Charles Limb: Your brain on improv

Prevodilac: Vanja Cakić Lektor: Radica Stojanović

So I am a surgeon who studies creativity,

Ja sam hirurg koji proučava kreativnost,

and I have never had a patient tell me,

a nikada nisam imao pacijenta koji bi mi rekao:

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

"Želim da budete kreativni tokom moje operacije."

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

(Smeh)

Tako da mislim da tu postoji mala doza ironije.

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

Reći ću uprkos tome, nakon toliko obavljenih operacija,

it's similar to playing a musical instrument.

da je operisanje jako slično sviranju muzičkog instrumenta.

And for me, this deep and enduring fascination with sound

I za mene, ova vrsta duboke i dugotrajne fascinacije zvukom

is what led me to both be a surgeon

je činilac koji me naveo da budem i hirurg

and to study the science of sound, particularly music.

ali i da se bavim naukom o zvuku, posebno muzikom.

I'm going to talk over the next few minutes

I tako ću vam narednih minuta pričati

about my career

o svojoj karijeri,

in terms of how I'm able to study music

o tome kako sam bio u stanju da proučavam muziku

and try to grapple with all these questions

i kako sam pokušao da se izborim sa ovim pitanjima

of how the brain is able to be creative.

kako je mozak u stanju da bude kreativan.

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

Većinu ovog rada sam završio na Džons Hopkins Univerzitetu,

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

ali i na Nacionalnom institutu zdravlja gde sam prethodno radio.

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

Proći ću kroz neke naučne eksperimente

i pokušati da objasnim tri muzička eksperimenta.

I will start off by playing a video for you.

Počeću jednim snimkom.

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

To je snimak Kita Džereta, poznatog džez improvizatora

and probably the most well-known, iconic example

i verovatno najpoznatiji primer

osobe koja stvara improvizacije na izuzetno visokom nivou.

of someone who takes improvisation to a higher level.

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

I on će improvizovati čitave koncerte

iz svoje glave,

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

i nikada ih neće svirati na potpuno isti način.

so as a form of intense creativity,

I tako, kao oblik intenzivne kreativnosti,

I think this is a great example.

mislim da je ovo sjajan primer.

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

I zašto da onda ne pustimo snimak.

(Muzika)

(Music)

(Music ends)

Zaista je neverovatno, fenomenalno to što se dešava ovde.

It's really a remarkable thing that happens there.

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

Uvek sam zapanjen - samo kao slušalac, kao obožavatelj -

I listen to that, and I'm astounded.

I think -- how can this possibly be?

kad god slušam ovo.

I mislim: kako je to uopšte moguće?

How can the brain generate that much information,

Kako mozak uopšte može da stvara toliko informacija,

that much music, spontaneously?

toliko muzike, spontano?

And so I set out with this concept, scientifically,

Tako sam postavio ovaj koncept, naučno,

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

da je umetnička kreativnost magična, ali nije magija.

meaning that it's a product of the brain.

Što znači da je proizvod mozga.

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

Nema mnogo ljudi bez moždane aktivnosti koji stvaraju umetnost.

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

I sa tom pretpostavkom da je umetnička kreativnost

zapravo neuronski proizvod,

I took this thesis that we could study it

uzeo sam tu tezu da bismo je mogli proučavati

just like we study any other complex neurologic process,

kao što bismo mogli proučavati bilo koji drugi složeni neurološki proces.

and there are subquestions that I put there.

I mislim da postoje i neka podpitanja koja sam postavio.

Is it possible to study creativity scientifically?

Da li je zaista moguće naučno proučavati kreativnost?

And I think that's a good question.

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

Mislim da je to jako dobro pitanje.

I reći ću vam da su najnaučnije studije muzike

they're very dense,

veoma neprovidne.

and when you go through them,

I kada prođete kroz njih, veoma je teško prepoznati muziku u njima.

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

In fact, they seem to be unmusical entirely

Zapravo, deluju vrlo nemuzikalno u celini gledano

and to miss the point of the music.

i kao da propuštaju čitavu poentu muzike.

This brings the second question:

I tako nas to dovodi do narednog pitanja:

Why should scientists study creativity?

zašto bi naučnici proučavali kreativnost?

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

Možda mi nismo prave osobe za to.

