Bob Mankoff: Anatomy of a New Yorker cartoon

Translator: Joseph Geni Reviewer: Morton Bast

Prevodilac: Miloš Milosavljević Lektor: Tatjana Jevdjic

I'm going to be talking about designing humor,

Govoriću o dizajniranju humora

which is sort of an interesting thing, but it goes

što je interesantna stvar,

to some of the discussions about constraints,

ali zalazi u neke rasprave o ograničenjima

and how in certain contexts, humor is right,

i u to kako je humor u određenom kontekstu u redu,

and in other contexts it's wrong.

a u drugom kontekstu nije u redu.

Now, I'm from New York,

Ja sam iz Njujorka

so it's 100 percent satisfaction here.

tako da je ovde sto posto zagarantovano zadovoljenje.

Actually, that's ridiculous, because when it comes to humor,

U stvari to je apsurdno jer kad se radi o humoru

75 posto je najbolje čemu se možete nadati.

75 percent is really absolutely the best you can hope for.

Nobody is ever satisfied 100 percent with humor

Niko nikad nije sto posto zadovoljan humorom

except this woman.

osim ove žene.

(Video) Woman: (Laughs)

(Video) Žena: (Smeje se)

Bob Mankoff: That's my first wife.

Bob Menkof: To je moja prva žena.

(Laughter)

(Smeh)

That part of the relationship went fine.

Taj deo veze je bio dobar.

(Laughter)

(Smeh)

Now let's look at this cartoon.

Hajde da pogledamo ovaj strip.

One of the things I'm pointing out is that

Jedna od stvari koju ističem

cartoons appear within the context

je da se stripovi pojavljuju u kontekstu

of The New Yorker magazine,

časopisa "Njujorker",

that lovely Caslon type, and it seems

ovim lepim Kaslon slovima

i izgleda kao prilično bezazlen strip u ovom kontekstu.

like a fairly benign cartoon within this context.

It's making a little bit fun of getting older,

Malo ismeva starenje

and, you know, people might like it.

i ljudima će se možda svideti.

But like I said, you cannot satisfy everyone.

Ali kao što sam rekao, ne možete zadovoljiti svakog.

You couldn't satisfy this guy.

Ne možete zadovoljiti ovog tipa.

"Another joke on old white males. Ha ha. The wit.

"Još jedna šala na račun starih belih muškaraca. Ha, ha. Duhovitost.

It's nice, I'm sure to be young and rude,

Lepo i istinito je biti mlad i nevaspitan,

but some day you'll be old, unless you drop dead as I wish."

ali jednog dana ćete ostariti osim ako ne crknete kao što bih voleo."

(Laughter)

(Smeh)

The New Yorker is rather a sensitive environment,

"Njujorker" je prilično osetljivo okruženje,

very easy for people to get their nose out of joint.

vrlo lako možete da iznervirate ljude.

And one of the things that you realize

I jedna od stvari koju shvatite je

is it's an unusual environment.

da je to neobično okruženje.

Here I'm one person talking to you.

Ovde sam ja jedna osoba koja vam se obraća.

You're all collective. You all hear each other laugh and know each other laugh.

Vi ste svi kolektiv. Čujete i poznajete smeh onog drugog.

In The New Yorker, it goes out to a wide audience,

U Njujorkeru to ide u široku publiku

and when you actually look at that,

i kad posmatrate to,

and nobody knows what anybody else is laughing at,

niko ne zna čemu se neko drugi smeje

and when you look at that the subjectivity involved in humor

i kad posmatrate to, subjektivnost koja je uključena u humor

is really interesting.

je stvarno interesantna.

Let's look at this cartoon.

Pogledajmo ovaj strip.

"Discouraging data on the antidepressant."

"Obeshrabrujući podaci o antidepresivima."

(Laughter)

(Smeh)

Indeed, it is discouraging.

Stvarno je obeshrabrujuće.

Now, you would think, well, look,

Rekli biste

most of you laughed at that.

da se većina vas smejala ovome.

Right? You thought it was funny.

In general, that seems like a funny cartoon,

Je l' tako? Mislili ste da je smešno.

Uopšteno izgleda kao komičan strip,

but let's look what online survey I did.

ali pogledajmo onlajn anketu koju sam uradio.

Generally, about 85 percent of the people liked it.

