.

And I thought, go figure.

Pomislio sam, zamisli.

How did this piece of 18th century Austrian aristocratic entertainment

Kako li se ova austrijska aristokratska zabavna muzika iz 18 veka

turn into the victory crow of this New York kid?

pretvorila u ovo pobedničko likovanje njujorškog klinca?

How was that passed on? How did he get to hear Mozart?

Kako je to preneto? Kako je on čuo Mocarta?

Well when it comes to classical music,

Kad se radi o klasičnoj muzici,

there's an awful lot to pass on,

ima veoma mnogo toga da se prenese,

much more than Mozart, Beethoven or Tchiakovsky.

mnogo više od Mocarta, Betovena ili Čajkovskog.

Because classical music

Jer klasična muzika je

is an unbroken living tradition

neprekinuta živa tradicija

that goes back over 1,000 years.

stara preko 1000 godina.

And every one of those years

I svaka od ovih godina je

has had something unique and powerful to say to us

imala nešto jedinstveno i snažno da nam kaže

about what it's like to be alive.

o tome kako je to biti živ.

Now the raw material of it, of course,

Sirovi materijal toga je, svakako,

is just the music of everyday life.

svakodnevna muzika.

It's all the anthems and dance crazes

To su sve himne, plesovi

and ballads and marches.

i balade i marševi.

But what classical music does

Ali ono što klasična muzika čini je

is to distill all of these musics down,

pročišćavanje sve ove muzike,

to condense them to their absolute essence,

da bi ih sabrala u njihovu apsolutnu suštinu

and from that essence create a new language,

i iz te suštine stvorila nov jezik,

a language that speaks very lovingly and unflinchingly

jezik koji govori odlučno i sa ljubavlju

about who we really are.

o tome ko smo zaista.

It's a language that's still evolving.

To je jezik koji se još uvek razvija.

Now over the centuries it grew into the big pieces we always think of,

Kroz vekove on se razvio u velika dela na koja uvek mislimo,

like concertos and symphonies,

kao što su koncerti i simfonije,

but even the most ambitious masterpiece

ali čak i najambicioznije remek delo

can have as its central mission

može imati svoju osnovnu misiju

to bring you back to a fragile and personal moment --

da te odnese do nežnog i ličnog momenta --

like this one from the Beethoven Violin Concerto.

kao ovaj iz Betovenovog violinskog koncerta.

(Music)

(Muzika)

It's so simple, so evocative.

To je tako jednostavno, tako evocirajuće.

So many emotions seem to be inside of it.

Izgleda da je jako mnogo emocija u njemu.

Yet, of course, like all music,

Ipak, svakako, kao i sva muzika,

it's essentially not about anything.

ova u osnovi nije ni o čemu.

It's just a design of pitches and silence and time.

Ona je samo dizajn tonova i tišine i trajanja.

And the pitches, the notes, as you know, are just vibrations.

A visina tonova, note, kao što znate, su samo vibracije.

They're locations in the spectrum of sound.

One su mesta u zvučnom spektru.

And whether we call them 440 per second, A,

Bez obzira da li ih zovemo 440 po sekundi, A,

or 3,729, B flat -- trust me, that's right --

ili 3 729, sniženo H -- verujte, tačno je --

they're just phenomena.

one su fenomen.

But the way we react to different combinations of these phenomena

Ali način na koji reagujemo na različite kombinacije ovih fenomena

is complex and emotional and not totally understood.

je kompleksan i emotivan i ne potpuno razumljiv.

And the way we react to them has changed radically over the centuries,

Način na koji reagujemo na njih se radikalno promenio kroz vekove,

as have our preferences for them.

kao i naše sklonosti.

So for example, in the 11th century,

Tako na primer, u 11. veku,

people liked pieces that ended like this.

ljudi su voleli komade koji su se ovako završavali.

(Music)

(Muzika)

And in the 17th century, it was more like this.

U 17. veku, bilo je više ovako.

(Music)

(Muzika)

And in the 21st century ...

U 21. veku...

(Music)

(Muzika)

Now your 21st century ears are quite happy with this last chord,

Vaše uši 21. veka su sasvim srećne sa ovakvim poslednjim akordom,

even though a while back it would have puzzled or annoyed you

čak iako bi vas, ne tako davno, zbunjivao i ometao

or sent some of you running from the room.

ili terao neke od vas da istrče iz sobe.

And the reason you like it

Razlog zašto to volite je

is because you've inherited, whether you knew it or not,

što ste nasledili, svesno ili nesvesno,

centuries-worth of changes

promene stare vekovima

in musical theory, practice and fashion.

u muzičkoj teoriji, praksi i modi.