(Laughter)

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

Pa, možda,

ali ja bih rekao da, iz naučne perspektive -

we talked a lot about innovation today,

mi pričamo puno o inovacijama danas -

the science of innovation,

o nauci o inovacijama,

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

koliko razumemo način na koji je mozak sposoban da stvara inovacije

is in its infancy,

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

u najranijem uzrastu.

Istina je da znamo veoma malo o tome kako smo u stanju da budemo kreativni.

I think that we're going to see,

I zato mislim da ćemo tek videti

over the next 10, 20, 30 years,

u narednih 10, 20, 30 godina

a real science of creativity that's burgeoning

pravu nauku o kreativnosti koja je u razvoju i koja će tek procvetati.

and is going to flourish,

Because we now have new methods that can enable us

I jer sada imamo nove metode koje će nam omogućiti

to take this process like complex jazz improvisation,

da procese kao što je jedan ovakav,

and study it rigorously.

složena džez improvizacija, detaljno proučimo.

So it gets down to the brain.

Tako se sve svodi na mozak.

All of us have this remarkable brain,

Svi mi imamo ovaj izuzetan mozak,

which is poorly understood, to say the least.

koji je u najmanju ruku, slabo shvaćen.

I think that neuroscientists have more questions than answers,

Mislim da neuronaučnici

imaju mnogo više pitanja nego odgovora.

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

I ja vam neću dati previše odgovora danas,

just ask a lot of questions.

samo ću postaviti puno pitanja.

And that's what I do in my lab.

I u osnovi to je ono što ja radim u laboratoriji.

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

Postavljam pitanja o tome šta to mozak radi,

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

a što nam omogućava da budemo kreativni.

Ovo je glavni metod koji koristim. Zove se funkcionalna magnetna rezonanca.

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

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

Ako ste nekada bili na magnetnoj rezonanci, to vam je jako slično,

samo je ova opremljena na specijalan način

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

da pravi slike aktivnih zona mozga.

The way that's done is by the following:

Način na koji to radi je sledeći.

There's something called BOLD imaging,

Postoji nešto što se zove BOLD slikanje,

which is Blood Oxygen Level Dependent imaging.

i odnosi se na prikaz nivoa kiseonika u krvi.

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

Kada ste na funkcionalnoj magnetnoj rezonanci,

vi ste u velikom magnetu

that's aligning your molecules in certain areas.

koji poravnava vaše molekule u određenim regijama.

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

Kada je određena zona mozga aktivna, što znači da je neuronska zona aktivna,

it gets blood flow shunted to that area.

dobija dotok krvi u to područje.

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

Taj dotok krvi izaziva povećanje

lokalne krvi u tom području

with a deoxyhemoglobin change in concentration.

kao i promenu u koncentraciji deoksihemoglobina.

Deoxyhemoglobin can be detected by MRI,

Deoksihemoglobin se može detektovati magnetnom rezonancom,

whereas oxyhemoglobin can't.

dok oksihemoglobin ne može.

So through this method of inference --

Putem ovog metoda zaključivanja -

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

a merimo takođe i dotok krvi, ne neuralnu aktivnost -

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

možemo reći da je deo mozga koji dobija više krvi

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

aktivan tokom određenog zadatka.

I to je suština načina rada fMRI-a.

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

I on se koristi još od devedesetih

kako bi se analizirali neki složeni procesi.

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

Sada ću opisati studiju koju sam ja radio,

a to je džez u funcionalnoj magnetnoj rezonanci.

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

Radio sam sa svojim kolegom, Alanom Braunom, na NIH-u.

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

Ovo je kratak video prikaz kako smo radili taj projekat.

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

(Video) Čarls Lim: Ovo je plastična MIDI klavijatura

that we use for the jazz experiments.

koju koristimo za Džez eksperimente.

And it's a 35-key keyboard

A to je klavijatura sa 35 dirki

designed to fit both inside the scanner,

dizajnirana tako da stane u skener,

be magnetically safe,

da bude magnetski sigurna,

have minimal interference that would contribute to any artifact,

da ima minimalne smetnje

koje bi uticale na neke nalaze

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

i ima ovaj jastuk koji može da se položi na sviračeve noge

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

dok sviraju u ležećem položaju, dok su u skeneru.

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

I to radi ovako - ovo ne proizvodi nikakav zvuk.

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

Ono šalje zvuk koji se zove MIDI signal -

or a Musical Instrument Digital Interface --

ili digitalni muzički interfejs -

through these wires into the box and then the computer,

kroz ove žice u kutiju i potom u kompjuter,

which then trigger high-quality piano samples like this.

koji potom aktiviraju uzorke klavira visokog kvaliteta poput ovog.