Oko 85 posto ljudi je odgovorilo da im se sviđa.

A hundred and nine voted it a 10, the highest. Ten voted it one.

109 njih je dalo ocenu 10 - najvišu. Desetoro njih je dalo jedinicu.

But look at the individual responses.

Ali pogledajte pojedinačne odgovore.

"I like animals!!!!!" Look how much they like them.

"Ja volim životinje!!!!" Pogledajte koliko ih oni vole.

(Laughter)

(Smeh)

"I don't want to hurt them. That doesn't seem very funny to me."

"Ne želim da ih povredim. To mi ne izgleda smešno."

This person rated it a two.

Ova osoba je dala ocenu dva.

"I don't like to see animals suffer -- even in cartoons."

"Ne volim da vidim da životinje pate - čak ni u stripovima."

To people like this, I point out we use anesthetic ink.

Ovakvim ljudima kažem da koristimo anestetičko mastilo.

Other people thought it was funny.

Drugima je bilo smešno.

That actually is the true nature of the distribution of humor

To je u stvari prava priroda distribucije humora,

when you don't have the contagion of humor.

kad nemate zarazu humorom.

Humor is a type of entertainment.

Humor je vrsta zabave.

All entertainment contains a little frisson of danger,

Svaka zabava sadrži malo drhtanja pred opasnošću,

something that might happen wrong,

pred nečim što može da krene po zlu,

and yet we like it when there's protection.

pa ipak nam se sviđa kad postoji zaštita.

That's what a zoo is. It's danger. The tiger is there.

Takav je zoološki vrt. Opasnost. Tu je tigar.

The bars protect us. That's sort of fun, right?

Rešetke nas štite. To je na neki način zabavno, zar ne?

That's a bad zoo.

Ovo je loš zoološki vrt.

(Laughter)

(Smeh)

It's a very politically correct zoo, but it's a bad zoo.

Vrlo politički korektan zoološki vrt, ali loš.

But this is a worse one.

Ali ovaj je još gori.

(Laughter)

(Smeh)

So in dealing with humor in the context of The New Yorker,

Kad se bavite humorom u kontekstu "Njujorkera"

treba da vidite gde će biti taj tigar.

you have to see, where is that tiger going to be?

Where is the danger going to exist?

Gde će biti opasnost?

How are you going to manage it?

Kako ćete to da uklopite?

My job is to look at 1,000 cartoons a week.

Moj posao je da pogledam 1.000 stripova nedeljno.

But The New Yorker only can take 16 or 17 cartoons,

Ali "Njujorker" može da izabere samo 16 ili 17 stripova,

and we have 1,000 cartoons.

a mi imamo 1.000.

Of course, many, many cartoons must be rejected.

Naravno, mnogo stripova mora biti odbijeno.

Now, we could fit more cartoons in the magazine

Mogli bismo da ubacimo više stripova u časopis

if we removed the articles.

ako bismo izbacili članke.

(Laughter)

(Smeh)

But I feel that would be a huge loss,

Ali mislim da bi to bio veliki gubitak,

one I could live with, but still huge.

koji bih mogao da prihvatim, ali bi i dalje bio veliki.

Cartoonists come in through the magazine every week.

Strip crtači dolaze u časopis svake nedelje.

The average cartoonist who stays with the magazine

Crtač koji ostane u časopisu

does 10 or 15 ideas every week.

uradi u proseku 10 do 15 ideja svake nedelje.

But they mostly are going to be rejected.

Ali one će uglavnom biti odbačene.

That's the nature of any creative activity.

To je priroda svake kreativne aktivnosti.

Many of them fade away. Some of them stay.

Mnoge od njih nestanu. Neke od njih ostanu.

Matt Diffee is one of them.

Met Difi je jedan od njih.

Here's one of his cartoons.

Evo jednog od njegovih stripova.

(Laughter)

(Smeh)

Drew Dernavich. "Accounting night at the improv."

Dru Dernavič. "Računovodstveno veče u 'Improv' klubu."

"Now is the part of the show when we ask the audience

"Sada je deo nastupa u kome molimo publiku

to shout out some random numbers."

da uzvikne nekoliko nasumičnih brojeva."

Paul Noth. "He's all right. I just wish he were a little more pro-Israel."