And in classical music we can follow these changes very, very accurately

U klasičnoj muzici mi možemo da pratimo ove promene vrlo precizno,

because of the music's powerful silent partner,

zbog muzičkog moćnog, tihog pratioca,

the way it's been passed on: notation.

načina na koji se prenosio: notnog zapisa.

Now the impulse to notate,

Impuls da se zapiše

or, more exactly I should say, encode music

ili da kažem preciznije, da se kodira muzika

has been with us for a very long time.

postoji veoma dugo.

In 200 B.C., a man named Sekulos

U 200. pre nove ere, čovek koji se zvako Sekulos

wrote this song for his departed wife

je zapisao ovu pesmu za svoju pokojnu ženu

and inscribed it on her gravestone

i uklesao je na njen spomenik

in the notational system of the Greeks.

u grčkom notnom sistemu.

(Music)

(Muzika)

And a thousand years later,

Hiljadu godina kasnije,

this impulse to notate took an entirely different form.

želja da se pravi notni zapis je dobila potpuno drugu formu.

And you can see how this happened

Možete videti kako se to desilo,

in these excerpts from the Christmas mass "Puer Natus est nobis,"

u ovim izvodima hrišćanske mise "Puer Natus est nobis",

"For Us is Born."

"Dete nam se rodilo".

(Music)

(Muzika)

In the 10th century, little squiggles were used

U 10. veku, koristile su se kukice

just to indicate the general shape of the tune.

samo da naznače generalni oblik melodije.

And in the 12th century, a line was drawn, like a musical horizon line,

U 12. veku, postojala je linija, kao linija muzičkog horizonta,

to better pinpoint the pitch's location.

da bi bolje prikazala visinu tona.

And then in the 13th century, more lines and new shapes of notes

Potom u 13. veku, više linija i novih oblika nota

locked in the concept of the tune exactly,

su potpuno tačno prikazali melodiju,

and that led to the kind of notation we have today.

to je vodilo do notnog zapisa koji danas imamo.

Well notation not only passed the music on,

Notni zapis nije samo preneo muziku,

notating and encoding the music changed its priorities entirely,

već je potpuno promenio njene prioritete,

because it enabled the musicians

jer je omogućio muzičarima

to imagine music on a much vaster scale.

da zamisle muziku u mnogo široj razmeri.

Now inspired moves of improvisation

Inspirisani pokreti improvizacije

could be recorded, saved, considered, prioritized,

se mogu snimiti, sačuvati, razmatrati, menjati raspored,

made into intricate designs.

praviti složene kompozicije.

And from this moment, classical music became

Od ovog momenta, klasična muzika je postala

what it most essentially is,

ono što u stvari i jeste,

a dialogue between the two powerful sides of our nature:

dijalog između dve moćne strane naše prirode:

instinct and intelligence.

instinkta i inteligencije.

And there began to be a real difference at this point

U ovoj tački počinje stvarna razlika

between the art of improvisation

između umetnosti improvizacije

and the art of composition.

i umetnosti kompozicije.

Now an improviser senses and plays the next cool move,

Improvizator oseća i svira sledeći interesantan ton,

but a composer is considering all possible moves,

ali kompozitor razmatra sve moguće tonove,

testing them out, prioritizing them out,

testira ih, određuje glavne tonove,

until he sees how they can form a powerful and coherent design

dok ne vidi kako oni mogu dati moćnu i skladnu,

of ultimate and enduring coolness.

najinteresantniju i najtrajniju kompoziciju.

Now some of the greatest composers, like Bach,

Neki od najvećih kompozitora, kao Bah,

were combinations of these two things.

su imali kombinacije ove dve stvari.

Bach was like a great improviser with a mind of a chess master.

Bah je bio veliki improvizator sa umom šahovskog šampiona.

Mozart was the same way.

Mocart takođe.

But every musician strikes a different balance

Ali svaki muzičar postiže različit balans

between faith and reason, instinct and intelligence.

između vere i razloga, instinkta i inteligencije.

And every musical era had different priorities of these things,

Svaki muzički period je imao različite prioritete,

different things to pass on, different 'whats' and 'hows'.

različite stvari da prenese, različite "šta" i "kako".

So in the first eight centuries or so of this tradition

Prvih osam vekova ove tradicije,

the big 'what' was to praise God.

veliko "šta" je bilo da se slavi bog.