(Music)

(Muzika)

(Music)

(Muzika)

(Music ends)

OK, so it works.

ČL: Ok, dakle radi.

And so through this piano keyboard,

Tako kroz ovu klavijaturu,

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

imamo način da proučavamo muzičke procese.

Pa šta onda radite sada kada imate ovakvu kul klavijaturu?

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

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

Ne možete samo reći - "Sjajno, imamo ovakvu klavijaturu."

We have to come up with a scientific experiment.

Moramo uraditi i nekakav naučni eksperiment.

The experiment really rests on the following:

A eksperiment zaista počiva na sledećem.

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

Šta se dešava u mozgu tokom učenja i memorisanja,

and what happens in the brain during something

a šta se dešava tokom

nečega što je spontano izvedeno ili improvizovano,

that is spontaneously generated, or improvised,

na način koji se poklapa motorički

in a way that's matched motorically

and in terms of lower-level sensory motor features?

u terminima nižeg nivoa senzornih motoričkih funkcija?

I have here what we call the paradigms.

I tako, imam ovde nešto što zovemo paradigme.

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

Imamo ovde paradigmu skale, što je zapravo sviranje skale gore dole, zapamćeno.

then there's improvising on a scale,

I tu je i improvizacija na skali -

quarter notes, metronome, right hand --

četvrtine nota, metronom, desna ruka -

scientifically very safe,

naučno veoma sigurno,

but musically really boring.

ali muzički jako dosadno.

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

I onda je tu i poslednja, koju zovemo džez paradigma.

So we brought professional jazz players to the NIH,

Doveli smo profesionalne džez muzičare u NIH,

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

oni su morali da zapamte ovaj deo muzike levo, niže levo -

which is what you heard me playing --

što je ono što ste mene čuli da sviram -

and we had them improvise to the same chord changes.

i onda su morali to da improvizuju sa istim promenama u akordima.

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

Kliknite tu zvučnu ikonu sa donje leve strane,

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

to je primer onoga što je zapisano skenerom.

(Muzika)

(Music)

(Music ends)

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

I na kraju, ovo nije najprirodnije okruženje,

but they're able to play real music.

ali su oni u stanju da sviraju pravu muziku.

And I've listened to that solo 200 times,

Slušao sam taj solo 200 puta,

and I still like it.

i još uvek mi se sviđa.

And the musicians were comfortable in the end.

I muzičarima je bilo izuzetno ugodno na kraju.

We first measured the number of notes.

Prvo smo izračunali broj nota.

Were they playing more notes when they were improvising?

Da li oni zapravo sviraju mnogo više nota dok improvizuju?

That was not what was going on.

Nije to bilo u pitanju.

And then we looked at the brain activity.

Pogledali smo aktivnost mozga.

Pokušaću ovo da vam sažmem.

I will try to condense this for you.

These are contrast maps that are showing subtractions between what changes

Ovo su kontrastne mape koje pokazuju razlike

između onoga što se dešava dok improvizujete

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

i onoga što radite a što je memorisano.

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

Crveno je deo koji je aktivan u prefrontalnom korteksu,

the frontal lobe of the brain,

frontalnom režnju mozga.

and in blue is this area that was deactivated.

Plavo je deo koji nije bio aktivan.

So we had this focal area called the medial prefrontal cortex

Tako smo imali taj žarišni deo, središnji prefrontalni korteks,

that went way up in activity.

koji je bio aktivan.

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

Imali smo taj široki pojas koji se zove lateralni prefrontalni korteks

that went way down in activity,

kome je aktivnost opadala, i to ću vam sada sumirati.

I'll summarize that for you.

These are multifunctional areas of the brain,

Ovo su multifunkcionalne zone mozga.

these are not the jazz areas of the brain.

Kako ja to volim da kažem, ovo nisu džez zone mozga.

They do a whole host of things

One radi mnogo drugih stvari

that have to do with self-reflection,

kao što su samorefleksija,

introspection, working memory etc.

introspekcija, radna memorija i tako dalje.

Really, consciousness is seated in the frontal lobe.

Svest je smeštena u frontalnom delu.

But we have this combination

Ali imamo ovu kombinaciju

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

područja koja se navodno angažuju tokom samoposmatranja, koja se gase,

and this area that's thought to be autobiographical,

i područja za koja se misli da su autobiografska,

or self-expressive, turning on.

ili samoekspresivna, koja se pale.