Pol Nout. "On je u redu. Samo bih voleo da je malo više pro-izraelski nastrojen."

(Laughter)

(Smeh)

Now I know all about rejection,

Sad znam sve o odbijanju

because when I quit -- actually, I was booted out of -- psychology school

jer kad sam dao otkaz - u stvari bio sam otpušten - u školi za psihologiju

and decided to become a cartoonist, a natural segue,

i odlučio da postanem strip crtač, prirodan nastavak,

od 1974. do 1977. predao sam 2.000 stripova Njujorkeru

from 1974 to 1977 I submitted 2,000 cartoons to The New Yorker,

and got 2,000 cartoons rejected by The New Yorker.

i 2.000 stripova su mi odbili u Njujorkeru.

At a certain point, this rejection slip, in 1977 --

U jedom momentu 1977., ova omaška u odbijanju -

[Žao nam je što nismo u mogućnosti da iskoristimo priloženi materijal. Hvala vam što ste nam pružili priliku da ga razmotrimo.] -

[We regret that we are unable to use the enclosed material. Thank you for giving us the opportunity to consider it.] —

magically changed to this.

magično se promenila u ovo:

[Hey! You sold one. No shit! You really sold a cartoon to the fucking New Yorker magazine.]

[Hej! Prodao si jedan. Ne seri! Stvarno si prodao strip jebenom časopisu Njujorker.]

(Laughter)

Now of course that's not what happened,

(Smeh)

Naravno to nije ono što se stvarno desilo,

but that's the emotional truth.

ali to je emocionalna istina.

And of course, that is not New Yorker humor.

I naravno to nije humor Njujorkera.

What is New Yorker humor?

Šta je humor Njujorkera?

Well, after 1977, I broke into The New Yorker and started selling cartoons.

Posle 1977. ušao sam u Njujorker i počeo da prodajem stripove.

Finally, in 1980, I received the revered

Konačno 1980. dobio sam cenjeni

New Yorker contract,

ugovor Njujorkera,

which I blurred out parts because it's none of your business.

čije sam neke delove zamutio jer vas se to ne tiče.

From 1980. "Dear Mr. Mankoff, confirming the agreement

Iz 1980. "Dragi g. Menkof, pottvrđujemo dogovor

there of -- " blah blah blah blah -- blur --

za... bla, bla, bla, bla - zamućeno -

"for any idea drawings."

za bilo koje crtanje ideja."

With respect to idea drawings, nowhere in the contract

Uz dužno poštovanje "crtanju ideja", nigde u ugovoru

is the word "cartoon" mentioned.

nije pomenuta reč "strip".

The word "idea drawings," and that's the sine qua non of New Yorker cartoons.

Izraz "crtanje ideja" je uslov bez koga se ne može u stripovima Njujorkera.

So what is an idea drawing? An idea drawing is something

Šta je crtanje ideja? Crtanje ideja je nešto

što zahteva da mislite.

that requires you to think.

Now that's not a cartoon. It requires thinking

To nije strip. To zahteva razmišljanje

on the part of the cartoonist and thinking on your part

strip crtača i vaše razmišljanje

to make it into a cartoon.

da bi postao strip.

(Laughter)

(Smeh)

Here are some, generally you get my cast of cartoon mind.

Evo kako izgleda moje stripsko razmišljanje.

"There is no justice in the world. There is some justice in the world. The world is just."

"Nema pravde na svetu. Ima neke pravde na svetu. Svet je pravedan."

This is What Lemmings Believe.

Ovo je ono u šta leminzi veruju.

(Laughter)

(Smeh)

The New Yorker and I, when we made comments,

Kada smo Njujorker i ja komentarisali,

the cartoon carries a certain ambiguity about what it actually is.

strip nosi određenu nejasnoću u vezi sa sobom.

What is it, the cartoon? Is it really about lemmings?

Šta je to strip? Je l' on u vezi sa leminzima?

No. It's about us.

Ne. U vezi s nama je.

You know, it's my view basically about religion,

Moj pogled na religiju je u stvari taj

that the real conflict and all the fights between religion

da su pravi sukobi i borbe između religija

is who has the best imaginary friend.

u vezi s tim ko ima najboljeg zamišljenog prijatelja.

(Smeh)

(Laughter)

And this is my most well-known cartoon.

Ovo je moj najpoznatiji strip.