And by the 1400s, music was being written

Do 15. veka, muzika koja se zapisivala

that tried to mirror God's mind

pokušavala je da oslika božju volju

as could be seen in the design of the night sky.

kao što se može videti u dizajnu noćnog neba.

The 'how' was a style called polyphony,

"Kako" je bio stil nazvan polifonija,

music of many independently moving voices

muzika mnogo nezavisnih glasova

that suggested the way the planets seemed to move

koji su sugerisali način na koji se pomeraju planete

in Ptolemy's geocentric universe.

u Ptolomejevom geocentričnom svemiru.

This was truly the music of the spheres.

Ovo je bila prava muzika sfera.

(Music)

(Muzika)

This is the kind of music that Leonardo DaVinci would have known.

Ovo je vrsta muzike koju bi Leonardo da Vinči poznavao.

And perhaps its tremendous intellectual perfection and serenity

Verovatno je njeno ogromno intelektualno savršenstvo i smirenost

meant that something new had to happen --

značilo da se nešto novo mora desiti --

a radical new move, which in 1600 is what did happen.

nov radikalan pokret, koji se i desio 1600. god.

(Music) Singer: Ah, bitter blow!

(Muzika) Pevač: Oh, gorki udarac!

Ah, wicked, cruel fate!

O, zla, surova sudbino!

Ah, baleful stars!

Oh, zle zvezde!

Ah, avaricious heaven!

Oh, pohlepni raju!

MTT: This, of course, was the birth of opera,

MTT: Ovo je, svakako, bilo rođenje opere

and its development put music on a radical new course.

i njen razvoj je postavio muziku na radikalan novi pravac.

The what now was not to mirror the mind of God,

Šta -- sada ne oslikava božju volju,

but to follow the emotion turbulence of man.

već opisuje previranje emocija čoveka.

And the how was harmony,

A "kako" je bila melodija,

stacking up the pitches to form chords.

koja je slagala tonove da formira akorde.

And the chords, it turned out,

Akordi su bili u stanju

were capable of representing incredible varieties of emotions.

da reprezentuju neverovantne šarolikosti emocija.

And the basic chords were the ones we still have with us,

Osnovni akordi su oni koje i danas imamo,

the triads,

trozvuci,

either the major one,

ili dur,

which we think is happy,

za koji mislimo da je srećan

or the minor one,

ili mol,

which we perceive as sad.

koji doživljavamo kao tužan.

But what's the actual difference between these two chords?

Koja je stvarna razlika ova dva akorda?

It's just these two notes in the middle.

To su ova dva tona u sredini.

It's either E natural,

To je ili osnovno E,

and 659 vibrations per second,

659 vibracija u sekundi

or E flat, at 622.

ili sniženo E, na 622.

So the big difference between human happiness and sadness?

Velika razlika između ljudske sreće i tuge?

37 freakin' vibrations.

37 prokletih vibracija.

So you can see in a system like this

Ono što ovde vidimo

there was enormous subtle potential

je da postoji ogroman suptilan potencijal

of representing human emotions.

predstavljanja ljudskih emocija.

And in fact, as man began to understand more

Kad je čovek počeo da više razumeva

his complex and ambivalent nature,

svoju kompleksnu i ambivalentnu prirodu,

harmony grew more complex to reflect it.

harmonija je postala složenija da bi to opisala.

Turns out it was capable of expressing emotions

Ispada da je bila sposobna da objasni emocije

beyond the ability of words.

više nego reči.

Now with all this possibility,

Sa ovom mogućnošću,

classical music really took off.

klasična muzika se vrlo zamahala.

It's the time in which the big forms began to arise.

To je vreme kad su velike forme počele da nastaju.

And the effects of technology began to be felt also,

Osetio se i efekat tehnologije,

because printing put music, the scores, the codebooks of music,

jer je štampanje stavilo muziku, notne zapise,

into the hands of performers everywhere.

u ruke izvođača svuda.

And new and improved instruments

Novi i poboljšani instrumenti

made the age of the virtuoso possible.

su učinili mogućom eru virtuoza.

This is when those big forms arose --

To je vreme kad su velike forme nastale --

the symphonies, the sonatas, the concertos.

simfonije, sonate, koncerti.

And in these big architectures of time,

U ovim velikim vremenskim tekovinama,

composers like Beethoven could share the insights of a lifetime.

kompozitori kao Betoven su ušli u suštinu života.

A piece like Beethoven's Fifth

Dela kao Peta Betovenova simfonija

basically witnessing how it was possible

su u osnovi svedočila kako je njemu bilo moguće

for him to go from sorrow and anger,

da ide od tuge i besa,

over the course of a half an hour,

u periodu od pola sata,

step by exacting step of his route,

precizno korak po korak svog puta,

to the moment when he could make it across to joy.

do momenta kada je mogao preći u radost.