We think, at least in this preliminary --

I mi mislimo, bar sad na početku - to je jedna studija.

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

Verovatno je pogrešna.

Ali to je jedna studija.

(Laughter)

we think that at least a reasonable hypothesis

Mislimo, razumna je hipoteza

is that, to be creative,

to da, kako biste bili kreativni,

you should have this weird dissociation in your frontal lobe.

morate da imate ovu čudnu disocijaciju frontalnog režnja.

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

Jedna zona se pali, a druga velika zona se gasi,

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

kako ne biste bili inhibirani, kako biste dozvolili sebi da pravite greške,

so that you're not constantly shutting down

kako ne biste stalno gasili

all of these new generative impulses.

sve te generišuće impulse.

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

E sada, mnogo ljudi zna da muzika nije uvek samostalna aktivnost -

sometimes it's done communicatively.

nekada se radi u komunikaciji sa drugima.

The next question was:

I tako je sledeće pitanje:

What happens when musicians are trading back and forth,

šta se dešava kada muzičari improvizuju naizmenično -

something called "trading fours,"

improvizujuća četvorka -

which is something they do normally in a jazz experiment.

što je nešto što se normalno radi u džez eksperimentu?

So this is a 12-bar blues,

Ovo je bluz sa skalom od 12.

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

I razbio sam to na grupe skala od po četiri,

so you would know how you would trade.

kako biste znali kako biste improvizovali.

We brought a musician into the scanner, same way,

Mi smo doveli muzičare u skener - sve isto -

had them memorize this melody

dali smo im da memorišu ovu melodiju

then had another musician out in the control room

imali smo muzičara i u kontrolnoj sobi

trading back and forth interactively.

koji je improvizovao interaktivno.

So this is a musician, Mike Pope,

Ovo je muzičar, Majk Poup,

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

jedan od najboljih svetskih basista i fenomenalni pijanista.

(Music)

On svira komad

He's now playing the piece that we just saw

koji smo upravo videli

a little better than I wrote it.

nešto bolje nego što sam ja zapisao.

(Video) CL: Mike, come on in.

(Video) ČL: Majk, hajde uđi. Čovek: Neka sila bude sa tobom.

Mike Pope: May the force be with you.

Nurse: Nothing in your pockets, Mike?

Sestra: Nemaš ništa u džepovima Majk?

MP: No. Nothing's in my pockets.

Majk Poup: Ne. Ništa nemam u džepovima. Sestra: OK.

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

ČL: Morate da imati ispravan stav kako biste pristali na to.

(Laughter)

(Smeh)

It's kind of fun, actually.

Zapravo je na neki način i zabavno.

(Music)

Now we're playing back and forth.

I tako sada sviramo naizmenično.

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

On je unutra. Možete videti njegove noge.

(Music)

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

Ja sam u kontrolnoj sobi tamo, sviram naizmenično.

(Music)

(Muzika)

(Music ends)

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

Majk Poup: Ovo je prilično dobra prezentacija

of what it's like.

kako to zapravo jeste.

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

I dobro je što nije prebrzo.

The fact that we do it over and over again

Činjenica da mi to radimo iznova i iznova

lets you acclimate to your surroundings.

dozvoljava da se prilagodite okruženju.

So the hardest thing for me was the kinesthetic thing,

Najteža stvar mi je bila ta kinestetička stvar,

looking at my hands through two mirrors,

da gledam svoje ruke

kroz dva ogledala,

laying on my back,

ležeći na leđima

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

i što nisam u mogućnosti da pomeram išta izuzev ruku.

That was challenging.

To je bio izazov.

But again --

Ali ipak,

bili su trenuci,

there were moments, for sure --

zaista,

(Laughter)

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

pravog, istinskog zajedničkog sviranja.

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

ČL: U ovom trenutku, uzeću par trenutaka.

So what you're seeing here --

and I'm doing a cardinal sin in science,

Ono što vidite ovde -

i činim najgori greh u nauci,

which is to show you preliminary data.

a to je da vam pokažem preliminarne podatke.

This is one subject's data.

Ovo su podaci jednog subjekta.

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

Podaci Majka Poupa.

So what am I showing you here?

Šta vam zapravo pokazujem ovde?

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

Kada je svirao sa mnom, improvizovao, a ne svirao naučeno,

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

njegove lingvističke zone su se upalile, njegova Brokina zona,

in the inferior frontal gyrus on the left.