"No, Thursday's out. How about never — is never good for you?"

"Ne. Četvrtak mi je pun. Šta kažeš na nikad - je l' ti odgovara nikad?"

It's been reprinted thousands of times, totally ripped off.

Ponovo je štampan stotinama puta, totalno je izrabljen.

It's even on thongs,

Ostao je go,

but compressed to "How about never — is never good for you?"

ali sažet u: "Šta kažeš na nikad - je l' ti odgovara nikad?"

Now these look like very different forms of humor

Ove forme humora izgledaju vrlo različite,

but actually they bear a great similarity.

ali u stvari imaju veliku sličnost.

In each instance, our expectations are defied.

U svakom slučaju naša očekivanja se izneveravaju.

In each instance, the narrative gets switched.

U svakom slučaju priča se preokreće.

There's an incongruity and a contrast.

Ima nepodudaranja i kontrasta.

In "No, Thursday's out. How about never — is never good for you?"

U rečenici: "Ne. Četvrtak mi je pun. Šta kažeš na nikad - je l' ti odgovara nikad?"

what you have is the syntax of politeness

imate sintaksu učtivosti

and the message of being rude.

i grubu poruku.

That really is how humor works. It's a cognitive synergy

To je ono kako humor u stvari funkcioniše. To je saznajna sinergija

where we mash up these two things which don't go together

u kojoj mešamo te dve stvari koje ne idu zajedno,

and temporarily in our minds exist.

a privremeno u našem umu postoje.

He is both being polite and rude.

On je u isto vreme i učtiv i neučtiv.

In here, you have the propriety of The New Yorker

U ovome imate uljudnost Njujorkera

and the vulgarity of the language.

i vulgarnost jezika.

Basically, that's the way humor works.

U osnovi tako humor funkcioniše.

So I'm a humor analyst, you would say.

Rekli biste da sam analitičar humora.

Now E.B. White said, analyzing humor is like dissecting a frog.

E. B. Vajt je rekao da je analiziranje humora kao seciranje žabe.

Nobody is much interested, and the frog dies.

Niko nije mnogo zainteresovan i žaba umire.

Well, I'm going to kill a few, but there won't be any genocide.

Ja ću ubiti nekoliko komada, ali neće biti genocida.

But really, it makes me —

Ali stvarno, to mi je...

Let's look at this picture. This is an interesting picture,

Pogledajmo ovu sliku. Ovo je interesantna slika,

The Laughing Audience.

"Publika koja se smeje".

There are the people, fops up there,

Tu su ljudi, kicoši tamo gore,

but everybody is laughing, everybody is laughing

ali svi se smeju

osim jednog tipa.

except one guy.

This guy. Who is he? He's the critic.

Ovog tipa. Ko je on? Kritičar.

He's the critic of humor,

On je kritičar humora

and really I'm forced to be in that position,

i ja sam prisiljen da budem u toj poziciji

when I'm at The New Yorker, and that's the danger

kad sam u Njujorkeru i postoji opasnost

that I will become this guy.

da postanem ovaj tip.

Now here's a little video made by Matt Diffee, sort of

Evo malog videa koji je snimio Met Difi

how they imagine if we really exaggerated that.

o tome kako oni to zamišljaju, u preuveličanoj formi.

(Video) Bob Mankoff: "Oooh, no.

(Video) Bob Menkof: "Hmm, ne.

Ehhh.

Hmm.

Oooh. Hmm. Too funny.

Uuu. Hmm. Suviše smešno.

Normally I would but I'm in a pissy mood.

Obično bih, ali sam loše raspoložen.

I'll enjoy it on my own. Perhaps.

Uživaću sam u tome. Možda.

No. Nah. No.

Ne. Ne.

Overdrawn. Underdrawn.

Previše crteža. Premalo crteža.

Drawn just right, still not funny enough.

Prava mera, ali nedovoljno smešno.

No. No.

Ne. Ne.

For God's sake no, a thousand times no.

Zaboga ne, hiljadu puta ne.

(Music)

(Muzika)

No. No. No. No. No. [Four hours later]

Ne. Ne. Ne. Ne. Ne. [Četiri sata kasnije]

Hey, that's good, yeah, whatcha got there?

Hej, to je dobro, šta imaš?

Office worker: Got a ham and swiss on rye?BM: No.