(Music)

(Muzika)

And it turned out the symphony could be used for more complex issues,

Ispostavilo se da se simfonija može korisititi za mnogo kompleksnije stvari,

like gripping ones of culture,

kao vezivanje za kulturu,

such as nationalism or quest for freedom

za nacionalizam ili potrebu za slobodom

or the frontiers of sensuality.

ili granice senzualnosti.

But whatever direction the music took,

Ali kojim god pravcem je muzika išla,

one thing until recently was always the same,

jedna stvar je doskora uvek bila ista,

and that was when the musicians stopped playing,

a to je da kad su muzičari prestali da sviraju,

the music stopped.

muzika je stala.

Now this moment so fascinates me.

To je momenat koji me jako fascinira.

I find it such a profound one.

Nalazim da je suštinski.

What happens when the music stops?

Šta se dešava kad muzika stane?

Where does it go? What's left?

Kuda ide? Šta je ostalo?

What sticks with people in the audience at the end of a performance?

Šta ostaje publici na kraju izvođenja?

Is it a melody or a rhythm

Da li je to melodija ili ritam

or a mood or an attitude?

ili raspoloženje ili gledište?

And how might that change their lives?

I kako to može promeniti njihove živote?

To me this is the intimate, personal side of music.

Za mene, to je intimna, lična strana muzike.

It's the passing on part. It's the 'why' part of it.

To je deo koji prenosi. To je deo muzike "zašto".

And to me that's the most essential of all.

Za mene je to najsuštinskiji deo od svega.

Mostly it's been a person-to-person thing,

Uglavnom je to odnos dve osobe,

a teacher-student, performer-audience thing,

profesor-student, izvođač-publika,

and then around 1880 came this new technology

i negde oko 1880. dolazi ova nova tehnologija

that first mechanically then through analogs then digitally

koja je prvo mehanički, zatim analogno, pa digitalno

created a new and miraculous way of passing things on,

kreirala nov čudesan način prenosa stvari,

albeit an impersonal one.

mada bezličan.

People could now hear music all the time,

Ljudi su sad mogli da čuju muziku non stop,

even though it wasn't necessary

for them to play an instrument, read music or even go to concerts.

čak i kad nije bilo neophodno

da sviraju instrument, čitaju muziku ili čak idu na koncerte.

And technology democratized music by making everything available.

Tehnologija je demokratizovala muziku čineći sve dostupnim.

It spearheaded a cultural revolution

Ona je lansirala kulturnu revoluciju

in which artists like Caruso and Bessie Smith were on the same footing.

u kojoj su umetnici kao Karuzo i Besi Smit bili u istoj ravni.

And technology pushed composers to tremendous extremes,

Tehnologija je gurnula kompozitore do ogromnih ekstrema,

using computers and synthesizers

koristeći kompjutere i sintisajzere

to create works of intellectually impenetrable complexity

da kreiraju dela neverovatne intelektualne složenosti

beyond the means of performers and audiences.

van mogućnosti izvođača i publike.

At the same time technology,

U isto vreme je tehnologija,

by taking over the role that notation had always played,

preuzimajući ulogu nota,

shifted the balance within music between instinct and intelligence

poremetila ravnotežu između instinkta i inteligencije

way over to the instinctive side.

mnogo više prema instinktivnoj strani.

The culture in which we live now

Kultura u kojoj sad živimo

is awash with music of improvisation

preplavljena je muzikom improvizacije

that's been sliced, diced, layered

koja je iseckana, razbacana, slojevita

and, God knows, distributed and sold.

i bog zna, distribuirana i prodavana.

What's the long-term effect of this on us or on music?

Šta je dugoročna posledica ovog po nas ili muziku?

Nobody knows.

Niko ne zna.

The question remains: What happens when the music stops?

Pitanje ostaje: šta se dešava kad muzika stane?

What sticks with people?

Šta ostaje ljudima?

Now that we have unlimited access to music, what does stick with us?

Sad kad imamo neograničen pristup muzici, šta ostaje sa nama?

Well let me show you a story of what I mean

Dozvolite mi da vam ispričam priču o tome šta

by "really sticking with us."

mislim pod "zaista ostaje sa nama".

I was visiting a cousin of mine in an old age home,

Bio sam u poseti rođaku u staračkom domu

and I spied a very shaky old man

i zapazio sam drhtavog starog čoveka

making his way across the room on a walker.

koji je išao preko sobe u hodalici.