što je inferiorni frontalni girus sa leve strane.

He had it also homologous on the right.

Imao je gotovo iste i sa desne strane.

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

To je zona koja je aktivna tokom ekspresivne komunikacije.

This whole notion that music is a language --

Čitava postavka da je muzika jezik,

možda postoji čitava neurološka osnova za to na kraju krajeva,

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

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

možemo da je vidimo kad dva muzičara zapravo razgovaraju kroz muziku.

So we've done this on eight subjects now,

Ovo smo uradili sa osam subjekata,

and we're getting all the data together,

i sada sakupljamo sve podatke.

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

I nadamo se da ćemo pronaći nešto značajno.

Sada kada razmišljam o improvizaciji i jeziku, zapitam se šta je sledeće?

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

Rap, of course, rap -- freestyle.

Rep, naravno, rep -

slobodni stil.

I've always been fascinated by freestyle.

Oduvek sam bio fasciniran slobodnim stilom.

And let's play this video.

I hajde da pogledamo i ovaj video.

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

(Video) Mos Def: ... tamne kože ja sam, 1.80 ja sam

Rockin' it when I be, in your vicinity

sviram gde god sam, u tvojoj blizini sam

Whole-style synergy, recognize symmetry

sinergija celog stila, prepoznajem simetriju

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

hajde probaj da me povrediš, slomi ih hemijski

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

nije broj 10 M.C., pričaj o tome kako si

Styled it like Kennedy, late like a 10 to three

stilizovan kao Kenedi, kasnim kao 10 do 3

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

kada kažem tu sam, cure kažu sakrij ožiljak

CL: So there's a lot of analogy

ČL: I tako postoji puno analogije

between what takes place in freestyle rap and jazz.

između slobodnog stila i džeza.

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

Postoji zapravo jaka korelacija između ova dva oblika muzike

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

u različitim vremenskim periodima.

Na mnogo načina, rep je imao sociološku funkciju

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

istu koju je imao i džez.

So how do you study rap scientifically?

I kako proučavate rep naučno?

Moje kolege misle da sam malo lud,

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

ali ja mislim da je to vrlo moguće.

This is what you do:

I ovako ja radim: umetnik slobodnog stila

You have a freestyle artist come and memorize a rap

koji dođe i memoriše muziku koju ste mu napisali,

that you write for them,

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

koju nikada ranije nije čuo,

i zatim on uradi slobodan stil.

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

Rekao sam članovima svog tima da ću repovati za TED,

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

a oni su rekli, "Nema šanse."

I tada sam pomislio -

And then I thought --

(Laughter)

(Smeh)

(Applause)

(Aplauz)

But here's the thing.

Evo o čemu se radi.

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

Sa ovim velikim ekranom, možete svi repovati sa mnom. Ok?

So what we had them do

Od njih smo tražili

was memorize this lower-left sound icon, please.

da memorišu ovu ikonu dole levo.

Ovo je kontrolni uslov. Ovo je to što su memorisali.

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

Computer: Memory, thump.

Kompjuter: Memorija, udar

CL: Thump of the beat in a known repeat

ČL: Udari ritma u poznatoj sredini

Rhythm and rhyme, they make me complete

Ritam i rima, čine me kompletnim

The climb is sublime when I'm on the mic

Klima je uzvišena kada sam za mikrofonom

Spittin' rhymes that hit you like a lightning strike

Izbacujem rime koje udaraju kao gromovi

Computer: Search.

Kompjuter: traženje.

CL: I search for the truth in this eternal quest

Tražim istinu u ovom večitom lutanju

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

Moja strast nije moda, vidite kako sam obučen

Psychopathic words in my head appear

Psihopatske reči, pojavljuju se u glavi

Whisper these lyrics only I can hear

Pevam ove reči koje samo ja čujem

Computer: Art.

CL: The art of discovering and that which is hovering

Kompjuter: umetnost

Umetnost otkrivanja u kojoj se lebdi

Inside the mind of those unconfined

Unutar misli slobodnih po volji

All of these words keep pouring out like rain

Sve ove reči teku kao kiša

I need a mad scientist to check my brain

Treba mi ludi naučnik da proveri moj mozak

Computer: Stop.

(Aplauz)

(Applause)

I guarantee you that will never happen again.

Obećavam vam da se ovo više nikada neće desiti.