Službenik: Imam šunku i švajcarski sir sa ražanim hlebom? BM: Ne.

Office worker: Okay. Pastrami on sourdough?BM: No.

Službenik: Okej. Goveđi biftek u testu? BM: Ne.

Office worker: Smoked turkey with bacon?BM: No.

Službenik: Dimljenu ćuretinu sa slaninom? BM: Ne.

Službenik: Falafel? BM: Da pogledam.

Office worker: Falafel?BM: Let me look at it.

Eh, no.

Ne.

Office worker: Grilled cheese?BM: No.

Službenik: Grilovan sir?

Office worker: BLT?BM: No.

Službenik: Sendvič sa slaninom? BM: Ne.

Office worker: Black forest ham and mozzarella with apple mustard?BM: No.

Službenik: Dimljenu šunku i mocarelu sa senfom od jabuke? BM: Ne.

Office worker: Green bean salad?BM: No.

Službenik: Salatu od boranije? BM: Ne.

(Music)

(Muzika)

No. No.

Ne. Ne.

Definitely no. [Several hours after lunch]

Definitivno ne. [Nekoliko sati posle ručka]

(Siren)

(Sirena)

No. Get out of here.

Ne. Beži odavde.

(Smeh)

(Laughter)

That's sort of an exaggeration of what I do.

Ovo je otprilike ono što radim, samo preuveličano.

Now, we do reject, many, many, many cartoons,

Mi odbijamo mnogo, mnogo stripova,

so many that there are many books called "The Rejection Collection."

toliko mnogo da ima puno knjiga zvanih "Zbirka odbijenih".

"The Rejection Collection" is not quite New Yorker kind of humor.

"Zbirka odbijenih" je ono što nije baš tip humora Njujorkera.

And you might notice the bum on the sidewalk here

Ovde možete da vidite pijanca trbuhozborca na trotoaru

who is boozing and his ventriloquist dummy is puking.

koji loče i njegovu lutku koja povraća.

See, that's probably not going to be New Yorker humor.

To verovatno neće biti humor Njujorkera.

It's actually put together by Matt Diffee, one of our cartoonists.

Sastavio ju je u stvari Met Difi, jedan od naših crtača.

So I'll give you some examples of rejection collection humor.

Daću vam neke primere iz zbirke odbijenog humora.

"Razmišljam o tome da imam dete."

"I'm thinking about having a child."

(Smeh)

(Laughter)

There you have an interesting -- the guilty laugh,

Ovde imate interesantan - smeh krivice,

the laugh against your better judgment.

smejanje protivno zdravom razumu.

(Laughter)

(Smeh)

"Ass-head. Please help."

"Dupeglavac. Molim pomozite."

(Smeh)

(Laughter)

Now, in fact, within a context of this book,

U stvari, u kontekstu ove knjige

which says, "Cartoons you never saw and never will see

koja kaže: "Stripovi koje nikad niste i nikada nećete videti u Njujorkeru",

in The New Yorker," this humor is perfect.

ovaj humor je savršen.

I'm going to explain why.

Objasniću zašto.

There's a concept about humor about it being

Postoji koncept humora

a benign violation.

kao dobroćudnog nasilja.

In other words, for something to be funny, we've got to think

Drugim rečima, da bi nešto bilo smešno moramo da mislimo

it's both wrong and also okay at the same time.

da je i pogrešno i ispravno istovremeno.

Ako mislimo da je potpuno pogrešno, kažemo: "To nije smešno."

If we think it's completely wrong, we say, "That's not funny."

And if it's completely okay, what's the joke? Okay?

A ako je potpuno u redu, u čemu je vic?

And so, this benign, that's true of "No, Thursday's out. How about never — is never good for you?"

Ovaj dobroćudni: "Ne, četvrtak mi je pun. Šta kažeš na nikad - je l' ti odgovara nikad?"

It's rude. The world really shouldn't be that way.

Nepristojno je. Svet ne bi trebalo da funkcioniše tako.

Within that context, we feel it's okay.

U tom kontekstu izgleda nam u redu.

So within this context, "Asshead. Please help"

U ovom kontekstu: "Dupeglavac. Molim pomozite."

is a benign violation.

je dobroćudno nasilje.

Within the context of The New Yorker magazine ...