He came over to a piano that was there,

Prišao je pianinu koji je tu bio,

and he balanced himself and began playing something like this.

ljuljajući se pokušao da odsvira nešto kao ovo.

(Music)

(Muzika)

And he said something like, "Me ... boy ... symphony ... Beethoven."

Rekao je nešto kao: "Ja... dečak... simfonija... Betoven."

And I suddenly got it,

Odjednom sam se setio,

and I said, "Friend, by any chance are you trying to play this?"

rekao sam: "Prijatelju, da li ti pokušavaš da odviraš ovo?"

(Music)

(Muzika)

And he said, "Yes, yes. I was a little boy.

On je rekao: "Da, da. Bio sam dečak.

The symphony: Isaac Stern, the concerto, I heard it."

Simfonija: Isak Štern, koncert, čuo sam ga."

And I thought, my God,

Pomislio sam, gospode,

how much must this music mean to this man

koliko mnogo mora ova muzika da znači ovom čoveku,

that he would get himself out of his bed, across the room

da je ustao iz kreveta, prešao sobu,

to recover the memory of this music

da bi se setio uspomene na ovu muziku

that, after everything else in his life is sloughing away,

koja mu, pošto sve u njegovom životu nestaje,

still means so much to him?

još uvek znači tako mnogo?

Well, that's why I take every performance so seriously,

To je razlog zašto svako izvođenje shvatam vrlo ozbiljno,

why it matters to me so much.

zašto mi mnogo znači.

I never know who might be there, who might be absorbing it

Nikad ne znam ko bi mogao biti tu, ko će to da upija

and what will happen to it in their life.

i šta će to značiti nekom u njegovom životu.

But now I'm excited that there's more chance than ever before possible

Sad sam uzbuđen jer postoji više šansi nego ikad pre

of sharing this music.

da se ova muzika podeli.

That's what drives my interest in projects

To je ono što podstiče moj interes u projektima

like the TV series "Keeping Score" with the San Francisco Symphony

kao što je TV serija "Zadržati kompoziciju" sa Simfonijom San Franciska

that looks at the backstories of music,

koja govori o pričama iza muzike,

and working with the young musicians at the New World Symphony

i rad sa mladim muzičarima Nove svetske simfonije

on projects that explore the potential

na projektima koji istražuju potencijal

of the new performing arts centers

novih centara za izvođenje

for both entertainment and education.

za zabavu i obrazovanje.

And of course, the New World Symphony

Svakako, Nova svetska simfonija

led to the YouTube Symphony and projects on the internet

vodi do YouTube simfonije i projekata na internetu

that reach out to musicians and audiences all over the world.

koji dolaze do muzičara i publike po celom svetu.

And the exciting thing is all this is just a prototype.

Uzbudljiva stvar kod ovog je da je to samo prototip.

There's just a role here for so many people --

Tu ima uloga za mnoge ljude --

teachers, parents, performers --

profesore, roditelje, izvođače --

to be explorers together.

da zajedno istražuju.

Sure, the big events attract a lot of attention,

Svakako, veliki događaji privlače mnogo pažnje,

but what really matters is what goes on every single day.

ali ono što je važno je šta se zaista dešava svaki dan.

We need your perspectives, your curiosity, your voices.

Trebaju nam vaša gledišta, vaša radoznalost, vaši glasovi.

And it excites me now to meet people

Sad su mi uzbudljivi susreti sa ljudima

who are hikers, chefs, code writers, taxi drivers,

koji su stoperi, šefovi, programeri, taksisti,

people I never would have guessed who loved the music

ljudi za koje nikad ne bih pomislio da vole muziku

and who are passing it on.

i koji je prenose.

You don't need to worry about knowing anything.

Ne treba da brinete da li išta znate.

If you're curious, if you have a capacity for wonder, if you're alive,

Ako ste radoznali, ako imate sposobnosti da se zapitate, ako ste živi,

you know all that you need to know.

znate sve što treba.

You can start anywhere. Ramble a bit.

Možete početi bilo gde. Pomalo lutajte.

Follow traces. Get lost. Be surprised, amused inspired.

Pratite tragove. Izgubite se. Iznenadite se, inspirišite, zabavite se.

All that 'what', all that 'how' is out there

Sva ta "šta", sva ta "kako" su tu negde,

waiting for you to discover its 'why',

čekaju da otkrijete njihovo "zašto",

to dive in and pass it on.

da zaronite i prenesete ih.

Thank you.

Hvala vam.

(Applause)

(Aplauz)