(Laughter)

(Smeh)

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

I sada, ono što je sjajno kod muzičara slobodnog stila,

they will get cued different words.

oni dobiju stimulus u vidu različitih reči.

They don't know what's coming,

Ne znaju šta sledi, ali će čuti nešto.

but they'll hear something off the cuff.

Kliknu na tu zvučnu ikonu desno.

Go hit that right sound icon,

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

Oni treba da budu stimulisani nekom od ove tri reči: sviđati, ne i glava.

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

On ne zna šta dolazi.

Muzičar slobodnog stila: Ja sam nalik

Freestyler: I'm like some kind of

neljudskoj, nebeskoj slici

extraterrestrial, celestial scene

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

Nekada, ja sam sedeo na piramidama i meditirao

With two microphones -- Computer: Head

Sa slušalicama na glavi

hovering over my head

Kompjuter: glava.

Da vidim da li još uvek mogu da slušam, izbacuje zvuk

See if I could still listen,

spittin' off the sound

See what you grinning

Vidi kako se keziš

I teach the children in the back of the classroom

Učim decu u pozadini učionice

About the message of apocalyptical

O poruci apokalipse

Computer: Not.

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

Kompjuter: ne.

Ne mnogo ipak, mora biti jednostavno

instrumental

(nejasno) instrumental

Detrimental playing Super Mario

Štetno je igrati Super Maria

boxes [unclear] hip hop

(nejasno) kutije (nejasno) hip hop

Computer: Stop.

Kompjuter: stani.

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

ČL: I ponovo, nešto neverovatno se dešava.

Dešava se nešto neurološki fascinantno.

It's doing something neurologically remarkable.

Nebitno je da li volite ili ne tu muziku.

Whether or not you like the music is irrelevant.

Sa kreativnog stanovišta, to je fenomenalna stvar.

Creatively speaking, it's just a phenomenal thing.

Ovo je video kako smo to radili u skeneru.

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

[fMRI snimak repovanja]

[fMRI of Hip-Hop Rap]

(Smeh)

(Laughter)

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

(Video) ČL: Ovde smo sa Emanuelom.

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

To je bilo snimljeno u skeneru, inače.

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

(Video) ČL: To je Emanuel u skeneru.

He's just memorized a rhyme for us.

Upravo je naučio rime.

[Control Condition Memorized Verses]

Emmanuel: Top of the beat with no repeat

Emanuel: Udari ritma u poznatoj sredini

Rhythm and rhyme make me complete

Ritam i rima, čine me kompletnim

Climb is sublime when I'm on the mic

Klima je uzvišena kada sam za mikrofonom

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

Izbacujem rime koje udaraju kao gromovi

Computer: Search.

Tražim istinu u ovom večitom lutanju

I search for the truth in this eternal quest

Moja strast je moda, vidite kako sam obučen

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

ČL: Ok. Prekinuću ovde. Šta vidimo u njegovom mozgu?

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

Ovo su zapravo mozgovi četvorice repera.

This is four rappers' brains.

And we do see language areas lighting up,

I ono što vidimo, jesu govorna područja koja se pale,

but then, eyes closed --

ali onda - zatvorenih očiju -

when you are freestyling vs. memorizing,

kada ste u slobodnom stilu - nasuprot memorisanju,

you've got major visual areas lighting up.

imate upaljenu široku zonu vizuelnog područja.

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

Glavnu cerebralnu aktivnost,

koja je uključena pri motoričkoj koordinaciji.

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

Imate povišenu moždanu aktivnost kada radite komparativan zadatak,

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

kada je jedan zadatak kreativan, a drugi baziran na memorisanju.

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

Ovo je sve preliminarno, ali mislim da je nekako kul.

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

I tako samo da zaključim, imamo mnogo pitanja.

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

I kao što sam rekao, ovde smo da postavljamo pitanja, ne da odgovaramo.

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

Želimo da dođemo do korena kreativnih genija, neurološki.

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

I mislim da smo se ovim metodama jako približili tome.

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

I nadam se da ćete u narednih 10, 20 godina

you'll see real, meaningful studies

zaista moći da vidite prave, značajne studije

that say science has to catch up to art,

koje će pokazati da nauka mora da sustigne umetnost,

and maybe we're starting now to get there.

i mislim da sada počinjemo sa tim.

Thank you for your time, I appreciate it.

Želim sada da vam zahvalim na vremenu. Cenim to.

(Applause)

(Aplauz)