U kontekstu časopisa Njujorker...

"T-Cell Army: Can the body's immune response

"Armija T ćelija: Može li imunološki odgovor tela

help treat cancer?" Oh, goodness.

pomoći u lečenju raka?" O, bože.

You're reading about this smart stuff,

Čitate o ovim pametnim stvarima,

this intelligent dissection of the immune system.

o ovoj inteligentnoj analizi imunog sistema.

You glance over at this, and it says,

Bacite pogled na ovo i to kaže:

"Asshead. Please help"? God.

"Dupeglavac. Molim pomozite."? Bože.

So there the violation is malign. It doesn't work.

Tu je nasilje zloćudno. Ne funkcioniše.

There is no such thing as funny in and of itself.

Ne postoji smešno samo po sebi.

Everything will be within the context and our expectations.

Sve će biti u zavisnosti od konteksta i naših očekivanja.

One way to look at it is this.

Jedan način da se to posmatra je ovaj.

It's sort of called a meta-motivational theory about how we look,

Zove se otprilike meta-motivaciona teorija o tome kako izgledamo,

a theory about motivation and the mood we're in

teorija o motivaciji i našem raspoloženju

and how the mood we're in determines the things we like

i kako naše raspoloženje određuje da li ćemo nešto

da volimo ili ne.

or dislike.

When we're in a playful mood, we want excitement.

Kad smo u veselom raspoloženju, hoćemo uzbuđenje.

We want high arousal. We feel excited then.

Hoćemo veliki nadražaj. Onda osećamo uzbuđenje.

If we're in a purposeful mood, that makes us anxious.

Kad imamo potrebu za smislom, to nas čini nestrpljivim.

"The Rejection Collection" is absolutely in this field.

"Zbirka odbijenih" je apsolutno u ovom polju.

You want to be stimulated. You want to be aroused.

Hoćete da vas stimulišu. Hoćete da vas uzbude.

You want to be transgressed.

Hoćete da pređete granicu.

It's like this, like an amusement park.

Ovako je, kao u zabavnom parku.

Voice: Here we go. (Screams)

Glas: Idemo. (Vrištanje)

He laughs. He is both in danger and safe,

Smeje se. Istovremeno je i u opasnosti i siguran je,

incredibly aroused. There's no joke. No joke needed.

neverovatno uzbuđen. Tu nema šale. Šala nije potrebna.

If you arouse people enough and get them stimulated enough,

Ako ljude uzbudite dovoljno i stimulišete ih dovoljno

they will laugh at very, very little.

oni će se smejati vrlo malo.

This is another cartoon from "The Rejection Collection."

Ovo je još jedan strip iz "Kolekcije odbijenih".

"Too snug?"

"Previše udobno?"

That's a cartoon about terrorism.

Ovo je strip o terorizmu.

The New Yorker occupies a very different space.

Njujorker zauzima vrlo drugačiji prostor.

It's a space that is playful in its own way, and also purposeful,

To je prostor koji je zabavan na svoj način i takođe sa svrhom

and in that space, the cartoons are different.

i u tom prostoru stripovi su drugačiji.

Now I'm going to show you cartoons The New Yorker did

Sada ću vam pokazati stripove koje je Njujorker uradio

right after 9/11, a very, very sensitive area when humor could be used.

odmah posle 11. septembra, vrlo osetljiva oblast za korišćenje humora.

How would The New Yorker attack it?

It would not be with a guy with a bomb saying, "Too snug?"

Kako bi to Njujorker uradio?

To ne bi bio tip sa bombom koji pita: "Previše udobno?".

Or there was another cartoon I didn't show because

Ili, postoji još jedan strip koji vam nisam pokazao

actually I thought maybe people would be offended.

jer sam pomislio da će se ljudi možda uvrediti.

The great Sam Gross cartoon, this happened

Strip velikog Sema Grosa, ovo se desilo

after the Muhammad controversy where it's Muhammad in heaven,

posle kontroverze s Muhamedom, gde je Muhamed u raju,

the suicide bomber is all in little pieces,

bombaš samoubica je sav u sitnim komadima

and he's saying to the suicide bomber,

i on kaže bombašu samoubici:

"Dobićeš device kada nađemo tvoj penis."

"You'll get the virgins when we find your penis."

(Laughter)

(Smeh)

Better left undrawn.

Bolje ostaviti nenacrtano.

The first week we did no cartoons.

Prve nedelje nismo uopšte radili stripove.

That was a black hole for humor, and correctly so.

To je bila crna rupa za humor i to je bilo ispravno.

It's not always appropriate every time.

Nije uvek primereno.

But the next week, this was the first cartoon.

Ali sledeće nedelje, ovo je bio prvi strip.

"I thought I'd never laugh again. Then I saw your jacket."

"Mislila sam da se nikad više neću smejati. Onda sam videla tvoju jaknu."

It basically was about, if we were alive,

U osnovi se radi o tome da, ako smo živi,

we were going to laugh. We were going to breathe.

smejaćemo se. Disaćemo.

We were going to exist. Here's another one.

Nastavićemo da postojimo. Evo još jednog.

"I figure if I don't have that third martini, then the terrorists win."

"Mislim da ako ne naručim taj treći martini, onda su teroristi pobedili."

These cartoons are not about them. They're about us.

Ovi stripovi nisu o njima. Oni su o nama.

The humor reflects back on us.

Humor govori o nama.

The easiest thing to do with humor, and it's perfectly legitimate,

Najlakše što možete uraditi sa humorom i to je savršeno legitimno,

is a friend makes fun of an enemy.

je da prijatelj ismeva neprijatelja.

It's called dispositional humor.

Zove se dispozicioni humor.

It's 95 percent of the humor. It's not our humor.

On čini 95 posto humora. To nije naš humor.

Here's another cartoon.

Evo još jednog stripa.

"I wouldn't mind living in a fundamentalist Islamic state."

"Ne bi mi smetalo da živim u fundamentalističkoj islamskoj državi."

(Laughter)

(Smeh)

Humor does need a target.

Humoru treba meta.

But interestingly, in The New Yorker, the target is us.

Ali interesantno, u Njujorkeru meta smo mi.

The target is the readership and the people who do it.

Meta su čitaoci i ljudi koji ga prave.

The humor is self-reflective

Humor je refleksivan

and makes us think about our assumptions.

i tera nas da razmislimo o svojim pretpostavkama.

Look at this cartoon by Roz Chast, the guy reading the obituary.

Pogledajte ovaj strip Roz Čest, tip čita čitulje.

"Two years younger than you, 12 years older than you,

"Dve godine mlađi od tebe, 12 godina stariji od tebe,

three years your junior, your age on the dot,

3 godine mlađi, tu negde,

tačno tvojih godina."

exactly your age."

That is a deeply profound cartoon.

To je dubok strip.

And so The New Yorker is also trying to, in some way,

Njujorker takođe pokušava, na neki način,

make cartoons say something besides funny

da pravi stripove koji nešto poručuju o nama,

and something about us. Here's another one.

opored toga što su smešni. Evo još jednog.

"I started my vegetarianism for health reasons,

"Postala sam vegetarijanac prvo zbog zdravlja,

Then it became a moral choice, and now it's just to annoy people."

onda je to postao moralni izbor, a sad je samo zato da nerviram ljude."

(Laughter)

(Smeh)

"Excuse me — I think there's something wrong with this

"Izvinite - mislim da nešto nije u redu sa ovim,

in a tiny way that no one other than me would ever be able to pinpoint."

tako sitno, da niko drugi osim mene ne bi to uopšte mogao da primeti."

So it focuses on our obsessions, our narcissism,

Stavlja u fokus naše opsesije, naš narcizam,

our foils and our foibles, really not someone else's.

naše frustracije i naše slabosti, a ne nečije druge.

The New Yorker demands

Njujorker zahteva

some cognitive work on your part,

neku vašu spoznaju

and what it demands is what Arthur Koestler,

i to je ono što je Artur Kesler,

who wrote "The Act of Creation" about the relationship

koji je napisao "Čin kreacije" o odnosu

between humor, art and science,

između humora, umetnosti i nauke,

is what's called bisociation.

nazvao bisocijacija.

You have to bring together ideas from different frames of reference,

Treba da spojite ideje iz različitih referentnih sistema

and you have to do it quickly to understand the cartoon.

i treba da uradite to brzo da biste razumeli strip.

If the different frames of reference don't come together

Ako se različiti referentni sistemi ne spoje

in about .5 seconds, it's not funny,

za otprilike 0.5 sekundi, onda nije smešno,

but I think they will for you here.

ali mislim da ovde hoće.

Different frames of reference.

Različiti referentni sistemi.

"You slept with her, didn't you?"

"Spavao si s njom, zar ne?"

(Laughter)

(Smeh)

"Lassie! Get help!!"

"Lesi! Potraži pomoć!"

(Laughter)

(Smeh)

It's called French Army Knife.

Ovo se zove francuski nož.

(Laughter)

(Smeh)

A ovo je Ajnštajn u krevetu. "Tebi je izgledalo brzo."

And this is Einstein in bed. "To you it was fast."

(Laughter)

(Smeh)

Now there are some cartoons that are puzzling.

Ima nekih stripova koji su zbunjujući.

Like, this cartoon would puzzle many people.

Na primer ovaj strip bi zbunio mnoge ljude.

How many people know what this cartoon means?

Koliko ljudi zna šta ovaj strip znači?

The dog is signaling he wants to go for a walk.

Pas signalizira da hoće da ide u šetnju.

This is the signal for a catcher to walk the dog.

Ovo je signal za hvatača da prošeta psa.

That's why we run a feature in the cartoon issue every year

Zato pravimo feljton u strip izdanju svake godine

called "I Don't Get It: The New Yorker Cartoon I.Q. Test."

pod nazivom: "Ne kapiram: Test inteligencije Njujorkera."

(Laughter)

(Smeh)

The other thing The New Yorker plays around with

Druga stvar sa kojom se Njujorker igra

is incongruity, and incongruity, I've shown you,

je nesklad. Pokazao sam vam da je nesklad

is sort of the basis of humor.

na neki način osnova humora.

Something that's completely normal or logical isn't going to be funny.

Nešto što je potpuno normalno ili logično neće biti smešno.

But the way incongruity works is, observational humor

Ali nesklad funkcioniše tako, da je pronicljiv humor

is humor within the realm of reality.

onaj koji je u domenu realnosti.

"My boss is always telling me what to do." Okay?

"Moj šef mi uvek govori šta da radim." Okej?

That could happen. It's humor within the realm of reality.

To može da se desi. Humor u domenu realnosti.

Here, cowboy to a cow:

Ovde, kauboj se obraća kravi:

"Very impressive. I'd like to find 5,000 more like you."

"Veoma impresivno. Voleo bih da nađem još 5.000 takvih kao ti."

We understand that. It's absurd. But we're putting the two together.

Mi razumemo to. Apsurdno je. Ali povezali smo.

Here, in the nonsense range:

Ovde, u oblasti besmislice:

"Damn it, Hopkins, didn't you get yesterday's memo?"

"Dođavola, Hopkinse, zar nisi dobio jučerašnji podsetnik?"

Now that's a little puzzling, right? It doesn't quite come together.

To je malo zbunjujuće, zar ne? Nije baš povezano.

In general, people who enjoy more nonsense,

Generalno, ljudi koji više uživaju u besmislicama,

enjoy more abstract art,

uživaju više u apstraktnoj umetnosti,

they tend to be liberal, less conservative, that type of stuff.

naginju ka liberalnom, manje konzervativnom, takve stvari.

But for us, and for me, helping design the humor,

Ali za nas i za mene koji pomažem u dizajniranju humora

it doesn't make any sense to compare one to the other.

nema nikakvog smisla da poredimo jedno s drugim.

It's sort of a smorgasbord that's made all interesting.

Neka vrsta miksa je ono što čini sve to interesantnim.

So I want to sum all this up with a caption to a cartoon,

Želim da sumiram sve ovo jednim titlom za strip

and I think this sums up the whole thing, really,

i mislim da to sumira celu stvar

about The New Yorker cartoons.

u vezi sa stripovima iz Njujorkera.

"It sort of makes you stop and think, doesn't it."

"Tera te da staneš i zamisliš se, zar ne"

(Laughter)

(Smeh)

And now, when you look at New Yorker cartoons,

Kad pogledate Njujorkerove stripove,

I'd like you to stop and think a little bit more about them.

voleo bih da stanete i razmislite još malo o njima.

Thank you.

(Applause)

Hvala vam.

(Aplauz)

Thank you. (Applause)

Hvala vam.